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The Business of Empathy — The CEO of Kobo believes books can save us

Rakuten Kobo’s Michael Tamblyn believes that in an age of fragmented attention,
books remain the deepest form of human connection.

By [12]Zat Astha / 24 Mar 2025

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In a spacious conference room overlooking the bustling heart of Singapore’s
Raffles Place, Michael Tamblyn leans forward slightly, relaxed. The deep-red
carpet beneath him lends warmth to the otherwise sleek, corporate setting,
framing the scene for a conversation rich with introspection. It’s perfectly
evident that he’s accustomed to grappling with big questions. As the CEO of
Rakuten Kobo, a global giant in the digital reading sphere, Tamblyn navigates
daily through a paradox at the very heart of modern readership: how to draw
readers away from the addictive pull of social media and streaming platforms —
and yet simultaneously leverage those same platforms to rekindle the world’s
waning love affair with books.

“We’re definitely fighting for time,” the music graduate (Tamblyn has a degree
in music composition from Wilfrid Laurier University) acknowledges, his voice
steady and earnest. The competitive landscape he describes extends far beyond
traditional rivals like Google, Apple, or Amazon. Instead, Kobo finds itself
wrestling with entities designed explicitly to monetise and fragment our focus
— platforms like YouTube, Netflix, TikTok, whose business models depend on
endless scrolling and binge-watching. “These platforms have figured out how to
put a price tag on time,” he continues. “We constantly compete for attention,
striving to remind people that books are not only a valuable part of their
lives but also an inherently interesting one.”

The irony isn’t lost on him, however. As readers’ attention fragments, the very
platforms drawing their gaze away from books are paradoxically fuelling a
resurgence of literary enthusiasm. Enter BookTok, the wildly popular TikTok
subculture where young influencers passionately recommend, dissect, and promote
their favourite reads. “Sometimes we compete, and sometimes the social media
world actually helps us,” Tamblyn notes, a wry smile hinting at the curious
nature of this symbiosis. “People are discovering books through the same
channels that typically divert their attention away from deeper reading.” 

Indeed, ask any contemporary publisher, and they’ll express gratitude for this
unexpected alliance with influencers. BookTok stars regularly catapult
overlooked novels onto bestseller lists, breathing fresh life into literary
classics and propelling unknown authors into the spotlight overnight.

But Tamblyn sees beyond temporary spikes in popularity. For him, the crucial
task is retention.  “Our job, as creators of the reading experience, is to
stretch out that captured moment as far as we possibly can,” he explains. “Once
someone has a book in front of them, everything else must fade away.”

Still, achieving this goal isn’t straightforward. It requires a blend of
technological innovation, insightful marketing, and sheer enthusiasm for
storytelling. Tamblyn knows that to successfully game the ecosystem of
attention, Kobo must outsmart it.

It’s why the company innovates tirelessly, from elegantly designed e-readers to
intuitive digital storefronts, all engineered to make the act of reading
seamless and captivating. Tamblyn compares these innovations to islands in a
stormy sea of digital distractions. “We’re creating spaces where the world
quiets down, allowing the reader to step inside a story entirely,” he reflects.
This thoughtful integration of technology, carefully balanced with the
authentic magic of storytelling, is how Tamblyn envisions winning the attention
battle. For him, books are neither relics nor mere commodities; they are
necessary sanctuaries in a fragmented online landscape. “People genuinely crave
deeper stories,” he insists. “They want compelling characters; they want the
opportunity to step away from constant distraction.”

From small-town shelves to a global bookstore

Long before Tamblyn sat at the helm of a digital powerhouse like Rakuten Kobo,
his passion for books was sparked within the humble aisles of a small-town
bookstore in rural Canada. This modest shop was Tamblyn’s gateway to the wider
world. “The nearest town was a half-hour drive away,” Tamblyn recalls warmly.
“But the most interesting store for me there was the bookstore — we were lucky
to have one. I just thought it was the most fascinating place ever.”

For Tamblyn, stepping through the bookstore’s threshold was transformative.
Each shelf offered adventures that stretched far beyond the rural landscapes he
knew. Fantasy, history, literature, poetry — he devoured everything. Tolkien’s
richly woven worlds, epic historical accounts, and lyrical explorations of
human emotion filled his imagination. “We had some good libraries where I grew
up, and some good librarians who would nudge you in different directions when
you’d read too much of one thing,” he remembers fondly. “They’d say, ‘Maybe you
want to try this instead?’ I just couldn’t get enough of it.”

