[1]logo [2]People[3]Influence[4]Lifestyle[5]Watches & Jewellery [6]Subscribe [7] [9]Sign up for our newsletter for the latest business lifestyle stories! [11]People 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 [53a6cfa2df7924e6ddb2126a2c60bc7d93ca1bc72aa81f79684beafef48619e8] [13]Business Leaders Share this article [14][15][16][17][18] 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. [25]Business Leaders Share this article [26][27][28][29][30] ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ [31]PEAK Singapore [32][33][34][35] [36]About Us [37]Advertise With Us [38]Contact [39]Terms and Conditions [40]Privacy Policy [41]PDPA [42]SPH Logo MDDI (P) 062/10/2024. Published by SPH Media Limited, Co. Regn. No. 202120748H. Copyright © 2025 SPH Media Limited. All rights reserved. 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