527 | https://historysoa.com/items/show/527 | The Author, Vol. 23 Issue 07 (April 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+07+%28April+1913%29"><em>The Author</em>, Vol. 23 Issue 07 (April 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-04-01-The-Author-23-7 | | | | | 187–218 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-04-01">1913-04-01</a> | | | | | | | 7 | | | 19130401 | Che HMuthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
j Vor. XXIII.—No. 7.<br />
<br />
APRIL 1, 1913.<br />
<br />
[Price SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
—__—__—_.——e____—__<br />
<br />
NOTICES.<br />
<br />
——_—+—~+——<br />
<br />
| | aoe the opinions expressed in papers that<br />
<br />
are signed or initialled the authors alone<br />
<br />
are responsible. None of the papers or<br />
<br />
eq paragraphs must be taken as expressing the<br />
<br />
ige opinion of the Committee unless such is<br />
28 especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
y=<br />
<br />
eeanterre<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
<br />
4 members of the Society that, although the<br />
| paper is sent to them free of cost, its production<br />
“7 would be a very heavy charge on the resources<br />
‘9 of the Society if a great many members did not<br />
<br />
1 forward to the Secretary the modest 5s. 6d.<br />
‘@ subscription for the year.<br />
; Communications for The Author should be<br />
<br />
_ addressed to the offices of the Society, 1, Cen-<br />
“) tral Buildings, Tothill Street, Westminster,<br />
“2 §.W., and should reach the Editor not later<br />
‘than the 21st of each month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
<br />
<br />
<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
og Oe re<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
—_+—<— +<br />
<br />
ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done<br />
<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund, This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
"2<br />
<br />
<br />
188<br />
THE PENSION FUND.<br />
<br />
So -<br />
<br />
NFJanuary, the secretary of the Society<br />
laid before the trustees of the Pension<br />
Fund the accounts for the year 1912, as<br />
<br />
settled by the accountants. After giving the<br />
matter full consideration, the trustees in-<br />
structed the secretary to invest a sum of £800<br />
in the purchase of Buenos Ayres Great<br />
Southern Railway 4% Extension Shares, 1914,<br />
£10 fully paid. The number of shares pur-<br />
chased at the current price was twenty-five<br />
and the amount invested £296 1s. 1ld. The<br />
trustees are also purchasing three more Central<br />
Argentine Railway New Shares at par, on which<br />
as holders of the Ordinary Stock they have an<br />
option.<br />
<br />
The trustees desire to thank the members<br />
of the Society for the continued support which<br />
they have given to the Pension Fund.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
to £4,764 6s., details of which are fully set out<br />
in the following schedule :-—<br />
<br />
Nominal Value.<br />
<br />
£8: a.<br />
Local Loans .......----eeeeees 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ..........-- 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 84% Inscribed<br />
<br />
Stock 220.5255 + 2.35.5 ee 200 0 90<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock .... 228 0 0<br />
New Zealand 34% Stock........ 247 9 6<br />
Irish Land 23% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1997—57....:.-..-.5... 488 2 4<br />
