For the moment, though, the great change is the transformation in how we get books and how books find us. Lamentations for the bookstore are the background music of our time, but the picture is far more complex.
Bookstores and their discontents are at the center of Jo Walton's stunning new novel, Among Others. It is the story of Morwenna Phelps, a Welsh girl who, having been crippled in a domestic accident in which her twin sister was killed and for which her mother may have been at fault, is sent to boarding school. She is very lonely, and finds refuge in reading. We hear about each book she reads and what she thinks of it. If you have read a lot of fantasy and science fiction, you'll have read these books too. You and Morwenna can compare notes.
Morwenna has a terrible time getting books. She reads everything in the school library, she reads everything in her uncle's study. On Saturdays, she's allowed to walk into the village where she haunts the small library and the indifferent bookstore. Finding a new book by a favorite writer takes enormous time and effort.
That used to be the way books worked. If you lived in a great city, you might have a great bookseller and that was a fine thing indeed. In Fargo or Abercwmboi, where Morwenna grew up, things might be dicier. Even great booksellers have real limits: Stuart Brent built a fabled Chicago store around literary fiction, art books, and psychoanalytic texts, but if you were looking for differential geometry or electronic design, that wasn't going to be much help.
Now, Internet booksellers make it easy to grab a book as soon as you hear about it. Electronic delivery can put the book onto your Kindle or iPad in moments. Browsing used book stores is great fun, but if you want a specific book that's out of print, Alibris and AbeBooks have no peer.
The second great change in the literary economy is short-run printing. The distinguishing fact of the literary economy is that books are numerous. You can't find a feature film about the lifestyle of lemurs or the Diels-Alder reaction, but there's no problem writing (or finding) books about them. To make a book, all you need is a year or two of hard work, some dozens or hundreds of readers, and a modest sum of money.
Short press runs reduce the necessary investment. With less at risk, specialized books can find their natural readers, and quirky and experimental works might find the right audience. Photographer Richard A. Chase just assembled a fascinating collection of photographs of Frankie, extending his earlier Web photo-essay. Chase pursues unusual subjects and normally works with huge prints and polyptychs. His photography doesn't always fit comfortably on the Web. His images aren't always easy to talk about, they don't fit nicely into a sales meeting pitch. That matters less, now: if you can find a way to let your audience know about your book, you don't need to squeeze it into every shop window from Albuquerque to Bergen.