Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919 (review)

controversies about cultural restitution. In a more contemporary sense, however, “paper, talk” can also be read as an imperative that cultural texts speak to Indigenous lives and communities. While Edwards does not directly address “the post1960 . . . concern over perceived lack of Aboriginal [library] patronage” (168), he contextualizes that concern. All the current stakeholders—Canadians, librarians, cultural historians, and, not least, politicians and Indigenous peoples engaged in a digital age in which both the promise of access and the expense of ownership have risen dramatically—ought to read this learned and passionate book.