Jamaica 84% Stock, 1919-49 1382 18 6<br />
Mauritius 4% 1987 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 33%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock .......... 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock ........ fue sk oe 232 0 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44%, Gold Bonds ............ 400 0 6<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares .......... 250 0 0<br />
55 Buenos Ayres Great Southern<br />
<br />
Railway 4% Extension Shares,<br />
<br />
1914 (fully paid) ............ 550 0 0<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Nominal V alue.<br />
<br />
£ 3.24<br />
<br />
8 Central Argentine Railway £10<br />
Preference Shares, New Issue.. 380 0 QO<br />
Total. vince. £4,764 6 0<br />
<br />
<br />
<br />
i<br />
<br />
PENSION FUND.<br />
<br />
a a ae<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
October 1, 1912.<br />
<br />
It does not include either donations given<br />
prior to October, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
Subscriptions.<br />
<br />
3<br />
<br />
mooooooooooascececoco:<br />
<br />
1912.<br />
<br />
Oct. 2, Todhunter, Dr. John. .<br />
<br />
Oct. 10, Escott, T. H. S. : :<br />
<br />
Oct. 10, Henderson, R. W. Wright<br />
<br />
Oct. 10, Knowles, Miss M. W. :<br />
<br />
Oct. 11, Buckley, Reginald .<br />
<br />
Oct. 12, Walshe, Douglas<br />
<br />
Oct. 12, “‘ Penmark”’ . c<br />
<br />
Oct. 15, Sinclair Miss Edith .<br />
<br />
Oct. 16, Markino, Yoshio<br />
<br />
Oct. 20, Fiamingo, Carlo<br />
<br />
Oct. 29, Henley, Mrs. .<br />
<br />
Nov. 8, Jane, L. Cecil .<br />
<br />
Nov. 14, Gibb, W.<br />
<br />
Dec. 4, De Brath, S. . :<br />
<br />
Dec. 4, Sephton, The Rev. J.<br />
<br />
Dec. 4, Cooper, Miss Marjorie<br />
<br />
Dec. 7, MacRitchie, David<br />
<br />
Dec. 11, Fagan, James B.<br />
<br />
Dec. 27, Dawson Forbes<br />
<br />
1913.<br />
<br />
Jan. 3, Toynbee, William (in addi-<br />
tion to his present sub-<br />
scription). .- ; :<br />
<br />
Jan. 9, Gibson, Frank . ‘<br />
<br />
Jan. 29, Blackley, Miss E. L.<br />
<br />
Jan. 31, Annesley, Miss Maude<br />
<br />
Feb. 6, Rothenstein, Albert .<br />
<br />
Feb. 10, Bradshaw, Percy V. ‘<br />
<br />
tt et<br />
HKOooomuanno?<br />
<br />
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<br />
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<br />
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<br />
Donations.<br />
1912.<br />
Oct. 2, Stuart, James . :<br />
Oct. 14, Dibblee, G. Binney . .<br />
Oct. 14, Michell, The Right Hon.<br />
Sir Lewis, C.V.O. ;<br />
<br />
a of<br />
_<br />
o-<br />
ao<br />
<br />
Or<br />
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<br />
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<br />
<br />
<br />
<br />
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<br />
-t9@ Oct. 17, Ord, H.W. . ‘ ‘<br />
»Jo0 Oct. 20, Yorke-Smith, Mrs. .<br />
<br />
vow Nov.<br />
io Nov.<br />
9G Dec.<br />
vo Dec.<br />
4 Dec.<br />
o@ Dee.<br />
9 Dec.<br />
90 Dec.<br />
wo Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
1913.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
ia) Jan. 2,<br />
<br />
d3 3<br />
re: |<br />
tap<br />
<br />
is<br />
rf 8G<br />
aL<br />
<br />
. Jan.<br />
, Jan.<br />
<br />
Feb.<br />
Feb.<br />
Feb.<br />
<br />
<br />
<br />
Feb.<br />
‘Feb.<br />
<br />
10, Hood, Francis<br />
<br />
20, Kennard, Mrs. N. H. 5<br />
4, McEwan, Miss M. S. . ‘<br />
4, Kennedy, E. B. ‘<br />
<br />
11, Begarnie, George . :<br />
11, Tanner, James T.<br />
<br />
