Reviewed by: No Trespassing: Authorship, Intellectual Property Rights, and the Boundaries of Globalization J. G. Matthews No Trespassing: Authorship, Intellectual Property Rights, and the Boundaries of Globalization. By Eva Hemmungs Wirtén . Toronto: University of Toronto Press, 2004. xii, 224 pp. $50.00. ISBN 0-8020-8835-X. Eva Hemmungs Wirtén's No Trespassing is an insightful exploration of the influences technological change and globalization wield on notions of authorship and intellectual property rights. The matter of cultural ownership lies at the heart of this book, and the author brilliantly shows how it describes the historical, dynamic tensions between private ownership of and public access to information. Indeed, the very term "cultural ownership" juxtaposes two concepts that might seem at odds. Broadly defined, "culture" denotes a common historical, social, and artistic heritage shared by a group. "Ownership," on the other hand, describes entitlements purchased by individuals and other entities with capital to spend. In many ways, suggests Hemmungs Wirtén, the ambivalence between private ownership and public access sponsors the development of copyright and intellectual property law and legislates who controls access to information, both nationally and internationally. Beginning with a reading of Victor Hugo's inaugural address to the 1878 Exposition Universelle and its subsequent influence upon the development of international copyright laws, Hemmungs Wirtén proceeds to skillfully weave together chapters on the English translation and publication of Peter Høeg's Smilla's Sense of Snow; the enduring impact that the development of photocopy machines have had on copyright legislation; media as commodities; the challenges of developing cultural property rights that are different from postcolonial and imperialistic paradigms of ownership and trade; and the safeguarding of public domain rights in respect to contemporary attempts (in the United States) to extend copyright privileges. As this summary indicates, Hemmungs Wirtén's breadth of inquiry isremarkable. Her ability to express clearly this complex topic, particularly its formidable legal aspects, is all the more impressive considering her academic background, which is in literature and information science. The author is most [End Page 291] compelling, however, when she focuses on a specific event, author, and/or work and considers its historical, legal, and theoretical significance to her topic, as she does in the first three and in the concluding chapters of this work. While chapters 4 and 5 are informative discussions on the economics of copyright and the cultural dimensions of intellectual property, respectively, they lack the interpretive dimension that distinguishes the other sections. Despite these criticisms, No Trespassing is a remarkably readable and judiciously documented volume. Chapter 2, "Inventing F. David: Author(ing) Translation," is particularly compelling in its consideration of the translation problem. Is translation a type of authorship? What are the publishing rights of authors and translators? Who has the "last word" on what translation makes it into print? No Trespassing is especially relevant in a day and age when individual rights are constantly compromised by aggressive privatization throughout the world. As global interdependence and technological progress shrink the planet, the gap between who controls and who has access to information treacherously widens. Hemmungs Wirtén convincingly argues that copyright and intellectual property rights litigation perpetuates postcolonial cycles of cultural imperialism that further divide and oppress individuals by treating information, including cultural property, as a commodity. In such a market even cultural goods and services traditionally held in the public domain, such as literature and art, are accessible for a fee. The title calls to mind lurid orange-and-black signs posted on fence posts and alley entrances warning people to stay out or stay away on pain of penalty. It evokes a sense of peril and punishment. Ironically, this book invites readers to consider timely, complex cultural and legal issues in lucid, respectful prose. No Trespassing deserves a wide readership, including students of cultural studies, publishing history, and new media. Readers interested in relationships between copyright and authorship as well as law and literary production will find this book a compelling resource. Likewise, librarians and information ethicists interested in copyright as well as the development of information regulation and data-sharing standards may discover new arguments to underscore freedom to information positions and policies that are...