Those early years of voracious reading did more than nourish Tamblyn’s
curiosity; they instilled a profound respect for the magic of books. It is
within those tales that the former CEO of supply chain agency, BookNet Canada,
wonders of endless possibilities contained within pages — something he would
later strive to replicate on a global scale with Kobo. “In some ways, I’m still
that child,” Tamblyn admits, his voice tinged with genuine affection. “Every
day, I walk through the door and work with books, authors, and people who love
reading. It all comes back to that feeling — stepping into a room filled with
ideas, more than you could ever grasp.”

Established in Toronto in [19]2009, Kobo (a delightful anagram of the word
“book”) began as a modest startup with a bold vision: to revolutionise how the
world reads. Acquired in 2012 by Tokyo-based Rakuten Group, Kobo quickly grew
into a global digital bookstore powerhouse, rivalling giants such as Amazon.
Today, Kobo boasts millions of users worldwide, offering a catalogue of over
seven million eBooks and audiobooks, accessible anytime, anywhere, on nearly
any device.

[28ac5a4dc18a47567a006b09ed9f0b7b92939658b74ccebf04d827d8d3535fe0]

L-R: Serene Chong, Project Manager of Travellution Media, Ken Tan, Publisher of
Mentor Publishing,  Julian Chou, General Manager of Rakuten Kobo Asia, Denon
Lim, President and Chief Editor of Lingzi Media, Michael Tamblyn, CEO of
Rakuten Kobo, Hironori Shimada, Director of Rakuten Asia, Maureen Ho, Chief
Editor of Focus Publishing, and Min Wei Lee, Division Manager of Ingram Micro 

Photo: Rakuten Kobo

In March 2025, Kobo made a strategic leap into the burgeoning digital-reading
market in Asia by launching Kobo Plus in Singapore. This subscription-based
service gives users unlimited access to a vast library of over two million
eBooks and 300,000 audiobooks, starting from an accessible fee of just S$9.99
per month. “With Kobo Plus, we’re making reading more accessible and flexible
than ever, giving book lovers the freedom to explore a diverse catalogue
without limits,” Tamblyn explains.

The significance of Kobo’s Asian expansion isn’t lost on Tamblyn. As smartphone
usage and digital content consumption surge in Asia, Kobo’s strategy taps
directly into a new generation’s appetite for affordability, accessibility, and
convenience. “eBooks have never been more popular in Singapore,” Tamblyn notes
enthusiastically, attributing this trend to evolving reading habits and a
digital-first mindset among younger readers. Kobo’s arrival in Singapore is
thus timely, aligning perfectly with a regional shift towards digital
storytelling.

“Everything we do, from product design to the reading experience itself, is
about creating spaces where stories flourish,” Tamblyn reflects. His voice
carries a quiet pride as he considers Kobo’s journey from a small Canadian
startup to an influential global brand. “Back then, I walked into a little
bookstore, in a little town, feeling I’d never read everything inside it,” he
recalls. “Now, we have millions of books in numerous languages. That feeling of
endless possibility exists on a scale I could never have imagined, yet the
magic is stronger now than it ever was.”

Why we still read

In an age dominated by rapid-fire digital content and algorithm-driven
engagement, one might wonder why anyone still reaches for a book. Yet,
according to Tamblyn, the reasons for reading today have grown more profound.
“I think it’s still the most immersive form of media that exists. The most
beautiful pictures, the most incredible scenes, are always the ones you make in
your own mind. Nothing creates that experience better than books do.”

And despite predictions heralding the demise of reading with each passing
generation, books continue to attract fresh, eager cohorts of readers. “Every
decade, every generation, we hear that this is the generation that’s going to
stop reading,” Tamblyn notes with mild amusement. “And yet every generation, we
get a new cohort of people who find books they love, that they’re just so
passionate about — even though you have the best-funded, most aggressive
companies doing everything they can to pull your focus somewhere else.”

Indeed, despite the relentless allure of visually stunning video games,
binge-worthy television series, and endless scrolls through social feeds,
readers still turn to books. Tamblyn sees this as evidence of something
uniquely human. “Even with everything the gaming industry has advanced, even
with everything the film and video industry has created, people still come back
to this very simple media,” he reflects thoughtfully. “Because there’s nothing,
I think, that immerses you longer or deeper than a book does.”