11, Toplis, Miss Grace . :<br />
14, Watson, Mrs. Herbert A..<br />
14, French, Mrs. Warner :<br />
17, Smith, Miss Sheila Kaye .<br />
17, Marras, Mowbray<br />
<br />
27, Edwards, Percy J.<br />
<br />
1, Risque, W. H.<br />
<br />
1, Rankin, Mrs. F. M.<br />
<br />
2, Short, Miss L. M.<br />
<br />
2, Mackenzie, Miss J.<br />
<br />
Webling, Miss Peggy<br />
<br />
8, Harris, Mrs. E. H. .<br />
<br />
8, Church, Sir Arthur,<br />
K.C.V.O., ete.<br />
<br />
. 4, Douglas, James A.<br />
<br />
. 4, Grant, Lady Sybil<br />
<br />
. 6, Haultain, Arnold<br />
<br />
. 6, Beveridge, Mrs. :<br />
<br />
. 6, Clark, The Rev. Henry<br />
<br />
. 6, Ralli, C. Searamanja .<br />
<br />
. 6, Lathbury, Miss Eva .<br />
<br />
. 6, Pryce, Richard<br />
<br />
. 7, Gibson Miss L. S.<br />
<br />
: 10, Use .<br />
<br />
. 10, Ford, Miss May<br />
<br />
: 12, Greenstreet, W. J.<br />
<br />
.14, Anon .<br />
<br />
. 15, Maude Aylmer<br />
<br />
. 16, Price, Miss Eleanor .<br />
<br />
: 17, Blouet, Madame<br />
<br />
220, PH. and MLK...<br />
<br />
. 22, Smith, Herbert W.<br />
<br />
. 25, Anon. . :<br />
<br />
. 27, Vernede, R. E. ‘<br />
<br />
. 29, Plowman, Miss Mary .<br />
. 29, Todd, Miss Margaret, M.D.<br />
. Bl, Jacobs, W. W. ;<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
<br />
1, Davy, Mrs.E.M. .<br />
<br />
3, Abraham, J. J. ;<br />
<br />
4, Gibbs, F. L. A.<br />
<br />
A, Buckrose, J. i.<br />
<br />
4, Balme, Mrs. Nettleton .<br />
<br />
6, Coleridge, The Hon. Gilbert<br />
<br />
6, Machen, Arthur :<br />
<br />
6, Romane-James, Mrs. ‘<br />
<br />
6, Weston, Miss Lydia ‘ ‘<br />
<br />
14, Saies, Mrs. F. H. (in addi-<br />
tion to her subscription)<br />
<br />
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BOF OANOSO:<br />
<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Mar,<br />
<br />
14, O’Higgins, H. J. . :<br />
<br />
15, Stephens, Dr. Ricardo<br />
<br />
15, Jones, Miss KE. H.<br />
<br />
17, Whibley, Charles<br />
<br />
22, Probert, W. S.<br />
<br />
24, S. F. G. :<br />
<br />
27, XX. Pen Club<br />
<br />
7, Keating, The<br />
Lloyd .<br />
<br />
7, Tharp, Robert C.<br />
<br />
10, Hall, H. Fielding<br />
<br />
18, Moffatt, Miss Beatrice<br />
<br />
14, Bennett, Arnold.<br />
<br />
17, Michell, The Right Hon.<br />
Sir Lewis, K. C.V.0: .<br />
<br />
17, Travers, Miss Rosalind<br />
<br />
i<br />
<br />
COrroooOoO®<br />
<br />
Rev. 5 :<br />
Mar. :<br />
Mar.<br />
Mar.<br />
<br />
Mar.<br />
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Mar.<br />
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<br />
COMMITTEE NOTES.<br />
<br />
— +e<br />
<br />
HE Committee of Management held their<br />
third meeting of the year at 13, Queen<br />
Anne’s Gate, S.W., on March 3. The<br />
<br />
business was carried through in the usual<br />
order. Following the signing of the minutes<br />
of the previous meeting, the elections were<br />
proceeded with. A full list appears on another<br />
page. Twenty members in all were added to<br />
the list, making the total for the current year<br />
up to eighty-seven. The Committee accepted,<br />
with regret, sixteen resignations, but they are<br />
glad to report that the number is considerably<br />
smaller than during the corresponding period<br />
last year.<br />
<br />
* The solicitor then reported the cases during<br />
the past month.<br />
<br />
The first was an action for accounts and<br />
money against a publisher. The accounts<br />
had been delivered, an arrangement for<br />
settlement by two instalments had been made.<br />
One of the instalments had been paid, and<br />
