PEN America Releases New Data and Analysis on Two Years of Book Banning

From School Library Journal:

PEN America today released a data summary looking at nearly 6,000 book bans in public schools

documented from July 2021 to June 2023. Over the 2021-22 and 2022-23 school years, the sweeping attack on the freedom to read in public schools impacted 247 school districts across 41 states, PEN America said. Spineless Shelves: Two Years of Book Banning demonstrates two phenomena: copycat bans and a “Scarlet Letter” effect on authors.  

The copycat bans can be seen clearly after books that are banned in one district can be found on challenged and banned lists in school districts across state lines. The report offers this example: In the 2021-2022 school year, Sarah J. Maas’s work was banned 18 times across 10 districts. In 2022-23, that exploded to 158 bans across 36 districts, a 778 percent increase. As PEN America explored in Banned in the USA: The Growing Movement to Censor Books in Schools, groups pushing for book bans frequently share lists of targeted titles to target.

. . . .

Those authors not only find people pushing to censor a book in many districts after it has been challenged in one; when they have a book banned, more of their titles are targeted. The organization calls this the Scarlet Letter effect and once again uses Maas as an example. In the 2021-2022 school year, eight of her titles were banned. This doubled to sixteen titles in 2022-23. A similar effect has impacted bestselling authors Ellen Hopkins, Jodi Picoult, Alice Oseman, Laurie Halse Anderson, and Rupi Kaur, among others, according to the report.

Link to the rest at School Library Journal

Canada’s Crisis Triggers Downsizing at Access Copyright

From Publishing Perspectives:

Today, we include in our rights edition an urgent story that’s not focused on translation- and publication-rights deals but on a crippling copyright fiasco that has damaged a major publishing market for more than a decade. The news, arriving today (July 14), is not good. And copyright, after all, is precisely at the heart of every rights meeting, offer, and deal made across trading-center tables and borders the world over.

As Publishing Perspectives readers know, the story of Canada’s ironically named Copyright Modernization Act of 2012 has entered its 11th year. The act—like those parties taking advantage of it to utilize copyrighted material without payment—has crippled English-language Canadian publishers and authors, causing a loss of as much as US$151.3 million in lost licensing revenues.

The board of directors at Access Copyright—the collective management organization duly established by creators and publishers for English-language Canada—made the organization’s most alarming announcement yet, saying that it is initiating “a significant downsizing and restructuring of the organization because of the federal government’s decade-long inaction in fixing Canada’s publishing marketplace.”

The board’s statement confirms that “Canadian writers, visual artists, and publishers—an indispensable part of Canada’s culture—have been deprived of more than CA$200 million in unpaid royalties under tariffs certified by the Copyright Board of Canada.

“This staggering figure,” the board’s statement says, “is among the many impacts, including job losses and several educational publishers stepping away from the K-12 or post-secondary markets, that have hit Canadian creators and publishers since amendments to Canada’s Copyright Act were enacted in 2012.”

. . . .

What the board of directors describes as “mass, systemic, free copying of creators’ works by Canada’s education sector outside of Quebec since 2012” has led to Access Copyright’s “total distributions to rightsholders dropping by 79 percent.”

Despite the fact that Access Copyright, more than 30 years old, is “a key piece of Canada’s cultural infrastructure that Canadian creators and publishers rely on to be fairly compensated for the use of their work,” the government in Ottawa has not gotten around to addressing this fast-deteriorating situation, even after the national budget in April 2022 specifically promised relief for unpaid copyright holders.

The pertinent language in the federal budget pledges “to ensure a sustainable educational publishing industry, including fair remuneration for creators and copyright holders, as well as a modern and innovative marketplace that can efficiently serve copyright users.”

This, the Access Copyright board members point out, “was a direct acknowledgment of the harm that the 2012 changes to the Copyright Act have caused and the need for legislative action to repair it.” And yet no action has materialized. “Creators nationally continue to wait for the government to make good on its commitment, and the marketplace for a viable Canadian educational publishing industry continues to dry up.”

. . . .

Much of the world publishing industry has looked on in disbelief as the education system itself sued Access Copyright at one point, and as court rulings went in the agency’s and publishers’ favor and then against it—leaving a legislative remedy the only hope. By late 2021, Copyright Clearance Center‘s Michael Healy, one of the most influential voices in world copyright issues, told Publishing Perspectives in his annual year-end interview with us on copyright issues, “It’s clearly the end of the judicial road” in Canada.

Critics say that as much as Canadian Heritage—the cultural division of Canada’s federal framework—has been admired in many parts of the world in the past, the Canadian government appears not to care that its own botched legislative action has cratered its once-prized Canadian educational publishing industry.

. . . .

Speaking for the Writers’ Union of Canada, its CEO, John Degen, is quoted, saying, “The abandonment of Canadian creators and publishers is a blight on our country, and an international embarrassment.

“When the Copyright Act was amended to include a fair-dealing exception for education, the Liberals in opposition then expressed deep concern that it was likely to be exploited at the expense of creators. They were right; that’s exactly what happened.

“The government has promised to fix the gaps in the act many times, but we are still waiting for meaningful change. In the meantime, a key market has disappeared and, with it, countless Canadian stories.”

. . . .

The news that Access Copyright is downsizing is devastating to Canadian literary publishers, especially as there are solutions at the ready that would meaningfully address the current ambiguity in fair dealing and add clarity to fair compensation for the use of creators’ works.

“The federal government must stand up for Canadian creators and publishers. We are out of time.”

Link to the rest at Publishing Perspectives