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It takes many many people fighting the weight to over turn it. But large corporations having thousands of copyrights and patents on anything and everything around us. Is not encouragement, it is out right discouragement to the extreme extent. I understand copying something a million times costs authors money. But given that most small time authors barely get anything unless they sell millions of copies.
I say we are just in fighting that system. I wish to download a ePub then give it to a not tech savvy friend.
But having to jump through flaming legal and technical hoops to do it. Is also discouraging and flat out ridiculous to the enth degree.
Daniel Clem February 9, at pm Just as a small side note I thought of. But when it comes to literature, people are paranoid companies will sue them if they even try to actually use an advancement in technology, namely the ability to easily give someone a gift that you enjoyed yourself, while still being able to enjoy it.
As well as handing any monetary rights over a huge corporation for at least 15 or more years. Or forever if the work becomes popular. One author, after having his book go out of print, wished to make copies on his own and give them away. Now tell me again why this is a system we should not be fighting tooth and nail? So what if some books may become hard to acquire. Is not the end goal worth small sacrifices of fictional or non-fictional works that may not even benefit your life in the long term if you read them?
If I produce quality work, I should receive compensation.
However, I do mind very much if you email my book to five or your friends — for free of course, because YOU paid for it, and therefore YOU can do whatever you want — and then they in turn do the same thing. Could this turn into millions?
Unless, of course, we use the music industry as an example of what could happen. Call this a lesson in morality. But we can trust you right? Sure — you would never give something away like a music or a movie or a book — of course not.
But a million other people would. This insight is very valuable to me. I will be holding out publishing my books until we see what happens.
That old gentleman with the wild, white beard and the wild, white hat—that venerable humbug was not really a philosopher; but at least he was the cause of philosophy in others. That scientific gentleman with the bald, egg-like head and the bare, bird-like neck had no real right to the airs of science that he assumed. He had not discovered anything new in biology; but what biological creature could he have discovered more singular than himself?
Thus, and thus only, the whole place had properly to be regarded; it had to be considered not so much as a workshop for artists, but as a frail but finished work of art. A man who stepped into its social atmosphere felt as if he had stepped into a written comedy.
More especially this attractive unreality fell upon it about nightfall, when the extravagant roofs were dark against the afterglow and the whole insane village seemed as separate as a drifting cloud. This again was more strongly true of the many nights of local festivity, when the little gardens were often illuminated, and the big Chinese lanterns glowed in the dwarfish trees like some fierce and monstrous fruit.
And this was strongest of all on one particular evening, still vaguely remembered in the locality, of which the auburn-haired poet was the hero. It was not by any means the only evening of which he was the hero. On many nights those passing by his little back garden might hear his high, didactic voice laying down the law to men and particularly to women. The attitude of women in such cases was indeed one of the paradoxes of the place.
Most of the women were of the kind vaguely called emancipated, and professed some protest against male supremacy. Yet these new women would always pay to a man the extravagant compliment which no ordinary woman ever pays to him, that of listening while he is talking. And Mr. Lucian Gregory, the red-haired poet, was really in some sense a man worth listening to, even if one only laughed at the end of it.
He put the old cant of the lawlessness of art and the art of lawlessness with a certain impudent freshness which gave at least a momentary pleasure. He was helped in some degree by the arresting oddity of his appearance, which he worked, as the phrase goes, for all it was worth. From within this almost saintly oval, however, his face projected suddenly broad and brutal, the chin carried forward with a look of cockney contempt.
This combination at once tickled and terrified the nerves of a neurotic population. He seemed like a walking blasphemy, a blend of the angel and the ape.
This particular evening, if it is remembered for nothing else, will be remembered in that place for its strange sunset.
It looked like the end of the world. All the heaven seemed covered with a quite vivid and palpable plumage; you could only say that the sky was full of feathers, and of feathers that almost brushed the face. Across the great part of the dome they were grey, with the strangest tints of violet and mauve and an unnatural pink or pale green; but towards the west the whole grew past description, transparent and passionate, and the last red-hot plumes of it covered up the sun like something too good to be seen.
The whole was so close about the earth, as to express nothing but a violent secrecy. The very empyrean seemed to be a secret. It expressed that splendid smallness which is the soul of local patriotism. The very sky seemed small. I say that there are some inhabitants who may remember the evening if only by that oppressive sky. There are others who may remember it because it marked the first appearance in the place of the second poet of Saffron Park.
For a long time the red-haired revolutionary had reigned without a rival; it was upon the night of the sunset that his solitude suddenly ended.
The new poet, who introduced himself by the name of Gabriel Syme was a very mild-looking mortal, with a fair, pointed beard and faint, yellow hair. But an impression grew that he was less meek than he looked. He signalised his entrance by differing with the established poet, Gregory, upon the whole nature of poetry. He said that he Syme was poet of law, a poet of order; nay, he said he was a poet of respectability.
So all the Saffron Parkers looked at him as if he had that moment fallen out of that impossible sky. In fact, Mr. Lucian Gregory, the anarchic poet, connected the two events. You say you are a poet of law; I say you are a contradiction in terms. I only wonder there were not comets and earthquakes on the night you appeared in this garden. Gregory resumed in high oratorical good humour.
An anarchist is an artist.
The man who throws a bomb is an artist, because he prefers a great moment to everything. He sees how much more valuable is one burst of blazing light, one peal of perfect thunder, than the mere common bodies of a few shapeless policemen. An artist disregards all governments, abolishes all conventions. The poet delights in disorder only. If it were not so, the most poetical thing in the world would be the Underground Railway. I will tell you. It is because they know that the train is going right.
It is because they know that whatever place they have taken a ticket for that place they will reach. It is because after they have passed Sloane Square they know that the next station must be Victoria, and nothing but Victoria. Oh, their wild rapture! The rare, strange thing is to hit the mark; the gross, obvious thing is to miss it. We feel it is epical when man with one wild arrow strikes a distant bird.
Is it not also epical when man with one wild engine strikes a distant station? Chaos is dull; because in chaos the train might indeed go anywhere, to Baker Street or to Bagdad.
But man is a magician, and his whole magic is in this, that he does say Victoria, and lo! No, take your books of mere poetry and prose; let me read a time table, with tears of pride. Take your Byron, who commemorates the defeats of man; give me Bradshaw, who commemorates his victories.
Give me Bradshaw, I say! You say contemptuously that when one has left Sloane Square one must come to Victoria. I say that one might do a thousand things instead, and that whenever I really come there I have the sense of hairbreadth escape.
It is to me the cry of a herald announcing conquest. We know that the New Jerusalem will only be like Victoria. Yes, the poet will be discontented even in the streets of heaven. The poet is always in revolt. You might as well say that it is poetical to be sea-sick. Being sick is a revolt.
Revolt in the abstract is—revolting. Yes, the most poetical thing, more poetical than the flowers, more poetical than the stars—the most poetical thing in the world is not being sick.
With surprise, but with a curious pleasure, he found Rosamond Gregory still in his company. Do you mean what you say now? Now, sometimes a man like your brother really finds a thing he does mean.