Add links
This commit is contained in:
David Eisinger
724
static/archive/thewalrus-ca-714tb6.txt
Normal file
724
static/archive/thewalrus-ca-714tb6.txt
Normal file
@@ -0,0 +1,724 @@
|
||||
*
|
||||
[1]Newsletters
|
||||
[2]Subscribe
|
||||
[3][svg]
|
||||
[4]
|
||||
Donate
|
||||
Search Toggle menu
|
||||
[7][ ] Search
|
||||
[svg]
|
||||
|
||||
Sections
|
||||
|
||||
[10]Latest Stories [11]Business [12]Environment [13]Society [14]Politics [15]
|
||||
Arts & Culture
|
||||
|
||||
Explore
|
||||
|
||||
[16]Newsletters [17]Events [18]Listen [19]Games [20]Magazine [21]The Walrus Lab
|
||||
|
||||
Support
|
||||
|
||||
[22]Donate [23]Subscribe [24]Merchandise [25]The Walrus Plus [26]Annual Report
|
||||
[27]The Walrus Gala
|
||||
|
||||
Follow
|
||||
|
||||
[28]Twitter [29]LinkedIn [30]YouTube [31]TikTok [32]Facebook [33]Instagram [34]
|
||||
Bluesky
|
||||
|
||||
• [35]About Us
|
||||
• [36]Contact Us
|
||||
• [37]My Account
|
||||
• [38]Manage Subscriptions
|
||||
|
||||
POPULAR →
|
||||
[39]Regional Bureaus
|
||||
[40]Trade
|
||||
[41]Current Affairs
|
||||
[42]Politics
|
||||
[43]The Walrus Talks DEI
|
||||
[44]Skip to content
|
||||
|
||||
[45]The Walrus
|
||||
|
||||
Fact-based journalism that sparks the Canadian conversation
|
||||
|
||||
[hmenu id=2] [47]
|
||||
|
||||
• [48]home
|
||||
• [49]Articles
|
||||
□ [50]Business
|
||||
□ [51]Environment
|
||||
□ [52]Health
|
||||
□ [53]Politics
|
||||
□ [54]Arts & Culture
|
||||
□ [55]Society
|
||||
• [56]Special Series
|
||||
□ [57]Hope You’re Well
|
||||
□ [58]For the Love of the Game
|
||||
□ [59]Living Rooms
|
||||
□ [60]In Other Worlds: A Space Exploration
|
||||
□ [61]Terra Cognita
|
||||
□ [62]More special series >
|
||||
• [63]Events
|
||||
□ [64]The Walrus Talks
|
||||
□ [65]The Walrus Video Room
|
||||
□ [66]The Walrus Leadership Roundtables
|
||||
□ [67]The Walrus Leadership Forums
|
||||
□ [68]Article Club
|
||||
• [69]Subscribe
|
||||
□ [70]Renew your subscription
|
||||
□ [71]Change your address
|
||||
□ [72]Magazine Issues
|
||||
□ [73]Newsletters
|
||||
□ [74]Podcasts
|
||||
• [75]The Walrus Lab
|
||||
□ [76]Hire The Walrus Lab
|
||||
□ [77]Amazon First Novel Award
|
||||
• [78]Shop
|
||||
• [79]Donate
|
||||
|
||||
[80]Business
|
||||
|
||||
Moleskine Mania: How a Notebook Conquered the Digital Era
|
||||
|
||||
“Do you know there’s a section of our customer base that buys a fresh Moleskine
|
||||
every time they come into a store? We have no idea what they do with them”
|
||||
|
||||
[81]August 30, 2024August 31, 2024 - by [82]Roland Allen[83]Roland Allen
|
||||
Updated 16:06, Aug. 31, 2024 | Published 11:22, Aug. 30, 2024
|
||||
[84]A stack of filled moleskin notebooks on their sideBarry Silver / Flickr
|
||||
|
||||
In the summer of 1995, Maria Sebregondi was mulling over a knotty question,
|
||||
sailing with friends off the Tunisian coast. At thirty-six, she had already
|
||||
enjoyed a fruitful career, translating Marguerite Duras, Samuel Taylor
|
||||
Coleridge, and Vladimir Nabokov into Italian. She was particularly intrigued by
|
||||
the French pair of Georges Perec and Raymond Queneau, who wrote novels and
|
||||
poetry using formal constraints as a spur to creativity. Perec had written an
|
||||
entire novel, La disparition, without using the letter “e”; in Exercices de
|
||||
style, Queneau told the same simple story in ninety-nine versions, using a
|
||||
different prose form for each one. They called their playful genre Oulipo, an
|
||||
acronym derived from the French for “workshop of potential literature.” So
|
||||
Sebregondi was accustomed to the generation of ideas within set parameters, and
|
||||
on this particular sultry evening, she was presented with just such a
|
||||
challenge.
|
||||
|
||||
Her holidaying shipmates included Francesco Franceschi, a friend whose company
|
||||
Modo & Modo sold designer gifts, and that night, he shared a problem. His
|
||||
business depended on other people conceiving and manufacturing products for him
|
||||
to sell, which kept profit margins low. What, asked Franceschi, could Modo &
|
||||
Modo manufacture themselves and thus sell more profitably? The group exchanged
|
||||
ideas long into the night, discussing emerging trends like cellphones, email,
|
||||
and cheap flights. They decided that the consumer they wanted to target with a
|
||||
hypothetical new product belonged to this new era: creative, free spirited, and
|
||||
mobile. Sebregondi labelled their design-conscious customer the “contemporary
|
||||
nomad.” But before any of the party could work out what to manufacture for
|
||||
them, the holiday was over and she had returned home with her children to Rome.
