In Tom Robbins' novel, Fierce Invalids Home From Hot Cli-mates, sometime-CIA agent Switters embraces the tangent and elevates it to an art form. Admiring the yogaesque flexibility of language, Switters says, "I suspect there's a bid for empowerment behind it all, the power going to whoever seizes the right to coin the names. In a reality made of language, the people who get to name things have psychological ownership of those things. Couples name their pets and children, Madison Avenue names the products that dominate our desires..." While printed books pre-dated Gutenberg by thousands of years, his name is practically synonymous with their widespread availability. But in publishing's digital age, e-terms emerge from the ether, many vanishing as mysteriously as they appeared. It's as if, given the infinite number of "publishers" proffering Web content, a clear point of origin is a thing of the past. Of course, corporate-types will continue to coin in quest for psychological ownership, but our current publishing incarnation may not have a Xerox or Kleenex.
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机译：在汤姆·罗宾斯（Tom Robbins）的小说《从凶猛的伴侣那里夺回残酷的家园》（Fierce Invalids Home From Hot Cli-mates）中，中央情报局特工Switters接受了切线并将其提升为一种艺术形式。 Switters钦佩语言具有瑜伽式的灵活性，他说：“我怀疑背后要有赋予权力的权力，任何人都有权夺取冠名权。在由语言构成的现实中，拥有名字的人拥有这些东西具有心理归属感。夫妇命名他们的宠物和孩子，麦迪逊大道命名那些主导我们欲望的产品……”虽然印刷书籍比古腾堡早了数千年，但他的名字实际上是它们广泛普及的代名词。但是在出版业的数字时代，电子术语从以太出现，许多术语像它们消失的那样神秘消失。鉴于提供Web内容的“发布者”数量众多，就好像一个清楚的起点已经成为过去。当然，企业类型将继续寻求心理所有权，但是我们当前的出版形式可能没有Xerox或Kleenex。
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