Criticism, for a book, is a truthful, unfaked badge of attention, signaling that it is not boring

From Antifragile: Things That Gain from Disorder by Nassim Nicholas Taleb.

We all learn early on in life that books and ideas are antifragile and get nourishment from attacks—to borrow from the Roman emperor Marcus Aurelius (one of the doer-Stoic authors), “fire feeds on obstacles.” There is the attraction of banned books, their antifragility to interdicts. The first book I read, during my childhood, of Graham Greene’s was The Power and the Glory, selected for no other reason than its having been put on the Index (that is, banned) by the Vatican. Likewise, as a teenager, I gorged on the books of the American expatriate Henry Miller—his major book sold a million copies in one year thanks to having been banned in twenty-three states. The same with Madame Bovary or Lady Chatterley’s Lover.

Criticism, for a book, is a truthful, unfaked badge of attention, signaling that it is not boring; and boring is the only very bad thing for a book. Consider the Ayn Rand phenomenon: her books Atlas Shrugged and The Fountainhead have been read for more than half a century by millions of people, in spite of, or most likely thanks to, brutally nasty reviews and attempts to discredit her. The first-order information is the intensity: what matters is the effort the critic puts into trying to prevent others from reading the book, or, more generally in life, it is the effort in badmouthing someone that matters, not so much what is said. So if you really want people to read a book, tell them it is “overrated,” with a sense of outrage (and use the attribute “underrated” for the opposite effect).

Balzac recounts how actresses paid journalists (often in kind) to write favorable accounts—but the wiliest got them to write unfavorable comments, knowing that it made them more interesting.

I have just bought Tom Holland’s book on the rise of Islam for the sole reason that he was attacked by Glen Bowersock, considered to be the most prominent living scholar on the Roman Levant. Until then I had thought that Tom Holland was just a popularizer, and I would not have taken him seriously otherwise. I didn’t even attempt to read Bowersock’s review.