A diverse range of book fairs have flourished in recent years, rapidly transforming into one of the most popular cultural and social scenes — especially among the young generation. Visitors are often first drawn in by the vibrant visuals: dazzling decor, artful installations and unique souvenirs. Yet beneath the surface, some in the publishing industry have raised an important question: Has the focus on appearances overshadowed the true soul of the book fair — its books and reading culture?
A stroll through many book fairs today reveals a telling scene: stands dominated by creative cultural products, with books sometimes relegated to the sidelines. The dominance of products — stationery, souvenirs, themed crafts — often leaves books as mere supporting players. For some, this shift is distracting; for others, it challenges the original intentions of these events.
Some publishers deliberately keep the proportion of cultural products at around 10 percent to avoid overshadowing the books themselves. A steadfast minority reject creative products altogether. Ma Yuanyuan, senior sales manager at Unread, noted, "Our booths only display books, never any creative merchandise. A book fair that becomes just another souvenir market is pointless. We simply want to connect books with readers who appreciate them."
Even more concerning than the imbalance between books and cultural products is the growing trend of visual sameness. Xie Huijun from Guangxi Normal University Press pointed out that the endless stacking of posters, flyers, and decorative merchandise can create a crowded carnival effect, but actually leads to information overload and aesthetic fatigue for visitors.
Some publishers have voiced concern that excessive pursuit of visual impact can turn book markets into hollow spectacles. When substance is replaced by surface visuals, the essential mission of these gatherings — fostering a love of reading and cultural connection — might be lost.
Zhang Peng, an associate professor and press director at Nanjing Normal University, said that planning a book fair needs reader-centered curatorial thinking — a deep understanding of readers' desire for high-quality content and their specific requirements.
In response, many publishers and organizers have championed local identity and content-driven innovation. Some now feature formats like writer-reader meetups, where editors and authors hold in-depth conversations with visitors, encouraging fans to engage directly with books rather than products.
In Kunming, nearly 30 publishers set up book stalls amid vegetable stands during this year's May Day holidays, holding a book fair inside a local market. The striking contrast between vegetables and books created a stronger visual impact than most designed displays. Books and cabbages shared the same shopping bags, and poetry mingled with the calls of vendors — reading became both a part of daily life and the ingredients for meals.
"It was truly a novel sensation," said one social media user who attended the unique book fair. She observed that many people sat in a makeshift reading area fashioned from blue plastic crates, absorbed in their books. "It expands the possibilities of what a bookstore can be, while reshaping the image of the market itself," she said.
Decoration, creative products, and a lively atmosphere can enhance the experience, but should never eclipse the irreplaceable value of books themselves. The true purpose of a book fair is to serve as a bridge connecting readers and literature, nurturing a space of discovery and genuine conversation.