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Cheaper books are on the way, but IP policy still favours big business


Bruce Baer Arnold, University of Canberra

Cheaper content, but not just yet. That’s the message in the federal government’s response to the parallel import recommendations by the Harper Review on competition policy.

Australians have long sought quick and cheap access to intellectual property, particularly copyright works such as books and recordings, by importing that content from legitimate sources located overseas. Copyright law has a territorial basis, potentially restricting cross-border movement of commercial quantities of books, videos, sound recordings, computer software, maps and other works. Licensing regimes give copyright owners exclusive rights in a particular territory such as Australia.

One result, highlighted by the Productivity Commission, Parliament and scholars such as Matthew Rimmer, is that copyright owners in the northern hemisphere have been able to charge Australian consumers a premium on products for sale in their own jurisdictions. Think of it as a form of copyright colonialism – the Australian student, mum, dad or academic pays 50% more than their counterparts in the USA. The premium isn’t justified by the cost of shipping the paper and plastic from Los Angeles and London, or from distribution centres in Singapore and Hong Kong.

Australian law currently allows consumers to import “non-commercial” (i.e. personal) copies of books and other content from overseas. The law however restricts importation by retailers. That typically benefits copyright owners and their licensees rather than consumers. That restriction is anti-competitive. It has accordingly been criticised by the Productivity Commission over the past two decades. It is axiomatic that timely and cheap access to content is a social good, irrespective of whether it’s a Justin Bieber clip or the latest tract from Giorgio Agamben.

In conducting a “root & branch” review of competition policy the Harper Committee recommended removal of the parallel import restrictions. By implication, retailers could source legitimate stock of books and other material overseas (i.e. not from pirates) and sell the products in Australia. The expectation is that supply would often be quicker and cheaper than current arrangements. Licensees would have an incentive to get their version of the product into the shops rather than delaying or engaging in egregious rent-seeking.

The Harper recommendations have been criticised by some publishers and authors, typically because changes will affect the profitability of local publishers (either overseas owned or relying on licensed sales of overseas material to fund local creators).

The bigger picture

The recommendations sit alongside ongoing structural change to Australian markets for content, with for example accessing software online and uptake of video services such as Netflix that operate on a global basis.

In responding to Harper the government has indicated it will remove the parallel import restrictions on books … but not just yet.

Removal will be “progressed” once the Productivity Commission’s inquiry into intellectual property is completed and there has been “consultation with the sector on transitional arrangements”. The Commission’s report is due in mid 2016, with action presumably taking place after a general election and potentially accompanied by industry support funding to local publishers.

Overseas car makers and Australian suppliers, pending the imminent demise of Australian production, have been comforted by retention of restrictions on parallel imports of second-hand cars.

The response needs to be read in context, with the government rejecting Harper’s recommendation for a “separate independent review” of “processes for establishing negotiating mandates” to incorporate intellectual property provisions in international trade agreements.

In other words, the government is relying on unsubstantiated claims that there are “robust arrangements in place to ensure appropriate levels of transparency” in agreements such as the TransPacific Partnership Agreement that favour overseas “old industries”.

The claims are deeply problematic. ALP and Coalition ministers have strongly resisted disclosure of information about those agreements. The Productivity Commission has condemned the “black box” approach to negotiation. There are perceptions that Foreign Affairs reads “best outcome” as announcement of a deal rather than lower cost to consumers/taxpayers through a tougher stance on patents, trademarks and copyright.

The parallel import reforms are a good thing for consumers and the overall economy. We need however to move to a more progressive IP regime, one where the temper is democratic and bias is Australian rather than privileging Unilever, Microsoft, Disney and Pfizer. The government’s other responses to Harper’s intellectual property recommendations are weak. That might be through lack of understanding or unwillingness to provoke key stakeholders such as Foxtel.

While cheering the prospect of cheaper books, let’s ask some hard questions about incentives for innovation in key sectors such as biotechnology and software. Are our policy-settings appropriate as we move into a borderless world where people consume bits rather than atoms?

The Conversation

Bruce Baer Arnold, Assistant Professor, School of Law, University of Canberra

This article was originally published on The Conversation. Read the original article.

