Copyright, Parallel Import Restrictions and the sustainability and quality of a local book culture

Very last minute submission to the Productivity Commission draft report (closes at 11.59 tonight, so I made it with almost an hour to spare!)… Thought I’d share it here – a bit rough and ready, but for those of us who think a local book culture matters :–

[More info about all this from the ASA here; and a great article from Richard Flanagan here]

Submission to the Productivity Commission Draft Report (April 2016) – Intellectual Property Arrangements

from: Beth Spencer

I am writing to express my strong dismay and disagreement with the Productivity Commission’s recommendations regarding the legal term of copyright and the removal of Parrallel Importation restrictions. I am also concerned about the recommended change from a Fair Dealing to Fair Use copyright model.

I am writing as both a consumer of books, and of cultural products drawn from books, and as a cultural creator and author.

  1. Parallel importation restrictions (PIR).

As many have no doubt already pointed out, books have already become cheaper in Australia over the past six years since the earlier Productivity Commission report, without any changes to Parallel import laws. Australians are also free to order books from overseas at any time if they would prefer an overseas version. So there seems no good rationale for removing PIR.

When territorial rights and PIR have been removed, as in New Zealand, the results – as predicted by the book industry and writer’s organisations – have been disastrous to their culture, to the economic contribution of local books, and has not resulted in a greater range, access or cheaper books.

Every other country – including large powerful nations such as the US and Britain – protect their publishing and writing sectors by having territorial rights and PIR. It seems madness for a small and ecologically fragile industry like that in Australia – which currently is contributing well to the economy by generating jobs and export income – to take the risk of removing PIR without clear and necessary goals, and without clear and convincing research and evidence that it would be beneficial to book culture and access.

The PC’s report seems to be arguing more from a belief than from evidence.

A healthy and creative book culture and industry within Australia is essential to a healthy and creative culture. Books commissioned, written, edited and published by Australians about Australia cannot simply be substituted with books from overseas if the local industry collapses.

Books are one of the ways we have a cultural conversation about our stories, history, values, dreams and politics.

I was interested in what Sebastian Junger said recently in an interview. He talked about how we evolved in small groups where you could gather people around and discuss who we are, how we want to live, what are our values. But we no longer live in small groups, so we can’t do that anymore. But we still need to. And in some ways it’s even more important now than when we lived in groups of fifty. He suggested that the only real way now to have that kind of collective conversation – the only real way that’s cheap enough to make it available for enough people, and that contains enough information to be shared and commonly understood and enough depth and detail – is through books.

Books, he said (and I agree with him) are sacred objects in the sense that our society can’t really survive without them.

PIR protects our local book culture and allows it to flourish and contribute to the nation, and to compete on the world stage.

Removing PIR in a country of our size (or any size) is a highly dangerous experiment, and I see no valid arguments or evidence for doing so.

Not only are books good value in Australia and becoming cheaper each year in relative terms, readers also have access to libraries and ebooks. Authors are certainly not the ones denying people reading matter, and it seems a very false picture to present us as doing this.

I think you will also find that most readers are concerned with the quality of books, and the quality of stories we produce and have access to, not just the price.

  1. Reducing term of copyright.

This is a recommendation but as it would put us at complete odds with the rest of the world, I can’t see how it can be a serious recommendation.

No one would want to grant rights to Australian publishers or have their books distributed in Australia if the copyright expired after 15-25 years. Thus far from increasing access within Australia it could just dry it up altogether.

While there may be some arguments for reducing the current 50 or 70 years after death provisions – perhaps to 10 or 20 years after death — and purely for practical reasons as it is often difficult to find or deal with an inheritor of copyright when many years have passed — I see absolutely no reason or good argument to limit the term of copyright for books written by a living author.

To have a book’s copyright expire 15-25 years after publication is the worst kind of alienation of the product of one’s hard labour.