Books, Tamblyn believes, not only entertain; they challenge perspectives, and
deepen our understanding of others. “Stories build empathy — we know this,” he
insists passionately. “It puts you into another person’s experience. It lets
you imagine different ways of living beyond the one you have right now.”

At its heart, Tamblyn argues, reading fosters a kind of psychological and
emotional generosity that’s increasingly vital in a fragmented society. “On the
non-fiction side, it lets you go deeper into an idea than a 20-second video
ever could,” he continues earnestly. “It lets you go further into an argument
or a concept than you can in 400 characters. And that’s what we need more of.”
The simplicity and depth of books then become a counterpoint to today’s
rapid-fire culture, where brevity often eclipses depth.

Reading as an act of resistance

[9d814a006d70691ed0d2e743251920f9c1e6f763049c4a7c610b7ea818179272]
Photo: Rakuten Kobo

When reflecting on the inherent value of books as opposed to other forms of
digital media, Tamblyn underscores the unique way reading allows sustained,
uninterrupted exploration. “Once you’ve decided to start reading, no one is
trying to intervene until you get to the very end of the book,” he observes,
clearly energised by this idea. He contrasts this sharply with digital media’s
strategic interruptions, where attention is systematically sliced, packaged,
and sold. “There are lots of actors in the media world right now that want to
slice your focus into tiny pieces,” he says. “Books, in a way, are the opposite
of that.”

It is why Tamblyn believes that preserving books as a medium isn’t just
cultural nostalgia — it’s a societal imperative. “The idea that we can put
ourselves into other people’s lives and understand what those lives are like,
and that we can dig deep into ideas instead of just living on their surface, is
more important now than it’s ever been,” he stresses. His concern is that as a
society, we must safeguard this profound form of engagement, lest we lose the
capacity for meaningful understanding altogether.

When pressed to share a recent personal reading experience that resonated
deeply, Tamblyn describes being profoundly affected by a book titled [20]
Natural History of Vacant Lots by Matthew F. Vessel and Herbert H. Wong. His
voice softens with appreciation as he recounts the narrative. “It’s about these
abandoned spaces — vacant lots, places people left behind — and how nature
fights its way back into these places humans left behind,” he recalls. “There
was something about that idea that felt both stark and yet hopeful. Grounded
very much in the world we’re actually living in right now.” For Tamblyn, the
book’s power lay in its quiet authenticity, capturing the raw but hopeful
tension between humanity and nature. “There’s genuine hope in that tension — an
opportunity for growth, discovery, and renewal,” he muses. “There was just
something about the writing itself that hit me at a deeper level than most
books usually do.”

“We’ve managed to hold onto this idea — that it’s good to gain a deeper
understanding of an idea, or to let yourself fall into a story,” Tamblyn
concludes quietly yet firmly. “We don’t want people turning away from the idea
that reading is a good thing. When you can no longer put yourself in somebody
else’s shoes, when you can no longer go deeply into an idea — that’s when we
really start to get into trouble.”

His words resonate clearly, serving as both caution and invitation. Perhaps we
still read precisely because, deep down, we know that without stories, we risk
losing ourselves. In a world constantly shifting, polarisation grows, and
empathy seems to diminish, Tamblyn argues that books provide essential
grounding. They encourage reflection and understanding, qualities vital to
navigating modern life. And perhaps most importantly, books remind us of our
shared humanity.

Navigating a changing industry

Today, Tamblyn is acutely aware that the literary world he loves is navigating
increasingly turbulent waters. He leans back, carefully weighing his words as
he discusses the critical shifts occurring within book publishing and
bookselling — shifts that demand strategic agility from Rakuten Kobo and
vigilance from the industry at large.

“One big thing is consolidation,” Tamblyn explains. “We have fewer companies
getting bigger. Big companies are swallowing smaller ones.” He notes how this
creates a troubling uniformity in publishing: fewer editors and publishers are
left making critical decisions about which books see the light of day. “We have
five big English-language publishers (Penguin Random House, HarperCollins,
Simon & Schuster, Macmillan, and Hachette Book Group) right now, and they’re
growing by acquiring smaller publishers, each of whom might have had a very
different idea about what a book could be or the kinds of authors you should
nurture.”

