a bunch of bullshit

See, it's not just that he writes mediocre, churned-out thrillers; there are many, many authors of mediocre, churned-out thrillers out there, he ain't special.

It's also not that he "writes" them with "coauthors" and slaps his name on them - again, this is not unique.

It's not even - though this is starting to get there- that he chases every publishing trend and creates His Version of everything from Diary of a Wimpy Kid to Nicholas Sparks, which nobody likes as well as they like his thrillers but still buy because they have His Name on them like a summoning charm.

No, what makes James Patterson uniquely loathed is the combination of the frequency of publication and his popularity. Because, to be honest, I'm not sure that anyone even likes his books anymore, but it doesn't matter, because if they have the James Patterson name on them then readers will be queuing up like zombies desperate for a fix of decaying cerebral matter. Which would be tolerable if he had the decency to only write one book a year like most other bestselling authors, but "James Patterson" (quotes VERY intentional) puts out roughly two books per month. So as a librarian, not only do you have to buy every new book James Patterson puts out, you have to buy multiple copies in order to fulfill demand. Somewhere around 5% of my fiction budget is spent ENTIRELY ON JAMES PATTERSON. Every new James Patterson that comes out means a dozen or more queer romances, inventive sci-fi novellas, unique cultural viewpoints, etc, etc that you can't buy because YOU HAVE TO BUY JAMES PATTERSON INSTEAD. (See also, you just weeded and shifted the Ps in fiction to make room and now it's full again oh god why.)

And the clincher - the absolute clincher - is the knowledge that the publishers will be "finding" "unfinished manuscripts" by "James Patterson" for a minimum of fifty years after his death, so even if some right-minded bibliophile with a claymore takes one for the team, we will never, ever be free.

“I've had a lot of ups and downs in my life. I'm still working through it personally, but the best thing about me is that if an alcoholic or drug addict comes up to me and says, 'Will you help me?' I will always say, 'Yes, I know how to do that. I will do that for you, even if I can't always do it for myself! So I do that, whenever I can. In groups, or one on one.

And I created the Perry House in Malibu, a sober-living facility for men. I also wrote my play The End of Longing, which is a personal message to the world, an exaggerated form of me as a drunk. I had something important to say to people like me, and to people who love people like me.

When I die, I know people will talk about Friends, Friends, Friends. And I'm glad of that, happy l've done some solid work as an actor, as well as given people multiple chances to make fun of my struggles on the world wide web...

but when I die, as far as my so-called accomplishments go, it would be nice if Friends were listed far behind the things I did to try to help other people.

I know it won't happen, but it would be nice.”

- Matthew Langford Perry

[i've never doubted that palestine will live.

the US dropped more than 7.5 million tons of bombs on vietnam, laos and cambodia from 1965-75. they destroyed our land, used agent orange, slaughtered villages, separated families, the list goes on.

but we're. still. here.

indigenous people are still here. black people are still here. colonized people are resilient. even if you kill our people, ban our languages, destroy our homes, heritage sites and artifacts, we will always find a way to keep our cultures alive and that has always been true

so much of the west and isntreal's tactics and actions are hauntingly familiar to me as a viet person. its a colonizer's rinse and repeat. and so that's how i know palestine will be free. we've seen this film before]

As a bookseller, I want you to know that one of the worst things about our industry is the unsettlingly pervasive idea that we should financially suffer for working in it. There is a powerful idea in creative fields (as in many, many fields under late capitalism) that one should be willing to forego necessities of life – namely, an adequate wage – in order to have work that one resonates with emotionally.

In bookworld, I’d say that this is frequently aided and abetted by two factors. First, we often feel a strong sense of community with our coworkers and the book creation/promotion world at large and feel we should sacrifice personally for them; that to do so is right. Second, we have a sense that, due to a confluence of factors  from Amazon monopolization to the rise of the Internet to the pandemic’s financial tolls, we work in a permanently struggling industry – that we should be willing to take the hit, as it were, to help keep our business afloat.

Neither of those feelings is accurate in an independent bookstore. It doesn’t matter how narrow the profit margins are or how close you are with your coworkers. Your labor is labor, and it must be compensated. They are even less true in the context of a multi-billion-dollar publishing corporation, where the people at the top (including the parent company’s owner, who is literally Rupert Murdoch) benefit from growing monopolization while employees are unable to afford basic cost-of-living expenses. May I remind you that of HarperCollins’ thousands of employees, many are required to live in New York City – one of the most expensive metropolitan areas in the world. While working long hours, HarperCollins staff making a starting salary (45,000/year) make $18,600 less than the average annual cost of living in New York City for a single person.

This is unacceptable. As one sign carried on the picket line read– PASSION DOESN’T PAY THE RENT.