the solicitor had no doubt that the second<br />
instalment on May 1 would be met in due<br />
course.<br />
<br />
Against another publisher the Society has<br />
four cases. It has been necessary to issue<br />
summonses in two of these, and in the other<br />
two, if the sums due under the accounts<br />
obtained are not paid, action will also be<br />
taken. The Society has three claims against<br />
a travelling actor, and in all three writs have<br />
been issued. In one of these, part of the<br />
sum due in royalties has been paid, but in<br />
none has a proper account been rendered.<br />
<br />
<br />
<br />
<br />
190<br />
<br />
The solicitors received instructions to carry<br />
the matter through. There were two small<br />
cases against a paper for unpaid contributions.<br />
The proprietor has declared himself unable to<br />
pay. In one case the summons has been<br />
issued, and the. solicitor was instructed to<br />
proceed to judgment and then determine<br />
what action should be. taken in the second<br />
case. The solicitor reported, with regret, the<br />
loss of a County Court action during the past<br />
month. There was a direct conflict of evidence<br />
between the plaintiff and the defendant, but<br />
as the onus rested on the plaintiff to make<br />
out the contract, the Judge considered this<br />
onus had not been discharged. There was no<br />
written agreement to produce in evidence.<br />
In two other small claims the debts have<br />
been paid after the writs had been issued. The<br />
solicitor next reported that one of the members<br />
of the Society having entrusted the original<br />
MS. of one of his published works to an<br />
agent for sale for a fixed sum, the agent had<br />
sold the MS. for a quarter of the amount.<br />
However, under pressure brought to bear by<br />
the Society, the MS. had been restored to the<br />
author, and the money to the purchaser.<br />
Another case was quoted by the solicitor<br />
where it was impossible to obtain the return<br />
of a MS. from the editor of a magazine. After<br />
a writ had been issued, the MS. was promptly<br />
returned. Then followed two dramatic cases.<br />
The first referred to the infringement of the<br />
work of a member of the Society by the<br />
roduction in the music halls of a sketch.<br />
The defendant put forward in defence that<br />
the play produced is a condensed version of<br />
a play written by himself prior to the publica-<br />
tion of the member’s book, but it does not<br />
appear that the original MS. is forthcoming.<br />
The second case was brought to the Society<br />
by a member, with the recommendation of<br />
the Dramatic Sub-Committee. The alleged<br />
infringer is also a member of the Society.<br />
After consideration of the evidence, the<br />
solicitor came to the conclusion that if any<br />
action was taken it should be rather for breach<br />
of confidence than for infringement of copyright.<br />
In both these cases the committee decided to<br />
carry forward the matter on behalf of the<br />
complainants. The next case related to an<br />
infringement of a member’s copyright, by the<br />
publication of a story in a penny weekly. It<br />
was decided to take the matter up. The next<br />
case related to an infringement of copyright<br />
in Canada, and here, also, the committee<br />
decided to support the author, but subject to<br />
the latter being responsible for a portion of<br />
the costs. A case of a demand made by a<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
