From Publishers Weekly
The question of how our cultural commons, our shared store of art and knowledge, might be made compatible with our modern age of stringent copyright laws, intellectual property rights, and restrictive patenting is taken up with considerable brio by Hyde (The Gift). Moving deftly between literary analysis, historiography, biography, and impassioned polemic, the book traces the idea of commonage from its English pastoral manifestations and pays particular attention to the American founding fathers' ideals of self-governance and civic republicanism grounded in the vision of a public realm animated by openly shared knowledge and property rights that functioned for the benefit of society rather than individuals alone. Hyde leaps nimbly, if sometimes too hurriedly, from the Ancient Mariner to the human genome project, ultimately offering a vision of human subjectivity that is fundamentally social, historical, and plural. If the book is perhaps not wholly successful in showing how we might concretely legislate for a cultural commons that would simultaneously allow for financial reward and protection from monopoly, it is nonetheless a fascinating and eminently readable attempt to coordinate commerce and creativity in what he sees as an increasingly restrictive economy of ideas.
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In his seminal book The Gift (1983), Hyde invited us to bridge the chasm between the values of the artist and the pressures of the marketplace by considering traditional economies based on reciprocal gift giving. With his latest selection, the poet–translator–cultural anthropologist–public intellectual again examines the intersection between creativity and commerce, in particular, the question of whether the fruits of creative labor can or should be privately owned. As before, Hyde’s impetus in writing is in part fear of the constraints unrestrained capitalism seems to impose on artists and cultural innovators; a considerable portion of this account is devoted to chronicling the recent corporate land grab of knowledge and the thorny bramble of intellectual property law. But this is less a manifesto of the misleadingly named copy-Left movement than it is a search for cultural consensus on which meaningful rules can be based. Finding inspiration and precedent in the concept of the commons in English land-tenure law (as well as the examples of Benjamin Franklin and Bob Dylan, among others), Hyde argues that art and ideas constitute an inherently public cultural commons that is most fertile when authors have only limited permission to enclose their works from unauthorized use. Deeply researched and powerfully felt, this book presents a compelling case for an alternate paradigm, and showcases the originality that readers cherished in The Gift. --Brendan Driscoll