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The ISBN


The link below is to an article that takes a look at the ISBN.

For more visit:
http://www.indiesunlimited.com/2015/11/17/almost-everything-you-need-to-know-about-isbns/

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Writing in Books


The link below is to an article that takes a look at writing in books.

For more visit:
http://bookriot.com/2015/11/21/analysis-book-rules-write-books/

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Using Instagram as an Author


The link below is to an article that looks at how to use Instagram as an author.

For more visit:
https://janefriedman.com/using-instagram-as-an-author/

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Colouring Books


The link below is to an article that takes a look at the current fad of colouring books.

For more visit:
http://www.huffingtonpost.com/indiereader/coloring-books-not-just-f_b_8591800.html

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Weeding in the Library


The link below is to an article that looks at how to weed your personal library.

For more visit:
http://bookriot.com/2015/11/19/how-to-weed-your-bookshelves/

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Ghost writing: The Girl in The Spider’s Web and other resurrections


Stewart King, Monash University

Crime fiction series are enormously popular, with readers, authors and publishers. An established series develops characters and locations, builds audiences – and generates revenue.

Certain series become synonymous with their authors’ names, as anyone who’s ever sat down with a Christie can tell you. But what happens when the author of a beloved series dies?

Author Stieg Larsson passed away before his (completed) Millennium trilogy was published. Now a fourth Millennium book, The Girl in the Spider’s Web (2015), written by David Lagercrantz, has been published.

Readers get new adventures of Lisbeth Salander and Mikael Blomkvist, and publishers hope to repeat the commercial success of the estimated 80 million sales of the original novels worldwide.

Larsson’s series is not the only one to be brought back to life this year. British author Sophie Hannah penned the first Hercule Poirot novel – The Monogram Murders (2014) – since Agatha Christie died in 1976, and Anthony Horowitz wrote the latest addition to James Bond’s post-Ian Fleming career: Trigger Mortis (2015).

Resurrecting characters and series has a long history. Due to pressure from readers, Arthur Conan Doyle famously revived Sherlock Holmes in Sherlock Holmes Returns (1903), eight years after killing him off in The Final Problem (1893).

The final Holmes story written by Doyle appeared in 1927, thus satisfying readers’ demands for Holmes’s adventures for a further 24 years. Holmes, of course, has outlived his creator, with multiple rewrites and TV and film adaptations.

Finding an author’s voice

For English readers, The Girl in the Spider’s Web, the English translation of Det som inte dödar oss (That which does not kill us), introduces two major changes.

First, we have a new author, David Lagercrantz, who has previously published a novel based on the life of English code-breaker Alan Turing, and ghost-written a much praised autobiography of Swedish footballer Zlatan Ibrahimovic.

Second, the series has a new translator. Reg Keeland has been replaced with George Goulding, who translated Lagercrantz’s Turing novel.

Translators are often ignored, but changing them is no minor matter, as the Swedish original is mediated through the skill and ability of the translator. While Lagercrantz, to a certain degree, has to ventriloquise Larsson, Goulding has to imitate both Lagercrantz and the earlier Keeland translations.

When a popular fiction writer achieves great commercial success, often through some innovation, there are inevitably imitators who seek to cash in on this success.

(Think of the slew of forensic investigators who appeared after Patricia Cornwall’s Kay Scarpetta shot to fame.)

Is David Lagercrantz little more than a Stieg Larsson imitator? If he is, he is an imitator who has the advantage of being able to use the original characters.

Lagercrantz would argue that he is both imitator and innovator. In an interview with The Guardian he said:

I had to be faithful to Larsson’s work, but I also had to be true to myself.

One such area is violence. Lagercrantz downplays Larsson’s graphic, quite confronting violence in favour of the “intellectual thrillers” he prefers.

Critics have generally been positive in their reviews of The Girl in the Spider’s Web. They’ve praised the tighter focus of the writing and described it as:

a respectful and affectionate homage to the originals.

The creative essence

Readers may be happy to meet Blomkvist and Salander again, but Larsson’s vision was much broader than the very memorable characters he created. While perhaps true to the original at the level of character and writing, Lagercrantz’s novel misses the target of left-winger Larsson’s criticism.