|
||||
|
||||
• [85]Indigo May Have Lost the Plot
|
||||
• [86]The Case for Never Reading the Book Jacket
|
||||
• [87]How Do You Even Sell a Book Anymore?
|
||||
|
||||
The question nagged at her for weeks, and she toyed with ideas, including a
|
||||
traveller’s toolkit containing exquisitely designed pens, bags, T-shirts,
|
||||
penknives, and so on. Nothing met the requirements of Franceschi’s brief, which
|
||||
demanded a product that would be easy to produce yet offer wide commercial
|
||||
potential. Then she came across two passages in the book she was reading for
|
||||
pleasure: The Songlines by Bruce Chatwin, a global bestseller since its
|
||||
publication eight years before. In the novel, a lightly fictionalized version
|
||||
of Chatwin explores the Australian outback, coming to understand that its
|
||||
aboriginal culture offers an insight into the origins of human culture—and
|
||||
perhaps into the restlessness of human nature itself. Conspicuously “creative,
|
||||
free spirited, and mobile,” Chatwin himself seemed a perfect fit for the
|
||||
“contemporary nomad,” and two passages in his novel triggered Sebregondi’s
|
||||
memory:
|
||||
|
||||
“Do you mind if I use my notebook?” I asked.
|
||||
|
||||
“Go ahead.”
|
||||
|
||||
I pulled from my pocket a black, oilcloth-covered notebook, its pages held
|
||||
in place with an elastic band.
|
||||
|
||||
“Nice notebook,” he said.
|
||||
|
||||
“I used to get them in Paris,” I said. But now they don’t make them any
|
||||
more.”
|
||||
|
||||
“Paris?” he repeated, raising an eyebrow as if he’d never heard anything so
|
||||
pretentious.
|
||||
|
||||
Then he winked and went on talking.
|
||||
|
||||
Later in the book, Chatwin expands on the story.
|
||||
|
||||
Some months before I left for Australia, the owner of the papeterie said
|
||||
that the vrai moleskine was getting harder and harder to get. There was one
|
||||
supplier: a small family business in Tours. They were very slow in
|
||||
answering letters.
|
||||
|
||||
“I’d like to order a hundred,” I said to Madame. “A hundred will last me a
|
||||
lifetime.”
|
||||
|
||||
She promised to telephone Tours at once, that afternoon.
|
||||
|
||||
At lunchtime, I had a sobering experience. The headwaiter of Brasserie Lipp
|
||||
no longer recognised me. “Non, Monsieur, il n’y a pas de place.” At five, I
|
||||
kept my appointment with Madame. The manufacturer had died. His heirs had
|
||||
sold the business. She removed her spectacles and, almost with an air of
|
||||
mourning, said, “Le vrai moleskine n’est plus.”
|
||||
|
||||
This passage had struck many of Chatwin’s readers; its intimations of mortality
|
||||
seemed to foreshadow the author’s premature death only a year and a half after
|
||||
the publication of The Songlines. But to Sebregondi, it meant something more
|
||||
personal, because she recognized, from her time as a student in Paris, the
|
||||
notebooks Chatwin described. Indeed, she still had several. Digging them out of
|
||||
old boxes, she looked at them for the first time in years—and with new eyes.
|
||||
Why had Chatwin become so attached to this particular model that he would order
|
||||
a hundred rather than risk running out? How could such a utilitarian object
|
||||
assume such importance? Then it struck her that she might have hit upon a
|
||||
solution to Franceschi’s challenge—a simple product, easy to manufacture,
|
||||
appealing to creatives and imparting promises of travel, of glamour, of
|
||||
discovery.
|
||||
|
||||
Phone calls to France confirmed Chatwin’s account (a sensible move: Chatwin
|
||||
always preferred a good story to the literal truth), and Sebregondi’s hunch was
|
||||
confirmed by serendipitous sightings of le vrai moleskine in other contexts:
|
||||
exhibitions of Matisse’s and Picasso’s sketchbooks, a photo of Hemingway at
|
||||
work. This product, she realized, already had a pedigree. More to the point, it
|
||||
had commercial promise, for millions around the world had already read
|
||||
Chatwin’s endorsement. It even accorded with the classic principles of Italian
|
||||
design: like an espresso, a pair of Persol sunglasses, or a Prada dress, le
|
||||
moleskine was minimal, functional, and assertively black.
|
||||
|
||||
And yet, miraculously, no one made it anymore.
|
||||
|
||||
Sebregondi took the idea to Milan, where Franceschi realized that she was on to
|
||||
something. With Chatwin having already solved the thorniest problem faced by
|
||||
anyone marketing a new product (what to call the damn thing), the pair entered
|
||||
what became a two-year process of product design, which resulted in the classic
|
||||
Moleskine notebook.
|
||||
|
||||
You don’t need me to tell you what a Moleskine looks like, but you may not have
|
||||
considered how insistently its design sends messages to the contemporary nomad.
