Is it ethical to buy used books and music instead of new copies that will financially reward the author or artist? What do consumers owe to producers of art? — Gerald Barker
From the Ethicist:
There’s actually a lot to be said for buying used and sustaining the low-cost democracy of art’s second life. For one thing, there are environmental advantages in the practice: Physical media are designed to endure and be shared beyond the first owner. And artists can benefit from secondary markets in real, if less tangible, ways. Works that circulate widely can enhance the artist’s reputation, whether it’s a book read and passed along, a record rediscovered in a thrift shop or a painting resold at auction. Enthusiastic new audiences, prominent displays and word-of-mouth appreciation can all contribute to a creator’s stature. (Notice that this situation is very different from music-streaming platforms, where artists are basically meant to be paid for each listen, but the recompense is often a pittance.)
What artists, especially the good ones, are owed is not a cut of every encounter we have with their work but a system that gives them a real opportunity to sell their work, to build a career, to find a public. After that, their creations rightly become part of the wider cultural world, as with books in a library or paintings in a museum, where countless people can enjoy them freely across the generations.
Used-book stores or vintage-record shops, where hidden gems lurk like geodes waiting to be split open, play a role, too. Such venues don’t just preserve art; they bring enthusiasts together, spark conversations and cultivate new audiences. In Michael Chabon’s novel “Telegraph Avenue,” a vintage-record shop is both a community hub and a battlefront for cultural preservation; in Helene Hanff’s book “84, Charing Cross Road,” treasured titles help sustain a human connection across an ocean. Come to think of it, I’m pretty sure I stumbled across both in used-book stores, providing their authors no royalties but plenty of affection. This setup isn’t a failure of fairness; it’s part of how creative work gains cultural traction.