publisher against an author under a contract<br />
between them, was also reported by the<br />
solicitor, and the committee decided to a<br />
defend any action brought against the<br />
author by the publisher.<br />
<br />
The secretary. then reported a complaint<br />
made against him by a member of the Society,<br />
in a case where he had acted as arbitrator.<br />
The secretary read the correspondence, and it<br />
was decided to write to the member on the<br />
subject. The secretary mentioned, also, to<br />
the committee a dispute arising between a<br />
member and his publisher on various points<br />
of accounts and the interpretation of clauses<br />
in the agreement. The committee authorised<br />
that counsel’s opinion should be taken, and<br />
if this opinion was favourable stated that<br />
they would support the member by legal<br />
action if necessary.<br />
<br />
After the cases had been disposed of, the —<br />
secretary laid before the committee the letters .<br />
he had received from editors, dealing with —<br />
the question of payment to contributors of —<br />
accepted contributions. It was decided, in —<br />
accordance with suggestions from important<br />
editors, to invite a formal conference at an .<br />
early date. The committee hope that a large :<br />
number of editors may agree to some definite —<br />
and uniform arrangement being established. —<br />
<br />
The next matter discussed was the practice<br />
of the proprietors of certain magazines who<br />
send receipts to contributors for their :<br />
signature, and, in some cases, cheques with e<br />
a receipt printed at the back, purporting to<br />
convey copyright to the magazine, although —<br />
no contract for such a transfer had previously —<br />
been made. The secretary was instructed —<br />
<br />
<br />
<br />
to deal with the whole subject in The<br />
Author. :<br />
The committee discussed at length the<br />
<br />
question to be placed before the General<br />
Meeting and the Council in regard to the —<br />
commission to be charged by the Society om<br />
all sums collected by members through the<br />
intervention of the solicitors in whatever<br />
country action were taken. The committee<br />
decided to support a proposal that in all<br />
eases where the member did not employ the<br />
Collection Bureau the commission should be<br />
10%, as against 5% which the Bureau charges —<br />
its members for carrying through the same<br />
matter.<br />
<br />
At the suggestion of the Composers’ Sub-<br />
Committee, an article had been written dealing<br />
with an agreement from a music publisher.<br />
This article was laid before the committee and<br />
<br />
assed, and appears elsewhere in this number<br />
of The Author.<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
ComposERS’ SuB-COMMITTEE.<br />
<br />
‘T . Tuts sub-committee held their March mect-<br />
ging at the new offices of the Society, No. 1,<br />
‘a9 Central Buildings, Tothill Street, Westminster,<br />
¥7.S.W., on Saturday, March 8. After the<br />
aiiminutes of the previous meeting had been<br />
seeread and signed, the secretary reported that<br />
, an article referring to Messrs. Curwen & Sons’<br />
“mg agreement, had been passed by the Committee<br />
/ tof Management for publication in The Author.<br />
o/ The secretary then placed before the sub-com-<br />
jipmittee the papers of The Genossenschaft Deut-<br />
oscher Tonkunstler, and received instructions<br />
26 to send out a copy of their contract to all the<br />
“emembers of the sub-committee, and to place<br />
