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It moved almost a half-million copies in 2009 alone.His latest book debuted on those charts at number two and, to this day, one of his three books is generally positioned somewhere on the Times’ lists. In the fall of 2010, on the same day his second book was published by mainstream publisher Simon & Shuster, Max laid out his origin story in a post on the blog of Timothy Ferriss, the equally popular, considerably less reviled, but similarly internet-driven author of The 4-Hour Worksweek, The 4-Hour Body, and the forthcoming The 4-Hour Chef. A common strain in classic “making it” stories is persistence, persistence, persistence until the gatekeepers recognize true genius (or impossible-to-ignore success), thereby allowing the outsider into the club.Max may be the ultimate example of a post-book literature, one in which books begin as digital artifacts rather than print ones, example of which include bestsellers you’ve probably heard about (i.e., E. James’s now inescapable Fifty Shades Trilogy) and some you probably haven’t (such as Hugh Howey’s Wool Omnibus).Max’s book certainly offers a preview of the forces exerting a magnetic pull on publishing in our post-codex, i Pad age; I’d risk the argument that there are worthwhile lessons here that are applicable to all writing.This was from a man who once sent a Tweet to his 300,000 followers stating, “Planned Parenthood would be cooler if it was a giant flight of stairs, w/someone pushing girls down, like a water park slide.” Recognizing a press stunt and potential PR disaster, the organization turned him down.In the faux-controversy that followed in The Daily Beast, the Huffington Post, et.
It is more like Deep Throat at the local multiplex.Sure you can choose not to have an opinion on phenomenon like the Kardashians, Lady Gaga, and reality television, but if you don’t understand what they represent, one risks not understanding the culture at large—and, more specifically in the case of Tucker Max, a portent of fundamental shifts in book culture.