The wait took over 20 years, but the opening

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When I was about 20, I fell in love with the love of Vera and Roland, British youth that loved to chat and write about books, Oxford, and love. Roland would go to war. Vera would go to Oxford. They would meet a few times, kiss a few times, and get secretly engaged. He had leave at Christmas 1915. She waited by the phone. His sister called instead.

Roland had been killed a few days earlier. Vera was never the same. She became a nurse, and she would write about Roland, her brother, and their two friends, along with her own experiences for the rest of her life. For a long time, she was the only woman recognized as writing about the Great War. I sought to find other women’s stories and compare them to europe cell phone number list the stories of men. And I did. But I also ran into copyright issues that drove me to law school, to study duration of copyright, and to wait. of the U.S. public domain will now be in its second year. Books from 1923 came into the public domain last year, and books from 1924 come into the public domain as of 2020.

Scholars, and especially biographers, have choices: get permission from the families of copyrighted works, rely on fair use, or use public domain works. When I started my dissertation, most of the works I was using as a World War scholar, looking at the war generation writing throughout the 20th century about their experiences (although I didn’t know it), were in the public domain. But before I filed my dissertation, the world had changed. In 1996, foreign works that had previously been in the public domain were suddenly restored by the Uruguay Round Agreements Act, including most of Vera Brittain’s works. In 1998, the Copyright Term Extension Act was passed, freezing the public domain for 20 years. I would be hooded in the Spring of 1998.