In the Millennium trilogy, Larsson attacks Swedish racism, rampant capitalism, entrenched misogyny and violence against women, the nation’s conservatism and reluctance to acknowledge its pro-Nazi sympathies, and the institutional abuse of individual citizens, such as Lisbeth Salander.

The original Millenium trilogy.
Wen Zeng/Flickr, CC BY

Lagercrantz continues Larsson’s left-wing criticism. But there is a major difference. The Swedish national focus of the Millennium trilogy is, in The Girl in the Spider’s Web, distinctly international. This is not necessarily problematic in itself, but in doing so, Lagercrantz pens just another well-written and entertaining international conspiracy novel.

Indeed, The Girl in the Spider’s Web could be part of the Bond franchise. The bureaucratic, banal, but nevertheless evil, villains of the Millennium trilogy were recognisable. They were individuals who overstepped the mark and abused their power or privilege. Here, they are replaced with a Bond-like super-villain whose main aim is to destroy Salander.

Motivations, once political, are now very personal. Evil is no longer specific, localised; it exists elsewhere. The original novels’ social criticism and call to be vigilant against the multiple incursions of the state – specifically Sweden, but ideologically any state – in the lives of its citizens, is displaced into the world of shadowy international conspiracies.

Lisbeth Salander was always larger than life, but she was believable. Lagercrantz offers us a world of comic-book characters.

The Cervantes clapback

Shortly before finishing the second volume of the adventures of Don Quixote, Spanish author Miguel de Cervantes discovered that another author had pilfered his characters.

Alonso Fernández de Avellaneda, the pseudonym of an author whose identity is still unknown, continued the adventures of Don Quixote and Sancho Panza in his own novel, introducing numerous changes.

Cervantes was justifiably enraged and, when he published the second volume in 1615, he returned the favour, incorporating minor characters from the false Quixote. In a humorous twist, Cervantes has them sign statutory declarations confirming that the Don Quixote and Sancho Panza they had previously met were pale imitations of the real Don and his squire. Cervantes had his revenge.

One wonders what Stieg Larsson would do if he had the chance.

The Conversation

Stewart King, Senior Lecturer, School of Languages, Literatures, Cultures and Linguistics, Monash University

This article was originally published on The Conversation. Read the original article.

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Dust Jackets


The link below is to an article that takes a look at dust jackets and their ‘value.’

For more visit:
http://bookriot.com/2015/11/18/complicated-relationship-dust-jacket/

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Does ‘translating’ Shakespeare into modern English diminish its greatness?


Sheila T Cavanagh, Emory University

An uproar ensued after it was reported that the Oregon Shakespeare Festival (OSF) – southern Oregon’s 80-year-old annual theatrical extravaganza – would be commissioning playwrights to “translate” all of Shakespeare’s plays into modern English.

The project drew jeers from Shakespearean professors, arts practitioners and others who believe passionately in the power of Shakespeare’s original texts, who abhor any attempt to “dumb down” their language.

OSF Director of Literary Development and Dramaturgy Lue Douthit and OSF Artistic Director Bill Rauch maintain that OSF is undertaking a bold, not sacrilegious, experiment. Nevertheless, howls of outrage have followed what Douhit ruefully has deemed a “career-ending” announcement for those involved.

As an educator and lover of Shakespearean drama, I remain committed to the value of presenting Shakespeare’s plays in their original language. I require my students to read Shakespeare’s plays in their original form, and through my work on the World Shakespeare Project, I’ve witnessed undergraduates in places such as Uganda, rural India and Buenos Aires enthusiastically respond to the challenge.

Yet the outrage over the OSF’s new modernization project is misguided. The organization – which is known for experimentation – is simply participating in larger, centuries-long tradition of molding, melding and adapting Shakespeare’s original texts.

Shakespeare for dummies?

Among those criticizing the new project is Columbia University Professor James Shapiro, a prominent Shakespearean scholar who maintains that “by changing the language in this modernizing way…it just doesn’t pack the punch and the excitement and the intoxicating quality of [the original] language.”

Earlier this month, before an audience at Shakespeare’s Globe, he added, “It’s a really bad idea.”