o) the matter on the agenda for the next meeting.<br />
11The secretary reported, also, that the circular<br />
‘to. settled at the previous meeting of the sub-<br />
‘i: committee had been sent out to the members<br />
| 1 of the Society of British Composers, and that<br />
_s he had obtained a further list of composers, to<br />
ts whom it would be sent in due course. The<br />
‘fs answers would be laid before the sub-committee<br />
4: at their next meeting.<br />
L The question cf mechanical rights was<br />
i) discussed, and a suggestion made that com-<br />
‘oc posers should deal with these separately, and<br />
‘0; not in conjunction with the sale of their sheet<br />
j@ music. The secretary was instructed to take<br />
i steps to get into touch with the mechanical<br />
reproducers with a view to coming to some<br />
“1 arrangement.<br />
F, A question relating to the manufacture of<br />
‘ai stamps for the mechanical reproductions of<br />
“o compositions was discussed, and it was decided,<br />
’ a in those cases where it would not pay individual<br />
“9 composers to purchase large quantities of<br />
»} stamps, that the Society should manufacture<br />
J stamps which could be endorsed with the<br />
“© initials of the composer.<br />
<br />
os<br />
<br />
Cases.<br />
<br />
Durine the past month there have been<br />
“44 twenty cases in the hands of the secretary.<br />
‘1 The list is rather a curious list. Usually the<br />
claims for money exceed other cases, but in<br />
the past month claims for MSS. head the<br />
list. There have been seven claims under<br />
+ this heading and three have been successful,<br />
the MSS. have been returned and forwarded<br />
to the authors. One failed owing to the fact<br />
that although the agent to whom the MSS,<br />
had been sent had tried to find them, the<br />
author had no evidence that they had actually<br />
reached the agent’s office. Itis possible, there-<br />
fore, that they may have been lost in transit.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
191<br />
<br />
Two are still in the course of negotiation.<br />
In one case the claim is in Hungary and<br />
the other in the United States. Sufficient<br />
time has not elapsed for a reply to be forth-<br />
coming to the secretary’s demand. The last<br />
case has only recently come into the office.<br />
<br />
There have been six claims for accounts<br />
from publishers, and all these have been<br />
settled. The accounts have been delivered,<br />
and where money was due, the money has<br />
been paid.<br />
<br />
Three questions have arisen out of author’s<br />
agreements. Here again two are in foreign<br />
countries, both being in the United States of<br />
America ; in one case the author is an American<br />
citizen, and in the other case the publisher.<br />
Sufficient time has not as yet expired in order<br />
to obtain a reply, but no doubt before the<br />
May issue these cases will have been closed.<br />
The third case is one of a dispute between the<br />
author and a publisher as to the charge for<br />
corrections. These cases are always very<br />
difficult to deal with, but if the publisher can<br />
show the proper vouchers, the author will<br />
have to meet the claim; at present the<br />
vouchers have not been produced.<br />
<br />
There were four cases of claims for money,<br />
two of which have been settled and the money<br />
has been paid. The third is in the course of<br />
favourable negotiation, and the fourth has<br />
only recently come to the office.<br />
<br />
There are still three cases open from last<br />