Yet, even within this concern lies opportunity. Tamblyn’s tone shifts subtly,
becoming more hopeful as he discusses the rise of self-publishing and
independent publishing. “As the mainstream publishing world becomes more
consolidated, the independent publishing world becomes even more lively,” he
asserts. For Kobo, this energetic and expansive independent scene is
foundational. “Those two things hang in balance,” he observes. Kobo’s own
self-publishing platform, [21]Kobo Writing Life, provides independent authors
access to a global marketplace, bypassing traditional gatekeepers entirely.
“What we find when we go out into the self-published world is there are lots of
authors writing books people really want to read, who’ve never been able to get
through traditional publishing barriers,” he explains. “And now, they don’t
have to. They can use platforms like ours to directly reach millions of
readers, and those readers are there, actively looking for them.”

[hqdefault]Play

But while self-publishing offers exciting prospects, it presents unique
challenges too. When asked about advice for aspiring self-published authors,
Tamblyn pauses thoughtfully. “To say you’re self-publishing is really to say
you’re taking on all the jobs of a publisher for yourself,” he cautions.
“Instead of just being an author who’s putting a book into the world, you’re
really becoming a publisher of one.” 

He stresses that independent publishing requires authors to master marketing,
audience building, and promotional strategies, tasks traditionally handled by
entire publishing teams. “Some authors love that,” Tamblyn acknowledges,
smiling. “They love the control, the direct engagement with their readership,
working with cover designers. But some just want to write. For those who just
want to write, self-publishing can feel like they’re constantly being pulled
away from the thing they love most.” It’s a tension that defines the modern
publishing landscape — authors torn between autonomy and support, personal
voice versus traditional validation.

Another significant challenge Tamblyn identifies is the dominance of powerful
retailers, whose growing influence risks limiting diversity in readers’
choices. “We have some very dominant companies that want to become even more
dominant,” Tamblyn explains carefully. “Considering books can be an antidote to
extremism, the last thing we want is for people to find books through just one
algorithm or search box. You don’t want single points of control. You want lots
of different people selling books in lots of different ways.”

This, Tamblyn believes, is safeguarding intellectual diversity. “You never want
one single retailer deciding whether a book should find a market or reach an
audience. You need lots of people working on that all the time.” It’s a
conviction that Kobo itself embodies, striving to maintain a balanced, open
digital marketplace where varied voices flourish without centralised
constraints.

Amid these industry dynamics, the perpetual battle for readers’ heart and mind
remains a relentless challenge. “We can never assume people will just wake up
one morning and decide to read,” Tamblyn says firmly. “Especially when there
are so many other things competing for their attention. We have to be just as
aggressive about putting books in front of people as other companies are about
pulling them away.”

For Kobo, meeting this challenge involves constant innovation. Recently, Kobo
expanded its subscription service Kobo Plus, launching it in Singapore to
capture the burgeoning Asian digital market. With subscription plans offering
unlimited access to millions of eBooks and audiobooks at affordable prices,
Kobo positions itself directly in response to evolving reader habits and
expectations. 

[hqdefault]Play

Kobo’s continuous technological evolution is equally central to Tamblyn’s
vision. Their latest range of eReaders — devices like Kobo Libra Colour, Kobo
Clara, and Kobo Sage — feature innovations such as waterproofing, ComfortLight
PRO for reduced eye strain, and intuitive page-turn buttons, all meticulously
designed to foster immersive, comfortable reading experiences. “Ultimately,
it’s technology in the service of reading,” Tamblyn emphasises. “It’s
industrial design in the service of reading. It’s software development in the
service of reading.”

Navigating the complexities of the contemporary publishing industry is
undoubtedly challenging. Yet Tamblyn seems energised by these very challenges.
Each obstacle, he implies, creates room for innovation; each limitation invites
creative solutions. And as Tamblyn surveys the complexities ahead, it becomes
clear that he views Kobo as both a participant and a proactive steward of
reading culture, committed to preserving books as accessible, vital spaces of
imagination and connection — even amidst an industry experiencing profound
transformation.

The future of words

Looking ahead into the evolving landscape of storytelling, Tamblyn sees a
future where creativity and technology will blend in ways both exhilarating and
challenging. Nowhere is this clearer — or perhaps more controversial — than in
the growing presence of artificial intelligence within the literary world.
“What AI has done for me is put a spotlight on the value of ideas and the value
of words,” Tamblyn observes, “while at the same time highlighting how some
people really just see words as raw material.”