Notably, however, Shapiro (along with many others) responded quite differently to the translation of a different classic text. On Nobel Laureate Seamus Heaney’s oft-praised 1999 rewriting of Beowulf, Shapiro wrote in The New York Times:

Examples like this add up to a translation that manages to accomplish what before now had seemed impossible: a faithful rendering that is simultaneously an original and gripping poem in its own right.

In this instance, at least, Heaney’s talent apparently overcame Shapiro’s objections to the concept.

The playwrights the company has commissioned to “modernize” the language of Shakespeare’s works may or may not achieve the majesty attributed to Seamus Heaney’s Beowulf. But for whatever reason, changing the language of Shakespeare remains an anathema, while the setting, costuming and theoretical conceptualization of his plays are fair game for innovation.

The hottest theater ticket in Britain at the moment, for example, is Benedict Cumberbatch’s Hamlet, which caused similar outrage for opening with the famous “To Be or Not to Be” soliloquy, rather than the traditional “Who’s there?.” By the end of previews, the speech was moved back to (one of) the places it traditionally resides. Cumberbatch’s audiences have been comparatively silent, however, about the production’s addition of modern props, like a phonograph player.

London’s Young Vic Theatre, meanwhile, is currently presenting a strong version of Shakespeare’s Measure for Measure, with a set filled with dozens of naked, anatomically correct, inflatable dolls. Like the phonograph player on the set of Hamlet, it’s unlikely that theatergoers will object to the dolls, nor will they protest the video screens employed during the performance.

But when it comes to changing the language – well, the main objection, it appears, stems from concerns that it will encourage series such as Shakespeare for Dummies or No Fear Shakespeare, which presents original Shakespearean text adjacent to what its editors call “the kind of English people actually speak today.”

Such projects are understandable, if worrisome. Shakespeare does have a reputation for being too dense for ordinary people to easily comprehend.

At the same time, there are many remarkable projects that bring Shakespeare’s plays to even the most unconventional audiences. There’s Curt Tofteland’s Shakespeare Behind Bars, which offers prisoners the opportunities to present full-length Shakespeare plays, while former Royal Shakespeare Company artist Kelly Hunter’s project Shakespeare’s Heartbeat uses Shakespearean drama as the basis for games designed for children with autism.

Play on!

It’s worth noting the OSF is not planning to replace Shakespeare’s original texts during its current presentation of the complete Shakespearean canon, which will take place over the next decade.

While the company hopes that the newly commissioned versions of Shakespeare will be performed in Oregon and elsewhere, they also retain their commitment to presenting the conventional texts, albeit with regular tweaks and cuts.

As Shapiro and many others admit, Shakespearean drama has been altered, rewritten and reimagined repeatedly since the plays were first presented during the reigns of Elizabeth Tudor and James Stuart.

‘Is life even worth living? That’s what I keeping wondering…’
Dylan Martinez/Reuters

During the English Restoration, King Lear was given a happy ending. More recently, the 2001 film Scotland, Pa. offered a modern retelling of Macbeth, set at a fast food restaurant. Henry IV found itself placed among male prostitutes in Oregon in Gus Van Sant’s 1991 film My Own Private Idaho. Even Justin Kurzel’s acclaimed new film Macbeth opens with a twist: the funeral of Macbeth’s toddler.

The best adaptations – West Side Story, the musical Kiss Me, Kate and the Japanese film Throne of Blood – thrive. The bad, silly and unfortunate – Romeo and Juliet: Sealed with a Kiss and Animal Planet’s Romeo and Juliet: A Monkey’s Tale – fall by the wayside.

As poet Andrew Marvell might say, there is “world enough and time” for any number of Shakespearean adaptations and iterations.

While Shakespeare’s original language is remarkably rich and compelling, like Cleopatra, “age will not wither it.” Neither will OSF’s revisionary experimentation.

The Conversation

Sheila T Cavanagh, Professor of English, Emory University

This article was originally published on The Conversation. Read the original article.

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Kindle Owners’ Lending Library


The link below is to an article that provides some helpful tips for using the Kindle Owners’ Lending Library.

For more visit:
http://ebookfriendly.com/kindle-owners-lending-library-lists-tips/