|
||||
The minimal black cover looks, at first glance, like it might be leather:
|
||||
robust but also luxurious. The non-standard dimensions, a couple of centimetres
|
||||
narrower than the familiar A5, let you slip the notebook into a jacket pocket,
|
||||
and the rounded corners—which add considerably to the production cost—help with
|
||||
this. They also stop your pages from getting dog-eared and, together with the
|
||||
elastic strap and unusually heavy cover boards, confirm that the notebook is
|
||||
ready for travel. The edges of the board sit flush with the page block,
|
||||
ensuring that your Moleskine can never be mistaken for a printed book. In use,
|
||||
it lies obediently open and flat, and the pocket glued into the back cover
|
||||
board invites you to hide souvenirs—photos, tickets stubs, the phone numbers of
|
||||
beautiful strangers. Two hundred pages suggest that you have plenty to write
|
||||
about; the paper itself, tinted to a classy ivory shade and unusually smooth to
|
||||
the touch, implies that your ideas deserve nothing but the best, and the ribbon
|
||||
marker helps you navigate your musings. Discreetly minimal it may seem, but the
|
||||
whole package is as shot through with brand messaging as anything labelled
|
||||
Nike, Mercedes, or Apple—and, like the best cues, the messaging works on a
|
||||
subconscious level.
|
||||
|
||||
But in case those cues alone were not enough, Moleskine spelled out its brand
|
||||
values in the small folded leaflet which the notebook’s new owner would
|
||||
“discover”—as Sebregondi tellingly puts it—tucked in the pocket. The leaflet’s
|
||||
copy has evolved over time, and more and more languages have been added to it,
|
||||
but the central message has changed little from the early, Italian-only,
|
||||
version:
|
||||
|
||||
The Moleskine is an exact reproduction of the legendary notebook of
|
||||
Chatwin, Hemingway, Matisse. Anonymous custodian of an extraordinary
|
||||
tradition, the Moleskine is a distillation of function and an accumulator
|
||||
of emotions that releases its charge over time. From the original notebook
|
||||
a family of essential and trusted pocket books was born. Hard cover covered
|
||||
in moleskine, elastic closure, thread binding. Internal bellowed pocket in
|
||||
cardboard and canvas. Removable leaflet with the history of Moleskine.
|
||||
Format 9 x 14 cm.
|
||||
|
||||
The leaflet opened with a lie (the new Moleskines were not “exact reproductions
|
||||
of the old”) then immediately veered toward gibberish, but that didn’t matter.
|
||||
Pound for pound, those seventy-five words proved themselves among the most
|
||||
effective pieces of commercial copywriting of all time, briskly connecting the
|
||||
product’s intangible qualities—usefulness and emotion—to its material
|
||||
specification, thereby selling both the sizzle and the steak. Sebregondi and
|
||||
Franceschi picked an astutely international selection of names to drop: an
|
||||
Englishman, an American, and a Frenchman encouraged cosmopolitan aspirations.
|
||||
“Made in China,” on the other hand, did not, so they left that bit out.
|
||||
|
||||
Modo & Modo ordered the initial production run of 3,000 notebooks in 1997, and
|
||||
the new Moleskine first went on sale in Milan, in a small bookshop on the Corso
|
||||
Buenos Aires. It sold through its consignment in days. Avoiding traditional
|
||||
stationers, the company targeted design retailers and bookstores: the strategy
|
||||
worked, and in 1998, they sold 30,000 notebooks. From 1999, they used their
|
||||
existing networks to distribute around Europe and then across the Atlantic.
|
||||
Within ten years, the American chain bookseller Barnes & Noble had become the
|
||||
brand’s largest retail partner. Just as Franceschi had hoped, the high profit
|
||||
margins transformed Modo & Modo’s fortunes. In 2006, a private equity firm
|
||||
bought him out, and sales continued to grow.
|
||||
|
||||
In 2013, the Moleskine SpA launched on the Italian stock exchange, and in 2016,
|
||||
a Belgian car distributor bought the company outright, for half a billion
|
||||
euros. Small wonder that the story is now taught in business schools as a
|
||||
textbook example of successful product design and marketing. In 2017, the story
|
||||
came full circle when Moleskine and Chatwin’s publisher struck a deal to
|
||||
publish a new edition of The Songlines, bound in the now-familiar black boards,
|
||||
complete with elastic closure, rounded corners, ribbon markers, and pocket. You
|
||||
bought it shrink-wrapped to a blank journal, embossed—in a gesture which
|
||||
Chatwin would surely have recoiled from—with the motivational boost “Enjoy your
|
||||
travel writing.”
|
||||
|
||||
Sebregondi herself stayed relentlessly on message for two decades, giving
|
||||
scores of interviews whose recurring theme was that the Moleskine was “first of
|
||||
all, an enabler for creativity.”
|
||||
|
||||
Having stayed with the business through its various incarnations, she stepped
|
||||
back in 2017 and currently gives her time to the charitable Moleskine
|
||||
Foundation, which aims to drive social change, especially in sub-Saharan Africa
|
||||
and Eastern Europe, through—naturally—creativity. She also remains involved
|
||||
with Oplepo, the Italian offshoot of Oulipo. Her most recent translation is of
|
||||
Queneau’s One Hundred Thousand Billion Poems, in which the reader randomly
|
||||
generates sonnets from the book’s thousands of rhyming lines, constraints
|
||||
proving creative.
