A detailed, if somewhat idealistic, exploration of art, culture and copyright in the marketplace.
A musing on the philosophy of copyright and the nature of culture, presented mainly as a dialogue among students.
In this philosophical book, the author’s debut, a fictional dialogue blends with essay-style authorial comment to develop the theory of so-called Authoright, a copyright alternative that requires full attribution of a work’s original creator but allows for unlimited reproduction and derivative works. The author acknowledges the book’s ambiguous genre in his introduction: “[I]t is neither a strictly scientific investigation nor a purely fictional, political or autobiographical work.” The dialogue is a conversation between a teacher and five first-grade students, identified as Alpha, Beta, Gamma, Kappa and Delta, who argue about the creative process, the relationship between culture and civilization, appropriate forms of compensation and the nature of art. Periodically, the text returns to standard prose format for a longer essay or a summary on the same topics, written in the author’s voice. Volynets evaluates three different systems for recognizing and compensating cultural productions, concluding that copyright is a destructive monopoly, whereas Authoright is the most effective way of compensating authors while removing limits on creativity—a conclusion reinforced by the fact that the book displays an Authoright, not a copyright, in its frontmatter. Volynets’ book requires readers to be open to thought experiments and theoretical discussions, though these are, for the most part, easy to follow. However, readers may wonder why a dialogue among first-graders is full of comments such as “There are riveting and telling pictures out there, and there are many that are good for the trash can only. How is this possible?” Readers accustomed to the current publishing industry are unlikely to agree with Volynets’ expectation that authors will somehow increase their earnings by selling to multiple publishers under the Authoright system. Likewise, they might not consider the current setup to be a “toxic copyright-driven environment.” Nevertheless, Volynets presents an engaging discussion of a timely topic.
A detailed, if somewhat idealistic, exploration of art, culture and copyright in the marketplace.Pub Date: Feb. 28, 2014
ISBN: 978-0-9889557-0-7
Page Count: -
Publisher: Total Knowledge
Review Posted Online: Feb. 10, 2014
Kirkus Reviews Issue: April 1, 2014
Review Program: Kirkus Indie
From the national correspondent for PBS's MacNeil-Lehrer Newshour: a moving memoir of her youth in the Deep South and her role in desegregating the Univ. of Georgia. The eldest daughter of an army chaplain, Hunter-Gault was born in what she calls the ``first of many places that I would call `my place' ''—the small village of Due West, tucked away in a remote little corner of South Carolina. While her father served in Korea, Hunter-Gault and her mother moved first to Covington, Georgia, and then to Atlanta. In ``L.A.'' (lovely Atlanta), surrounded by her loving family and a close-knit black community, the author enjoyed a happy childhood participating in activities at church and at school, where her intellectual and leadership abilities soon were noticed by both faculty and peers. In high school, Hunter-Gault found herself studying the ``comic-strip character Brenda Starr as I might have studied a journalism textbook, had there been one.'' Determined to be a journalist, she applied to several colleges—all outside of Georgia, for ``to discourage the possibility that a black student would even think of applying to one of those white schools, the state provided money for black students'' to study out of state. Accepted at Michigan's Wayne State, the author was encouraged by local civil-rights leaders to apply, along with another classmate, to the Univ. of Georgia as well. Her application became a test of changing racial attitudes, as well as of the growing strength of the civil-rights movement in the South, and Gault became a national figure as she braved an onslaught of hostilities and harassment to become the first black woman to attend the university. A remarkably generous, fair-minded account of overcoming some of the biggest, and most intractable, obstacles ever deployed by southern racists. (Photographs—not seen.)
Pub Date: Nov. 1, 1992
ISBN: 0-374-17563-2
Page Count: 192
Publisher: Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 1992
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.
A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.
In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.
Necessarily swift and adumbrative as well as inclusive, focused, and graceful.Pub Date: April 21, 2020
ISBN: 978-0-300-23222-6
Page Count: 304
Publisher: Yale Univ.
Review Posted Online: Feb. 8, 2020
Kirkus Reviews Issue: March 1, 2020
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