It seems those writing this report and recommendation lack an understanding of how a writer’s career develops, and how it may take many decades to build a sufficient reputation so that one’s backlist becomes valuable. Nor the way it often takes decades for a film project to get up, and that the rights and residuals on this kind of work can be essential to funding future work.

Without the possibility of this ‘business plan’, we will become a culture of one-off book writers who give up once they realise the incredible amount of commitment and sacrifice it takes to continue writing and honing your craft and output, and realise that they will forever be writing frantically like a mouse running on a wheel just trying to keep up, with no hope of being able to capitalise on past work down the track through a book being made into a movie or tv series, or set on a curriculum.

Quality will suffer. Book publishing will suffer. Readers will be the poorer.

  1. Fair dealing or Fair Use.

This is a complex topic, but as things stand at the moment, I support the ASA’s position that we are better off retaining our ‘Fair Dealing’ model, where use is spelt out, than going to a model where everything is via precedent and testable in court.

With Fair Use, it can in effect become the one with the most money who sets the laws, as is already happening in the case of music corporations and Google.

Copyright when it is protected for the right reasons exists as a generative boundary that makes it safe and possible for people to create more work.

But when it is constantly open to interpretation by courts and able to be manipulated by corporations, then it becomes something that is restrictive of creativity, which is not what the PC (or any of us) wants.

Furthermore, it seems that if we move to Fair Use we will lose the system upon which the very successful CAL and ELR schemes operate, which generate heaps of funds that are ploughed directly back in to creating more work.

Thank you for reading my submission.

Like the Productivity Commission I too would like to see a creative society where books, and the products generated from books, are abundant, high quality, diverse and accessible. But I believe that this can only happen within a sustainable creative system, and that copyright protection – spelt out clearly and monitored so it functions for the reasons and in the spirit intended (to create the conditions under which people are able to earn money and hence write more) – can be a generative and productive boundary, not necessarily a restrictive one.


Beth Spencer

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For Mothers Day: ‘Forgetting’ from ABC-RN’s Earshot

Thinking of my mother today, so thought I’d share this piece from ABC Radio National’s Earshot, which is based on a long poem in Vagabondage.

You can listen at Earshot’s website (just click on the ‘download’ button), or at their podcast page, or at youtube below.

This piece was written a few years back. Sadly my mother can no longer play backgammon or go for walks outside with her roller walker and sunglasses, and no longer recognises anyone from her past. But she can still make new friends:

Thnking today of all who mother in some way – whether connected by blood or kindness.

Love the one you’re with.  xxb

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Peter Kenneally launching ‘The Party of Life’ in Melbourne

In December last year I was in Melbourne so had a launching of The Party of Life at the wonderful Bar Oussou in Sydney Road, Brunswick. Poet and critic Peter Kenneally did the honours, and here he is, in video and text.

Twenty years ago I bought, with my own money mind, a small but exquisitely formed book of poetry called Things in a Glass Box from the Five Islands Press New Poets Series. Today I am pleased to be launching another, even smaller and more exquisitely formed book of poetry, this time from the Flying Islands Pocket Books series.

Beth’s writing has island-hopped, you might say, to China, joining in Kit Kelen’s pocketbook adventures, and part of the promise of this book is the extra, prospective, almost secret pleasure that translation offers to both the Chinese and the English speaking reader. I can only envy those who can read every page of this book in either language. What a sea of possibilities must open up to them! Fortunately even for an inadequate monolinguist, Beth’s work is exploration enough.

Glass box cover image

Things in a glass box’, Beth’s first book, has on the cover an image that is half mysterious object, and I realise now, looking at the right hand pages of this book, half pictograph. This image sums up perfectly the collecting, feeling world inside the book, so that even when, shamefully, but predictably, I did not actually open Beth’s book for ‘a number of years’, whenever I saw it mentioned, or caught sight of it on the shelf while searching or purging my collection, the image flashed the poetry out at me. to do , yet again, the thing. Because that’s what memorable poetry and art does isn’t it, the thing, and however minutely it is described, (not by me, obviously) it amounts to no more or less than that.