|
||||
|
||||
I bought my first Moleskine during the early years of that boom and, a while
|
||||
later, found myself working for a book publisher keen to share in the
|
||||
Moleskine-driven growth of the upscale stationery market. Notebooks, we
|
||||
reasoned, had no words and no pictures—the tricky, expensive things that make
|
||||
“real” books so difficult to profit from. How hard could it be to cash in? So
|
||||
we created a range of notebooks, brightly designed and packed with gimmicks,
|
||||
and placed a substantial order at the printers. I was charged with visiting
|
||||
Barnes & Noble’s Fifth Avenue head office to present our wares, and I suggested
|
||||
that our colourful product could supply healthy turnover if racked alongside
|
||||
Moleskine in their stores.
|
||||
|
||||
The buyer eyed me skeptically. “Along with the Moleskines,” he said. “Do you
|
||||
know there’s a section of our customer base that buys a fresh Moleskine every
|
||||
time they come into a store? Once a week, some people. We have no idea what
|
||||
they do with them.”
|
||||
|
||||
I showed off my samples, stressing the cream paper, the ribbon markers, and the
|
||||
striking cover designs that supposedly set our brand apart. He shook his head
|
||||
and handed me a familiar black notebook in response. “See this?” he said. “We
|
||||
make them ourselves, own brand. The same size, the same number of pages. We use
|
||||
the same paper, the same boards, we make them at the same plants in China.
|
||||
They’re every bit as good as a Moleskine, and we ask half as much for them.” He
|
||||
paused for effect. “And Moleskine still outsells us. And you’re asking me to
|
||||
take shelf space away?”
|
||||
|
||||
I was learning a hard lesson about the power of the brand. Others, however,
|
||||
made a better go of it. From 2005, Leuchtturm, whose specialty had been stamp
|
||||
collectors’ albums, took on Moleskine, matching them for quality while
|
||||
offering—the vulgarity!—a range of colours; older companies like
|
||||
Clairefontaine, Rhodia, and Paperblanks refreshed their offerings. Western
|
||||
hipsters, always alert to high-end Japanese design, started to import notebooks
|
||||
from companies like Midori, Hobonichi, and Stalogy, which bested any of the
|
||||
European brands with their exquisite papers and bindings (Moleskine and
|
||||
Leuchtturm both use mainly Taiwanese paper). In the US, Field Notes struck a
|
||||
utilitarian chord with a mid-century aesthetic. All presented a fresh spin on
|
||||
the basic product, and all benefited from the product building that Moleskine
|
||||
had done. If you cared for upmarket stationery, the 2010s were a golden age.
|
||||
|
||||
At the same time, the Moleskine became a potent status symbol. Tech CEOs toted
|
||||
them, as did the designers, journalists, and writers whom Sebregondi had
|
||||
envisaged—and even more people whose aspirations perhaps outran their actual
|
||||
creativity. Spotted in your local Starbucks, these characters were easily
|
||||
mocked: the satirical website Stuff White People Like made hay with their
|
||||
accessorizing, as did the right-wing politician Karl Rove, who once told his
|
||||
audience at Yale that he knew them to be pretentious by their Moleskines. The
|
||||
mockery did nothing to hurt sales.
|
||||
|
||||
Neither did a growing interest, from psychologists and lifestyle gurus, in the
|
||||
notebook’s practical effectiveness. Sebregondi herself suggested that the
|
||||
notebook’s minimal form made it a perfect creative tool, talking of it in the
|
||||
same terms as Queneau’s deliberately constrained work: “a simple object,”
|
||||
giving her the “sense of extraordinary possibility born from small things.” The
|
||||
productivity guru David Allen recommended making lists in notebooks, as did
|
||||
neuroscientist Daniel Levitin; the journalist David Sax wrote a book, The
|
||||
Revenge of Analog, which depicted paper notebooks (along with vinyl LPs, board
|
||||
games, and film cameras) mounting a spirited resistance against digital
|
||||
replacement. It became commonplace to contrast the old technology with the new.
|
||||
The original Moleskine had launched at the same time as the Palm Pilot, the
|
||||
first hand-held digital organizer, and had, from day one, faced competition
|
||||
from increasingly powerful devices. The laptop, the BlackBerry, the iPhone, and
|
||||
the iPad all seemed to offer far greater functionality than their paper
|
||||
antecedent, but a stubborn constituency of users refused to move over into the
|
||||
digital sphere, and numerous peer-reviewed studies soon showed that their
|
||||
obduracy made sense. Something about the act of writing by hand, and the
|
||||
production of a physical object, makes the older technology more effective than
|
||||
the new. Sebregondi had, unwittingly, prompted serious inquiry into the
|
||||
workings of the human brain.
|
||||
|
||||
My own interest in notebooks had also progressed beyond the commercial. I read
|
||||
Samuel Pepys, loving the unfettered way in which he documented work, home,
|
||||
leisure, his urban environment, and his sex life; then I discovered my
|
||||
grandfather’s eye-opening pre-war diaries, just as wide ranging, although much
|
||||
briefer. So I started keeping my own journal in 2002, and each year added to a
|
||||
steadily growing heap of battered notebooks.
