My latest Guardian column, “Digital Economy Act: This means war,” explains how the latest round of dirty tricks from the entertainment industry — perverting British law, proposing an American police state, building an oppressive global treaty behind closed doors — changes the game. We’re no longer merely arguing about the future of control over culture: now it’s about the fundamentals of a just and free society:

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In the US, the MPAA and RIAA (American equivalents of the MPA and the BPI) just submitted comments to the American Intellectual Property Czar, Victoria Espinel, laying out their proposal for IP enforcement. They want us all to install spyware on our computers that deletes material that it identifies as infringing. They want our networks censored by national firewalls (U2’s Bono also called for this in a New York Times editorial, averring that if the Chinese could control dissident information with censorware, our own governments could deploy similar technology to keep infringement at bay). They want border-searches of laptops, personal media players and thumb-drives…

I’m not such a techno-triumphalist that I believe that the free and open internet will solve all our socio-economic problems. But I am enough of a techno-pessimist to believe that baking surveillance, control and censorship into the very fabric of our networks, devices and laws is the absolute road to dictatorial hell.

Chekhov wrote that a gun on the mantelpiece in act one is sure to go off by act three. The entertainment industry’s blinkered pursuit of its own narrow goals has the potential to redesign our technology to be the perfect tools and excuses for oppression.

Digital Economy Act: This means war

My next YA novel, For the Win, comes out in less than a month on May 11, and the early reviews have begun to show up. I’m especially delighted to have gotten my first-ever starred review in Booklist, which reads, in part, “Doctorow is indispensable. It’s hard to imagine any other author taking on youth and technology with such passion, intelligence, and understanding…Once again Doctorow has taken denigrated youth behavior (this time, gaming) and recast it into something heroic… With its eye-opening humanity and revolutionary zeal, this ambitious epic is well worth the considerable challenge.”

Judit Hegedus from the Open Society Institute in Budapest has translated my story Printcrime into Hungarian. This is one of my most widely translated stories, and this edition was part of an exhibition on copyright. OSI Deputy Director Jerzy Celichowski explains: “Visitors can print their own copy and take it home.”

Today marks the 15th anniversary of HarperVoyager, the excellent British science fiction line by whom I’m privileged to be published in the UK, Australia, New Zealand, South Africa, and other commonwealth territories. They’ve released this fun little vanity trailer to commemorate the event — happy anniversary, everyone!

Voyager 15th Anniversary Trailer (Thanks, Sarah!)

Jonathan Worth, the photographer who produced an extraordinary limited-edition run of portrait photos of me, has but a second batch on sale. Each one is accompanied by a signed manuscript page from my next novel, FOR THE WIN.

Argon Verlag, publishers of the German audiobook edition of my novel Little Brother, are fed up with all the man-the-barricades talk about audiobook piracy. So they commissioned a very high quality reading of the German text, read by Oliver Rohrbeck, a beloved German voice-actor (star of the long-running radio drama Die Drei ??? and overdub voice of Ben Stiller). The abridgement is being sold on six CDs for €19.95.

Fans of the abridged reading and everyone else who is interested in the audiobook are being asked to pay in towards a full, free, unabridged release, also read by Rohrbeck. Once the total of €9000 is raised, the unabridged recording will also be released, free of charge, without DRM, under a Creative Commons BY-NC-ND license, free for all comers (if the total sum isn’t raised by a set time, all the money is refunded).

What’s even cooler is that the audiobook (and the German print book, from Rowohlt), co-exist happily with a free fan-translation of the novel by Christian Wöhrl and a free fan audiobook reading by Fabian Neidhardt. Fans are free to promote the work to other fans, for free, while commercial operators produce commercial editions.

I’m going on a multi-city tour of Germany in September and I’m hoping to meet Christian and Fabian so that I can thank them in person. I’m also hoping that fans of the free editions support my cool, sharing-friendly German publishers and reward them for their open attitude towards free and paid media.

What this is about

Danielle Mathieux, an MFA student, produced an alternate cover for my novel Down and Out in the Magic Kingdom as part of her degree. She’s released it under a Creative Commons Attribution-NonCommercial-ShareAlike. I think it’s just swell!