Tamblyn’s perspective on AI is cautiously optimistic, yet deeply nuanced. He
readily acknowledges the flood of AI-generated content that increasingly
inundates platforms, including Kobo’s own self-publishing division, Kobo
Writing Life. “We’re currently inundated by a river of AI-generated stuff, most
of which is terrible,” he admits laughing. For Kobo, managing this influx of
low-quality AI content has become both a logistical and philosophical
challenge. “We don’t want people to have to filter through lots of bad content
to find the good,” Tamblyn continues. “That means figuring out how to detect
AI-generated content, sometimes using AI itself, which is its own challenge.”

[hqdefault]Play

Yet, for all its challenges, Tamblyn remains intrigued by the genuine
possibilities AI offers to serious writers. Far from dismissing AI entirely, he
anticipates it becoming an invaluable tool in the writer’s toolkit, reshaping
the creative process itself. “We also know there are authors who are going to
use AI as a tool — maybe as a research assistant, or as a way to collect and
organise thoughts so they can produce bigger, more important works more
easily,” he explains. “It might let them spend more time on the words
themselves rather than collecting all the information behind it.” Today,
Tamblyn imagines a future where AI quietly facilitates richer literary work,
streamlining cumbersome processes without diminishing the originality and depth
of human creativity. “We can safely assume that’s already happening — that many
writers now have something sitting off to the side helping organise their text,
collating research, or maybe handling a passage they can’t quite get right,”
Tamblyn suggests. “Throwing it into the AI to see if the alternative feels
better.”

But what about the fear that AI might eventually replace human authors
entirely? “All these various AI techniques are fundamentally predictive by
nature,” he points out. “They’re about creating works based on the average of
all the works they’ve seen before. New writing and new literature, on the other
hand, is always about stepping ahead of that — creating something you’ve never
seen before. That’s directly in opposition to how an LLM functions.” In this
crucial distinction, Tamblyn finds comfort — and confidence — that AI, while
powerful, ultimately complements rather than threatens authentic creativity.
“That fundamental idea of creativity is still, I think, the thing that
relegates AI to a tool rather than a replacement for real writing,” he asserts.

Still, he doesn’t entirely rule out the possibility that something genuinely
groundbreaking could emerge from an AI-driven collaboration. “Any time you put
an artist in front of a new tool, they’re going to find ways to do something
interesting,” Tamblyn acknowledges. “We’ll end up selling it, and we probably
won’t even realise it until the author puts up their hand and says, ‘Listen,
here’s how I made this.’”

Tamblyn reflects briefly, adding a practical note: the economics of
AI-generated literature remain challenging. “Oddly enough, what seems to
protect us from that right now is the cost of generating it,” he observes. “The
computing power required is so expensive, and the amount of money you can
actually make off a book is so small, that the gap is currently too wide.”

Choosing the reader, every time

As he peers further into Kobo’s future, Tamblyn reveals a guiding principle
that grounds every strategic decision the company makes — one anchored firmly
in his dual identity as both technologist and devoted bibliophile. “If we ever
have to make a decision — if we ever have to choose between two paths — we
always ask: what’s the thing that’s going to make a person’s reading life
better?” he explains earnestly. “We look at that person who’s really put books
at the centre of their life and choose the path that will make that person’s
reading experience more enjoyable.”

Ultimately, Tamblyn’s vision for Kobo — and the broader literary world — is one
where technology disappears seamlessly into the reading experience, empowering
readers rather than distracting them. “We really win when the book takes over,
when the author’s words take over, and all the technology and design fade
away,” he says with quiet conviction. “If we can do that, then we’ve done
something truly impressive.”

His optimism extends beyond the bounds of Kobo and into a broader hope for
society. Despite pervasive cynicism and an increasingly polarised digital
landscape, Tamblyn believes that humanity’s inherent creative impulse remains
resilient and powerful. “We, as a species, have this impulse towards
creativity, towards goodness and kindness that’s really hard to stamp out,” he
reflects. “Even though we have a media landscape encouraging us to focus
constantly on the negative, there are interesting, hopeful, optimistic things
happening all around us all the time — if we can just pay heed to them.”

Tamblyn pauses. “So much of the work now, I think, in being a conscious person
in the world, is about being disciplined about where we put our attention,
instead of just letting it be managed for us.” 

As our interview draws to a close, Tamblyn’s hopeful gaze turns towards a
literary future rich with possibility, tempered by thoughtful caution. The path
forward as he paints it is one of mindful innovation — of harnessing technology
without losing sight of humanity. For Michael Tamblyn, the future of words is
bright, precisely because it remains, unmistakably, human.

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