|
||||
|
||||
Writing a diary made me happier; keeping things-to-do lists made me more
|
||||
reliable (which, in turn, made those around me happier), and I learned never to
|
||||
go to a doctor’s appointment, or a meeting of any kind, without taking notes of
|
||||
what I heard. But there appeared to be creative benefits too. Every artist I
|
||||
met seemed to have a sketchbook to hand, as did graphic designers—and even web
|
||||
designers, whose product was entirely digital. Authors all kept notebooks, as
|
||||
did journalists, critics, and other creative types—and the more assiduously
|
||||
they used those notebooks, the better their work seemed to be. The same applied
|
||||
to my colleagues’ work: playful lists, diagrams, and sketches regularly
|
||||
disgorged surprisingly good ideas.
|
||||
|
||||
When notebooks appear on the scene, interesting things happen. To open up to
|
||||
the blank page and interact with it takes energy and sometimes a little
|
||||
courage.
|
||||
|
||||
But the rewards may surprise.
|
||||
|
||||
Excerpted from [88]The Notebook: A History of Thinking on Paper by Roland
|
||||
Allen. Copyright © Roland Allen 2024. Excerpted with permission from
|
||||
Biblioasis. No part of this excerpt may be reproduced or reprinted without
|
||||
permission in writing from the publisher.
|
||||
|
||||
[89]Roland Allen
|
||||
[90]Roland Allen
|
||||
Roland Allen lives in Brighton, England, and works in book (and notebook)
|
||||
publishing. He has written books on bicycles and bread, has kept a diary for
|
||||
decades, and enjoys stationery a little too much.
|
||||
Tagged[91]audio[92]books[93]excerpt[94]history[95]homepage
|
||||
|
||||
Related Posts
|
||||
|
||||
[96] Man shakes hands with a robot in an office setting.
|
||||
|
||||
[97] Companies Are Outsourcing Job Interviews to AI. What Could Go Wrong?
|
||||
|
||||
June 2, 2025June 2, 2025
|
||||
|
||||
[98] A photo illustration shows a handshake with currency notes pressed between
|
||||
them
|
||||
|
||||
[99] Canada Hands Out Billions to Corporations. What Are We Getting Back?
|
||||
|
||||
May 15, 2025May 16, 2025
|
||||
|
||||
[100] Plaque of the Hudson's Bay Company with its logo, emblem, and the words
|
||||
"Incorporated 2nd May 1670."
|
||||
|
||||
[101] A 355-Year-Old Document That Helped Create Canada May Be Sold Off in
|
||||
Bankruptcy
|
||||
|
||||
May 13, 2025May 13, 2025
|
||||
|
||||
Post navigation
|
||||
|
||||
[102]Previous Article Saying Goodbye to the Family Cottage
|
||||
[103]Next Article Weekly Quiz: Summer Break, The Conservative Party, and
|
||||
Indigenous Art
|
||||
|
||||
Our Latest Issue
|
||||
|
||||
[104]The June 2025 cover of The Walrus June 2025
|
||||
magazine featuring an image of a red
|
||||
maple leaf with fracturing lines that Explore what it will take to save
|
||||
extend outwards from each of its Canada, a paranoid pastor’s cult of
|
||||
points. US president Donald Trump peers lies, multilingual parenthood, and
|
||||
through the leaf, only one of his eyes more.
|
||||
visible.
|
||||
|
||||
[105]Start my subscription today[107]Your Account
|
||||
The Walrus newsletter
|
||||
Stories this good should be paywalled—but they’re not. Sign up today.
|
||||
[109]View all newsletters
|
||||
The Walrus
|
||||
|
||||
About The Walrus
|
||||
|
||||
[110]About Us [111]Our Staff [112]Contact Us [113]Careers [114]Fellowships
|
||||
[115]Submissions [116]Advertise with Us
|
||||
|
||||
Events
|
||||
|
||||
[117]Get Tickets [118]The Walrus Talks [119]The Walrus Gala [120]Get in Touch
|
||||
|
||||
Subscribe
|
||||
|
||||
[121]Customer Care [122]Purchase a Subscription [123]Renew Your Subscription
|
||||
[124]Games [125]Newsletters [126]Shop The Walrus Store
|
||||
|
||||
Podcasts
|
||||
|
||||
[127]Articles [128]The Conversation Piece [129]The Walrus Podcasts
|
||||
|
||||
The Walrus Lab
|
||||
|
||||
[130]Amazon Canada First Novel Award [131]Content Services [132]Podcast
|
||||
Services [133]Our Clients [134]Get in Touch
|
||||
|
||||
Follow Us
|
||||
|
||||
[135]Twitter [136]LinkedIn [137]YouTube [138]TikTok [139]Facebook [140]
|
||||
Instagram [141]Substack [142]Bluesky
|
||||
|
||||
Support Independent Canadian Reporting and Storytelling
|
||||
|
||||
[143] Make a Donation
|
||||
The Walrus
|
||||
[145]Accessibility Help [146]Privacy Policy [147]Cookie Policy
|
||||
|
||||
The Walrus is located within the bounds of Treaty 13 signed with the
|
||||
Mississaugas of the Credit. This land is also the traditional territory of the
|
||||
Anishnabeg, the Haudenosaunee, and the Wendat peoples.
|
||||
|
||||
© 2022 The Walrus. All Rights Reserved.
|
||||
Charitable Registration Number: No. 861851624-RR0001
|
||||
|
||||
© 2025 The Walrus. All Rights Reserved. Charitable Registration Number: No.
