Once again copyright is used in a way to prevent the public from gaining access to material from dead authors. The first reports on this issue that surfaced in June . Joyceâ??s grandson, Stephen Joyce has limited access to material, attempted to prevent publication of scholarly works, demanded access to literary conferences (New Yorker) – his actions are tolerated since he controls the copyright of James Joyce.
James Joyce died in 1941. His work forms an important part of world litterature in general and Irish littarature in particular. It’s interpretation and exploration is part of world culture and heritage. And yet copyright law enables his grandson to limit this exploration. The grandson of Joyce knows about as much about what Joyce would have wanted as my cat does – if I had one. The point is that copyright is granted as an incentive for the writer – as a thanks for the bonus to society. But what happens when copyright is used to limit access? Doesn’t this mean that the bargain fails?
In another example of copyright abuse concerning dead authors we see that the widow of the works of Jorge Luis Borges is actively preventing re-publication:
Here is the story from The Chronicle Herald I quote it in full since it is short and I could only retreive it by using Google cache.
Despite huge demand, a French publishing house says it has been unable to reprint its critically acclaimed edition of the complete works of Argentine author Jorge Luis Borges because of a dispute with his widow.
French editor Gallimard published the two tomes under its prestigious La Pleiade imprint in 1993 and 1999, but they sold out within less than a year each time, said Francoise Issaurat, spokeswoman for the publisherâ??s press office in Paris.
Borgesâ??s widow, Maria Kodama, inherited the sole rights to his estate when the author died in 1986, although the will was contested. Kodama, whom the publisher says does not want the work reprinted, has drawn fire from Borges scholars who accuse her of denying them access to his papers and of trying to shape interpretations of his life and work.
“We never received the authorization of Mrs. Kodama to reprint the Pleiade collections, which were enormously successful,” Issaurat said. “We could have sold 30,000 copies of each, easily.” Kodama and her representatives were not immediately available to explain why she has not authorized the reprinting. However, Franceâ??s Nouvel Observateur magazine cited the publisher as saying that Kodama was concerned the first edition was riddled with errors and that she had demanded they hire a new editor.
Whether or not you can, want or need to read the works of Joyce & Borges is not the point. (But you should try – they are great for a reason). The point here is to question the rationale of granting copyright terms beyond the life of the author.
Take for exampel Borges “The Book of Imaginary Beings“. It was published in 1967. The book was an expanded version of the Spanish edition “El Libro de los Seres Imaginarios” (published 1957). The Imaginary Beings contains descriptions of 120 mythical beasts from folklore and literature. The book is copyrighted on publication. Borges died in 1986 and according to copyright regulation the copyright protection does not elapse until 2056.
The rationale behind such protection is to ensure that the write profits from his/her writing. To ensure this the state offers the opposite of the market ideology – the monopoly. So far so good. The author has a monopoly on his/her work as a thanks for making this work available to the public and therefore enriching it.
But this sitaution/contract/agreement/understanding fails when the heirs of the creator prevent the communication of the work to a wider audience. They have not created anything so why are they being given this position?
(via Errata)