It was, in this case, the same thing that Joseph Cornell does, or Marcel Duchamp in his travelling box – and it wasn’t, and isn’t the same thing that any other poet does.

Beth’s book survived many purges, so it was no surprise to me that when I became reacquainted with it, and acquainted with Beth, thanks to the glorious internets, I immediately thought of the things in the glass box, and with the same result as ever. When I found about about her last book ‘Vagabondage’ I immediately knew it would do the same thing because the very idea of it did, and this is the marvel of it: the IDEA of living in a caravan and moving around writing about what arises from within and without, from now and before, is quite enough: if you add to that ACTUALLY living in a caravan etc etc, the riches pile up. As Roy and H G might say, too much caravan is never enough!

This little distillation we launch today flashes time and time over, I think, with Beth’s determination that, yes, here’s a lived and remembered life, unreservedly felt, but it’s felt through art. As Beckett didn’t say ‘Ever tried. Ever felt. No matter. Try Again. Feel again. Feel better.’ So when, at the start of ‘ The Museum of Fire’ she quotes Peter Tyndall ‘A person looks at work of art/ someone looks at something’ it is an ‘aha’ moment that lasts the whole book through, because like Tyndall Beth’s statement is always true, always the same and yet infinitely

Looking back, in this book, as twenty years of of art and evocation flow by, seen through the glass of a display case, a caravan window, or a train window, or even you would think, through Beth’s glasses, we see everything, as she does, with a cautious, cautionary, gaze: a gaze that demurs, deprecates, celebrates, and moves on. Always moves on.

There is something wonderfully historical about this book, burnished by its modern elegant lines: no museums now are like the museums in this book: the noise from the expresso machines and the compulsory interaction drown out the quavering thoughts of the poet. Even the most up to date monstrous Winnebago is at heart a little plywood caravan. Even, because we all seem to look inwards, into screens, into ourselves, nowadays, the insistence on simply looking out of a window, or even just of the window being there: “And my mother sits by a window knitting. The garment multiplies, thick and soft between her fingers. / and Gertrude Stein has Alice Toklas say ‘I like a view but / I like to sit with my back / turned to it.’”

Thanks to Flying Island, the view extends into Asia, and the right hand pages extend an invitation, to imagine other ways of saying, or simply to imagine, with no further education, Beth’s words flowing across the page in either direction in a multiple continuous caravanserai. And when you shut the book,and look at the cover it’s all very simple:

sm-edged-front cover-Party of life(hold up front cover) Beth Spencer is a work of art: (turn over) Beth Spencer looks at something. I give you: The Party of Life.

party back cover


Peter Kenneally is a freelance editor, writer, reviewer and poet. His reviews appear regularly in The Australian, The Australian Book Review and other publications. His poems have been commended in the New Media section and selected for the anthology of the Newcastle Poetry Prize, and you can read some of his poems in Best Australian Poems 2015, and at Caught in the Net (including the beautiful sequence of poems, Memento Mori).

Thank you to Daryl Dellora for being contributing MC at the launch, to Emily Yuting Chen for reading in Mandarin, to Mary and Oussou at Bar Oussou for hospitality, to Maree Dellora for the beautiful big bunch of flowers and being so encouraging and lovely, to Janusz Molinski for the fabulous photos (at my facebook page), to Anita Hoare for filming Peter’s talk with my trusty little Sanyo, to everyone who came (some I hadn’t seen for decades!), and of course to my translators Ruby Chen and Iris Fan, and to Kit Kelen and Flying Islands/ASM for publishing The Party of Life.

The Party of Life is part of the Flying Islands Pocket Book series, and is available for $10 + $2 postage within Australia. If you are a Mandarin speaker/reader and would like a PDF copy (for free), just send me a message.

And if, like me, you love a good book launch speech, you can also read and watch Bernard Cohen’s launching of The Party of Life in Sydney at The Rochford Street Review.


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