|
||||
861851624-RR0001
|
||||
[148]Accessibility Help [149]Privacy Policy [150]Cookie Policy
|
||||
© 2023 The Walrus. All Rights Reserved.
|
||||
Charitable Registration Number: No. 861851624-RR0001
|
||||
|
||||
The Walrus is located within the bounds of Treaty 13 signed with the
|
||||
Mississaugas of the Credit. This land is also the traditional territory of the
|
||||
Anishnabeg, the Haudenosaunee, and the Wendat peoples.
|
||||
|
||||
• [151]
|
||||
• [152]
|
||||
• [153]
|
||||
• [154]
|
||||
|
||||
The Walrus uses cookies for personalization, to customize its online
|
||||
advertisements, and for other purposes. [155]Learn more or change your cookie
|
||||
preferences.
|
||||
|
||||
[156]×
|
||||
|
||||
Fund Canadian journalism to help you make informed decisions. Fund The Walrus.
|
||||
|
||||
[157]Yes, I’ll help!
|
||||
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
|
||||
[159]×
|
||||
|
||||
Fund Canadian journalism to help you make informed decisions. Fund The Walrus.
|
||||
|
||||
[160]Yes, I’ll help!
|
||||
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
|
||||
[162]×
|
||||
|
||||
Fund Canadian journalism to help you make informed decisions. Fund The Walrus.
|
||||
|
||||
[163]Yes, I’ll help!
|
||||
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
|
||||
[165]×
|
||||
|
||||
Fund Canadian journalism to help you make informed decisions. Fund The Walrus.
|
||||
|
||||
[166]Yes, I’ll help!
|
||||
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
|
||||
[168]×
|
||||
|
||||
Stand Up for Canadian Stories
|
||||
|
||||
[169]Yes, I’ll help
|
||||
|
||||
At a time when the US president is trying to define our national narrative, we
|
||||
must strengthen and champion our collective voice. Journalism that is truly
|
||||
reflective of our country has never been more vital. It’s through the support
|
||||
of readers like you that we can both celebrate and sustain Canada’s boldest
|
||||
conversations and secure the future of independent media in this country.
|
||||
|
||||
Read more…
|
||||
|
||||
If you’ve enjoyed articles published by The Walrus, please consider making a
|
||||
contribution today. Your support helps us invest in a key component of
|
||||
democracy—independent, clear-sighted reporting—and continue to provide
|
||||
paywall-free, fact-based journalism.
|
||||
|
||||
Thank you for your support.
|
||||
|
||||
[svg]
|
||||
|
||||
Claire Cooper
|
||||
Managing Editor, The Walrus
|
||||
|
||||
|
||||
Stand Up for Canadian Stories
|
||||
|
||||
At a time when the US president is trying to define our national narrative, we
|
||||
must strengthen and champion our collective voice. Journalism that is truly
|
||||
reflective of our country has never been more vital. It’s through the support
|
||||
of readers like you that we can both celebrate and sustain Canada’s boldest
|
||||
conversations and secure the future of independent media in this country.
|
||||
|
||||
If you’ve enjoyed articles published by The Walrus, please consider making a
|
||||
contribution today. Your support helps us invest in a key component of
|
||||
democracy—independent, clear-sighted reporting—and continue to provide
|
||||
paywall-free, fact-based journalism.
|
||||
|
||||
Thank you for your support.
|
||||
|
||||
Claire Cooper
|
||||
Managing Editor, The Walrus
|
||||
[172]Yes, I’ll help
|
||||
|
||||
[174]×
|
||||
|
||||
References:
|
||||
|
||||
[1] https://thewalrus.ca/about/newsletters
|
||||
[2] https://thewalrus.ca/subscribe
|
||||
[3] https://thewalrus.ca/
|
||||
[4] https://thewalrus.ca/donate
|
||||
[10] https://thewalrus.ca/tag/homepage
|
||||
[11] https://thewalrus.ca/category/business
|
||||
[12] https://thewalrus.ca/category/environment
|
||||
[13] https://thewalrus.ca/category/society
|
||||
[14] https://thewalrus.ca/category/politics
|
||||
[15] https://thewalrus.ca/category/culture
|
||||
[16] https://thewalrus.ca/about/newsletters
|
||||
[17] https://thewalrus.ca/the-walrus-talks
|
||||
[18] https://thewalrus.ca/listen
|
||||
[19] https://thewalrus.ca/games
|
||||
[20] https://thewalrus.ca/category/issues
|
||||
[21] https://thewalrus.ca/labs
|
||||