month, and two cases which have had to be<br />
placed in the hands of the Society’s solicitors.<br />
The work of the Society’s solicitors and the<br />
law work of the Society is fully detailed in<br />
the Committee Notes.<br />
<br />
++<br />
<br />
Elections.<br />
<br />
50, Hans Place, S.W.<br />
<br />
“The Knoll,” Kid-<br />
more Road, Caver-<br />
sham, Reading.<br />
<br />
** Gleneairn,’? Cam-<br />
bridge Road,<br />
Bournemouth.<br />
<br />
‘** Homesfield,” near<br />
Sheffield.<br />
<br />
Broadbent, D. R.<br />
Campbell, Mrs. Perugini<br />
<br />
‘anning, Ethel<br />
<br />
, Carpenter, Edward<br />
<br />
Fish, W. Wilfred Blair<br />
(‘‘ Wilfred Blair ’’)<br />
Grantham, Mrs.<br />
Frederick (‘ Alexan-<br />
<br />
dra von Herden”’’).<br />
<br />
, Ireland, John. :<br />
<br />
Beelcigh Abbey,<br />
Maldon, Essex.<br />
<br />
4, Elm Park<br />
Mansions, Chelsea,<br />
S.W.<br />
<br />
5<br />
<br />
<br />
<br />
<br />
192<br />
Keating, The Rev. John ‘“ Ariston,” New<br />
Lloyd, M.A. Church Road,<br />
Hove.<br />
Kindersley, Mrs. D. Y... 15, Gwydyr Man-<br />
sions, Hove,<br />
Sussex.<br />
<br />
** Derrymore,”’ Park-<br />
stone, Dorset.<br />
<br />
4, Bertram Road,<br />
Hendon, N.W.<br />
<br />
Savage Club, W.C.<br />
<br />
Southborough Com-<br />
mon, Kent.<br />
King’s House,<br />
Tower of London,<br />
<br />
Law, Hamilton<br />
Martin, Geoffrey :<br />
<br />
Merrick, Leonard ;<br />
Oyler, Leslie Mary<br />
<br />
Pipon, Miss Geraldine M.<br />
<br />
E.C.<br />
— St. John, Christopher 31, Bedford Street,<br />
Marie. Strand, W.C.<br />
Sawrey, Miss Fannie H. 22, Earl’s Court<br />
<br />
Square, S.W.<br />
<br />
Sholl, Margaret, V.<br />
(‘‘ Margaret Heriot<br />
Hallam ’’).<br />
<br />
Tharp, Robert C. . 86, Ladbroke Grove,<br />
WwW<br />
<br />
Turquet, Madame 59, Loxley Road,<br />
André (“ G. Turquet- Wandsworth Com-<br />
Milnes ’’). mon, S.W.<br />
<br />
Wigley, H. (‘“ Lincoln<br />
Green ’’).<br />
<br />
ee ele<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
—<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as poumble, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
BIOGRAPHY.<br />
<br />
Lirtte JENNINGS AND Ficutine Dick Tatsot: A Lire<br />
oF THE Duxr anp DvucuEess or TyRconNEL. By<br />
Parr W.Sererant. 2vols. 674pp. 17 illustrations.<br />
Hutchinson. 24s. n.<br />
<br />
BOOKS OF REFERENCE.<br />
<br />
CassELL’s Dictionary oF Practica, GARDENING.<br />
Edited by W. P. Wricut. PartI. 103 x 74. 48 pp.<br />
Cassell. 7d. n.<br />
<br />
InpDEXES TO THE ANCIENT TESTAMENTARY RECORDS OF<br />
Westminster. By A. M. Burks, F.S.A, 11} x 7}.<br />
104 pp. Eyre & Spottiswoode. 12s. 6d. n.<br />
<br />
DRAMA [AND ELOCUTION.<br />
<br />
Quen Tana. By Darrent Fiaais. 6% x 5. 92 pp.<br />
Dent. Ils. n,<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Towarps 4 New Tuxarre. Forty Designs for Stage<br />
Scenes, with critical notes by the Inventor, Epwarp<br />
Gorpon Craig. 13 X 114. 90 pp. 40 Plates. Dent,<br />
21s. n.<br />
<br />
Four Prays. By Gmpert Cannan. 74 X 5. 84 Pp.<br />
Sidgwick & Jackson. 2s. 6d. n.<br />
<br />
FICTION.<br />
<br />
Tue Souttor A Man. By Durex Vanz. Holding<br />
Hardingham. 6s.<br />
Tue Matine or Lypia. By Mrs. Humpury Warp,<br />
72 x 5. 462 pp. Smith, Elder. 6s.<br />
Srupizs In Love anp IN TEeRRoR. By Mrs. BEL1o<br />
Lownpzes. 74 x 5. 299 pp. Methuen. 6s.<br />
THe Riaut HONOURABLE GENTLEMAN,<br />
Norris. 74 x 5. 315 pp. Constable. 6s.<br />
SieEpine Waters. By Joun TREVENA.<br />
pp. Constable. 6s.<br />
THE Two CaRNATIONS.<br />
