Books from Cita.

Creating Space in the Public Domain for Feminist Literature

Earlier this year, the UT Libraries hosted a panel discussion called, Can I Use That?: Remix and Creativity. The event was the brainchild of Juliana Castro, a graduate student in the School of Design & Creative Technologies. She worked with librarians Becca Pad, Gina Bastone and Colleen Lyon to plan a panel event that dove into issues around rules of copyright and reuse as they relate to creative fields of inquiry.

The Yellow Wall-PaperThe panelists for the event included: Dr. Carma Gorman, Design; Dr. Philip Doty, School of Information; Dr. Carol MacKay, English; and Gina Bastone, UT Libraries. The question and answer session of the panel was particularly lively as participants engaged with our experienced panel on a variety of reuse issues.

The capstone of the event was an opportunity to bind a Cita Press public domain book, The Yellow Wall-Paper, by Charlotte Perkins Gilman. UT Libraries is pleased to work with scholars like Juliana Castro who are interested in exploring new ways to freely share information, and is excited to help her introduce Cita Press.

Learn more about Cita Press.

BACKGROUND

Public domain is a legal term used to refer to visual or written works without intellectual property rights. Works enter the public domain for different reasons, including expiration of the rights, forfeiture, waiver, or inapplicability, as in the case of pieces created before an existing legal framework. At the end of the eighteenth century, copyrights lasted only 14 years in the USA, with an option of renewing for another 14 years. However, copyright terms have expanded dramatically over the course of the twentieth century in the USA.

Since the passage of the Sonny Bono Copyright Extension Act of 1998, most copyrighted works do not re-enter the public domain until 70 years after the death of the author. These extensions are created to benefit creators’ interests, but not only do they oftentimes fail to do so, but can stifle creativity, free speech, and the democratic exchange of ideas.

In the last three centuries, women have gradually made their way into the publishing industry as active writers, often exploring topics considered inappropriate or even immoral for women to address. The printing press was developed by Johannes Gutenberg c.1439. By 1500, printing presses were operating all throughout Europe; by 1539 Spanish colonists were printing in Mexico; and by 1638 English colonists were printing in New England. However, until the early nineteenth century, writing was still a suspect occupation for women. Because often times writing was viewed as unfeminine, the few women who had the educational background to write works of public interest would often publish anonymously, using masculine pseudonyms to avoid jeopardizing their social status.

Art and literature have been sexist arenas, and as Joanna Russ points, for centuries women have had to fight outright prohibitions, social disapproval, lack of role models, isolation, and other forms of suppression in order to get their work published and recognized.  Most of the nineteenth century’s feminist literature is now in the public domain, but many of these writings are not being republished by commercial publishers. When publishers do reprint public-domain texts, they rarely do so in open-access book formats. Because commercial publishers invest in curating and marketing well-designed collections of reprints, they frequently commission original annotations or introductions from scholars, which in turn enables them to copyright and profit from their new editions.

In contrast, Internet-based archives such as Google Books, HathiTrust, and Archive.org make an enormous corpus of public-domain books available for free online, but do so as scans or in poorly designed digital formats. Moreover, internet archives usually do not make their collections particularly navigable or appealing to non-scholarly audiences, nor do they make it properly designed and easy to print.

WHAT’S NEXT?

Cita’s purpose is to celebrate and make accessible the work of female authors, and inspire people to explore open publishing formats. In the future, I plan to extend Cita’s reach as an active open-source editing platform that is committed to intersectionality and that welcomes diverse voices and backgrounds by republishing new works, especially in Spanish, including those of living authors who are willing to open-license their works.

As is the case with most successful open-source projects, Cita needs user-contributor engagement in order to grow. The existing collaborative community is likely to extend their work towards creating new material, and potential new contributors will be encouraged to join in at different levels of the book-creating process, including cleaning texts, reformatting HTML, designing covers, laying out texts, marketing the site, etc. I plan to apply for small grants that can cover certain parts of the book making process, such as formatting and free distribution of printed copies. But Cita’s success will ultimately rely on the efforts of those who are interested in celebrating and making women’s art and literature more accessible.

Please follow, join, contribute and share: citapress.org

Juliana Castro is a Colombian graphic designer and editor, and  a graduate student in the School of Design & Creative Technologies at The University of Texas at Austin.

Whit Williams playing guitar

Whit’s Picks: Take 1 — Gems from the HMRC

Resident poet and rock and roll star Harold Whit Williams has recently taken on a project to catalog the KUT Collection, obtained a few years ago and inhabiting a sizable portion of the Historical Music Recordings Collection (HMRC).

Being that he has a refined sense of both words and music, Whit seems like a good candidate for exploring and discovering some overlooked gems in the trove, and so on occasion, he’ll be presenting some of his finds here on the blog.


Recently added (and highly-recommended) Music from the KUT Collection at the HMRC

Angela Faye Martin / Pictures From Home

North Carolina singer/songwriter turns Appalachian music on its head with odd synth and fuzz burbling background. Quietly brooding and beautiful. Produced by Sparklehorse’s Mark Linkous.

 

Ruxpin / Where Do We Float From Here?

IDM electronic musician Jónas Thor Guðmundsson hails from Iceland and creates blips and bleeps as Ruxpin. Less frenetic than Autechre, not as dark as Aphex Twin, Where Do We Float From Here shines with bright and melodic northern lights.

   

Olivier Messiaen / Visions de l’Amen

French avant garde composer’s challenging suite of seven pieces for two pianos. Marilyn Nonken (piano I) and Sarah Rothenberg (piano II) in a brilliant performance captured at Stude Hall, Shepherd School of Music, Rice University.  

Jews and Catholics / Who Are? We Think We Are!

 Following in that grand Southeastern tradition of rock duos (House of Freaks, Flat Duo Jets), Winston-Salem’s Jews and Catholics bring their amped-up indie pop to spike the punch at your summer backyard party. Audacious, nervy, overdriven. Produced by the legendary Mitch Easter of Let’s Active.

 

Georgia Anne Muldrow (as Jyoti) / Ocotea

 Muldrow takes a break from her breathtaking vocals and rhymes on Ocotea, as she deftly experiments with avant jazz swirled around inside chill electronica.

Harold Whit Williams is a Library Specialist in Music & Multimedia Resources Cataloging for Content Management. He also writes poetry, is guitarist for Cotton Mather, and records ambient electronic music under the solo name The French Riot.

Other installments: Take 2