[22] https://thewalrus.ca/donate
|
||||
[23] https://thewalrus.ca/subscribe
|
||||
[24] https://store.walrusmagazine.com/
|
||||
[25] https://thewalrus.ca/the-walrus-plus
|
||||
[26] https://thewalrus.ca/2023-year-in-review
|
||||
[27] https://thewalrus.ca/gala
|
||||
[28] https://twitter.com/thewalrus
|
||||
[29] https://www.linkedin.com/company/the-walrus/
|
||||
[30] https://www.youtube.com/@thewalrus
|
||||
[31] https://www.tiktok.com/@thewalrusca
|
||||
[32] https://facebook.com/thewalrus
|
||||
[33] https://instagram.com/thewalrus
|
||||
[34] https://bsky.app/profile/thewalrus.ca
|
||||
[35] https://thewalrus.ca/about
|
||||
[36] https://thewalrus.ca/contact
|
||||
[37] https://thewalrus.ca/subscribe
|
||||
[38] https://thewalrus.ca/subscribe
|
||||
[39] https://thewalrus.ca/tag/regional-bureaus/
|
||||
[40] https://thewalrus.ca/tag/trade/
|
||||
[41] https://thewalrus.ca/category/current-affairs/
|
||||
[42] https://thewalrus.ca/category/current-affairs/politics/
|
||||
[43] https://thewalrus.ca/the-walrus-talks-at-home-dei/
|
||||
[44] https://thewalrus.ca/moleskine/#content
|
||||
[45] https://thewalrus.ca/
|
||||
[47] https://thewalrus.ca/
|
||||
[48] https://thewalrus.ca/
|
||||
[49] https://thewalrus.ca/
|
||||
[50] https://thewalrus.ca/category/current-affairs/business/
|
||||
[51] https://thewalrus.ca/category/environment/
|
||||
[52] https://thewalrus.ca/category/society/health/
|
||||
[53] https://thewalrus.ca/category/current-affairs/politics/
|
||||
[54] https://thewalrus.ca/category/culture/
|
||||
[55] https://thewalrus.ca/category/society/
|
||||
[56] https://thewalrus.ca/special-series/
|
||||
[57] https://thewalrus.ca/hope-youre-well/
|
||||
[58] https://thewalrus.ca/for-the-love-of-the-game/
|
||||
[59] https://thewalrus.ca/livingrooms/
|
||||
[60] https://thewalrus.ca/space/
|
||||
[61] https://thewalrus.ca/terra-cognita/
|
||||
[62] https://thewalrus.ca/special-series/
|
||||
[63] https://thewalrus.ca/the-walrus-talks/
|
||||
[64] https://thewalrus.ca/the-walrus-talks/
|
||||
[65] https://thewalrus.ca/the-walrus-talks-video-room/
|
||||
[66] https://thewalrus.ca/?page_id=113028
|
||||
[67] https://thewalrus.ca/the-walrus-leadership-forums/
|
||||
[68] https://thewalrus.ca/tag/article-club/
|
||||
[69] https://thewalrus.ca/subscribe/
|
||||
[70] https://secure.thewalrus.ca/renew
|
||||
[71] https://thewalrus.ca/customer-care/
|
||||
[72] https://thewalrus.ca/category/issues/
|
||||
[73] https://thewalrus.ca/about/newsletters/
|
||||
[74] https://thewalrus.ca/podcasts/
|
||||
[75] https://thewalrus.ca/the-walrus-lab
|
||||
[76] https://thewalrus.ca/the-walrus-lab/
|
||||
[77] https://thewalrus.ca/partnerships/amazon-first-novel-award
|
||||
[78] https://store.walrusmagazine.com/
|
||||
[79] https://thewalrus.ca/donate/
|
||||
[80] https://thewalrus.ca/category/current-affairs/business/
|
||||
[81] https://thewalrus.ca/moleskine/
|
||||
[82] https://thewalrus.ca/author/roland-allen/
|
||||
[83] https://thewalrus.ca/author/roland-allen/
|
||||
[84] https://walrus-assets.s3.amazonaws.com/img/RolandAllen_TheNotebook.jpg
|
||||
[85] https://thewalrus.ca/indigo-may-have-lost-the-plot/
|
||||
[86] https://thewalrus.ca/the-case-for-never-reading-the-book-jacket/
|
||||
[87] https://thewalrus.ca/how-do-you-even-sell-a-book-anymore/
|
||||
[88] https://www.biblioasis.com/shop/non-fiction/general-history/the-notebook/
|
||||
[89] https://thewalrus.ca/author/roland-allen/
|
||||
[90] https://thewalrus.ca/author/roland-allen/
|
||||
[91] https://thewalrus.ca/tag/audio/
|
||||
[92] https://thewalrus.ca/tag/books/
|
||||
[93] https://thewalrus.ca/tag/excerpt/
|
||||
[94] https://thewalrus.ca/tag/historic/
|
||||
[95] https://thewalrus.ca/tag/homepage/
|
||||
[96] https://thewalrus.ca/human-resources-ai/
|
||||
[97] https://thewalrus.ca/human-resources-ai/
|
||||
[98] https://thewalrus.ca/corporate-welfare-is-canadas-most-expensive-addiction/
|
||||
[99] https://thewalrus.ca/corporate-welfare-is-canadas-most-expensive-addiction/
|
||||
[100] https://thewalrus.ca/hudsons-bay-charter/
|
||||
[101] https://thewalrus.ca/hudsons-bay-charter/
|
||||
[102] https://thewalrus.ca/saying-goodbye-to-the-family-cottage/
|
||||
[103] https://thewalrus.ca/quiz/20240831/
|
||||
[104] https://thewalrus.ca/subscribe
|
||||
[105] https://thewalrus.ca/subscribe/
|
||||
[107] https://secure.indas.on.ca/care/wls/login.php
|
||||
[109] https://thewalrus.ca/about/newsletters/
|
||||
[110] https://thewalrus.ca/about/
|
||||
[111] https://thewalrus.ca/about/our-staff/
|
||||
[112] https://thewalrus.ca/contact/
|
||||
[113] https://thewalrus.ca/about/careers/
|
||||
[114] https://thewalrus.ca/fellowships/
|
||||
[115] https://thewalrus.ca/about/submissions/
|
||||
[116] https://thewalrus.ca/media-kit/
|
||||
[117] https://thewalrus.ca/the-walrus-talks/
|
||||
[118] https://thewalrus.ca/the-walrus-talks/
|
||||
[119] https://thewalrus.ca/gala/
|
||||
[120] https://thewalrus.ca/contact/
|
||||
[121] https://my.thewalrus.ca/userLogin
|
||||
[122] https://thewalrus.ca/subscribe/
|
||||
[123] https://secure.thewalrus.ca/renew
|
||||
[124] https://thewalrus.ca/games/
|
||||
[125] https://thewalrus.ca/about/newsletters/
|
||||
[126] https://store.walrusmagazine.com/
|
||||
[127] https://thewalrus.ca/tag/audio/
|
||||
[128] https://thewalrus.ca/podcasts/the-conversation-piece/
|
||||
[129] https://thewalrus.ca/podcasts/
|
||||
[130] https://thewalrus.ca/afna
|
||||
[131] https://thewalrus.ca/the-walrus-lab/#ourservices
|
||||
[132] https://thewalrus.ca/the-walrus-lab/#ourservices
|
||||
[133] https://thewalrus.ca/the-walrus-lab/#ourclients
|
||||
[134] https://thewalrus.ca/the-walrus-lab/#intouch
|
||||
[135] https://twitter.com/thewalrus
|
||||
[136] https://www.linkedin.com/company/the-walrus/
|
||||
[137] https://www.youtube.com/c/thewalrus
|
||||
[138] https://tiktok.com/@thewalrusca/
|
||||
[139] https://facebook.com/thewalrus
|
||||
[140] https://instagram.com/thewalrus
|
||||
[141] https://thewalrusca.substack.com/
|
||||
[142] https://bsky.app/profile/thewalrus.ca
|
||||
[143] https://thewalrus.ca/donate/
|
||||
[145] https://thewalrus.ca/cdn-cgi/l/email-protection#096a617b607a7d6679616c7b497d616c7e68657b7c7a276a68
|
||||
[146] https://thewalrus.ca/privacy-policy
|
||||
[147] https://thewalrus.ca/cookie-policy
|
||||
[148] https://thewalrus.ca/cdn-cgi/l/email-protection#6f0c071d061c1b001f070a1d2f1b070a180e031d1a1c410c0e
|
||||
[149] https://thewalrus.ca/privacy-policy
|
||||
[150] https://thewalrus.ca/cookie-policy
|
||||
[151] https://twitter.com/intent/tweet?text=Moleskine%20Mania%3A%20How%20a%20Notebook%20Conquered%20the%20Digital%20Era&url=https%3A%2F%2Fthewalrus.ca%2Fmoleskine%2F&via=thewalrus
|
||||
[152] https://www.linkedin.com/shareArticle?url=https%3A%2F%2Fthewalrus.ca%2Fmoleskine%2F&title=Moleskine%20Mania%3A%20How%20a%20Notebook%20Conquered%20the%20Digital%20Era&summary=%E2%80%9CDo%20you%20know%20there%E2%80%99s%20a%20section%20of%20our%20customer%20base%20that%20buys%20a%20fresh%20Moleskine%20every%20time%20they%20come%20into%20a%20store%3F%20We%20have%20no%20idea%20what%20they%20do%20with%20them%E2%80%9D&mini=true
|
||||
[153] https://www.facebook.com/sharer/sharer.php?u=https%3A%2F%2Fthewalrus.ca%2Fmoleskine%2F&t=Moleskine%20Mania%3A%20How%20a%20Notebook%20Conquered%20the%20Digital%20Era
|
||||
[154] https://thewalrus.ca/cdn-cgi/l/email-protection#ad92ded8cfc7c8ced990c5d9d9ddde889eec889feb889febd9c5c8daccc1dfd8de83cecc889febc0c2c1c8dec6c4c3c8889feb8bccc0dd96cfc2c9d490e0c2c1c8dec6c4c3c8889f9de0ccc3c4cc889eec889f9de5c2da889f9dcc889f9de3c2d9c8cfc2c2c6889f9deec2c3dcd8c8dfc8c9889f9dd9c5c8889f9de9c4cac4d9ccc1889f9de8dfcc
|
||||
[155] https://thewalrus.ca/cookie-policy/
|
||||
[156] https://thewalrus.ca/moleskine/#
|
||||
[157] https://secure.thewalrus.ca/M4NP6DOW
|
||||
[159] https://thewalrus.ca/moleskine/#
|
||||
[160] https://secure.thewalrus.ca/M4NP6DOW
|
||||
[162] https://thewalrus.ca/moleskine/#
|
||||
[163] https://secure.thewalrus.ca/M4NP6MOW
|
||||
[165] https://thewalrus.ca/moleskine/#
|
||||
[166] https://secure.thewalrus.ca/M4NP6MOW
|
||||
[168] https://thewalrus.ca/moleskine/#
|
||||
[169] https://secure.thewalrus.ca/M564GRAW
|
||||
[172] https://secure.thewalrus.ca/M564GRAW
|
||||
[174] https://thewalrus.ca/moleskine/#
|
||||
Reference in New Issue
Block a user