280 pp. Cassell. 6s.<br />
Mrs. Pratt or Parapise Farm. By KatTHarine Tynan,<br />
7% x 5. 310 pp. Smith, Elder. 6s.<br />
Aunt OLIVE IN Bonemisa. OR THE INTRUSIONS OF A<br />
Farry GopmotHEer. By Les~rz Moorn. 74 x 4h<br />
Alston Rivers. 6s.<br />
Natuatia. By Frep WnuisHaw. 7} xX 5. 320 pp.<br />
<br />
By Mansoriz BowEn. 72 X<br />
<br />
J. Long. 6s.<br />
<br />
A“ Youne Lavy.” A Study in Selectness. By H. W.C,<br />
Newrtr. 74 x 5. 393 pp. Chatto & Windus,<br />
6s.<br />
<br />
Ir rr Pieasz You. By Ricwarp Marsu. 7 X<br />
316 pp. Methuen. 6s.<br />
<br />
Lovz’s Sotprer. By Oxive Curistran Macxrrpy (Mrs.<br />
Archibald Mackirdy). 7x 5. 336pp. Cassell. 62.<br />
<br />
Porson. By Aice and CLaupE ASKEW. 74 X<br />
290 pp. Nash. 3s. 6d. n.<br />
<br />
Tue SicN or Four. By A. Conan Doyir. 6} X<br />
286 pp. (The Nelson Library.) Nelson. 7d. n.<br />
<br />
Tue CatrisH. By Cuar“es Marriorr. 8 x 5. 352 p<br />
Hurst & Blackett. 6s.<br />
<br />
THE ComBrneD Mazz. By May Sincuar. 7} X<br />
336 pp. Hutchinson. 6s.<br />
<br />
Tue Strotiine Sart. By Rarant SABATINI. 7} X<br />
<br />
By Una L. SmperraD. 74 X<br />
<br />
328 pp. Stanley Paul. 6s,<br />
383 pp. Constable. 6s.<br />
7% x 5. 298 pi<br />
<br />
Karen or LowsBore.<br />
<br />
Lirrep Curtains. By E. Nosie.<br />
<br />
Constable. 6s.<br />
<br />
Tue Beacon WatcHEers. By Viotet A.Smreson 7}<br />
43. 366 pp. Chapman & Hall. 6s.<br />
<br />
Requirat. By Mrs. J. 0. Annotp. 72 xX 5. 301 p<br />
Methuen. 6s.<br />
<br />
Everyman’s Desire. By Mary Gaunt. 73 X 4%<br />
341 pp. Werner Laurie. 6s.<br />
<br />
Wars Mottry. By Max Pumperton. 72 x 5. 3!<br />
pp. Cassell. 6s.<br />
<br />
Guioomy Fanny AnD OTHER [FouR] Stories. By Morte:<br />
Rozserts. 74 x 5. 259pp. Nash. 6s.<br />
Tur RETURN OF THE Perticoat. By WARwick DEEPIN<br />
<br />
811 pp. (Revised Edition.) Cassell. 1s. n.<br />
<br />
HISTORY.<br />
<br />
Tue Passinc of THE TURKISH Empire IN EUROPE.<br />
Captain B. GRANVILLE Baker. 9 X 5}. 335 pi<br />
Seeley Service. 16s. n.<br />
<br />
LITERARY.<br />
<br />
Tous or THE Spratt. A Book of Thoughts. By Aue<br />
SrrmnpBerG. With an Introduction by A. BaBILLoT!<br />
Translated by CuauD Fienp. 7$ x 65. 286<br />
Allen. 5s. n.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
©; Atone THE Roap. By ArTuuR CHRISTOPHER BENSON.<br />
Le 8} x 5). x. xX 383 pp. Nesbit. 7s. 6d. n.<br />
<br />
= Dr. JoHNson anp His Crrctz. By JouNn Batney.<br />
: 256 pp. Tue Victortan AcE IN Literature. By<br />
G. K. Cuesterton. 256 pp. THe Nrewsparer. By<br />
G. Bryyzy Drpster. 256 pp. 63 x 44. (Home<br />
ee Library.) Williams &,; Norgate. ls.j n.<br />
each.<br />
<br />
<br />
<br />
MEDICAL.<br />
<br />
1 1A Hosprran mw THe Maxine. A history of the National<br />
H Hospital for the Paralysed and Epileptic (Albany<br />
Memorial), 1859—1901. By B. Burrorp RawLines.<br />
74x 5. 271 pp. SirIsaac Pitman. 5s.n.<br />
<br />
<br />
<br />
MISCELLANEOUS.<br />
<br />
d= PERSONALITY AND TELEPATHY. By F. C. CoNnsTaBLe.<br />
a Kegan Paul. 7s. 6d. n.<br />
<br />
i Tue Mystic Way: A PsycHonocican Stupy IN Caris-<br />
T gran Ortcins. By Evetyn Unperuiy. J. M. Dent<br />
<br />
% & Sons. 12s. 6d. n.<br />
MUSIC.<br />
<br />
i ‘THe Sun’ Worsnrpper. Words by PETRONELLA<br />
) O’DonnELL. Music by the Rev. M. T. Coatzs. Bristol:<br />
i Ernest Crichton. 1s. 6d.<br />
<br />
oM Moon anp Sua. Words by PrrronetntaA O'DONNELL.<br />
£ Music by the Rev. M. F. Coarzs. Bristol: Ernest<br />
) Crichton. Is. 6d.<br />
<br />
NATURAL HISTORY.<br />
<br />
2 British Brrps’ Nests. How, Where, and When to Find<br />
and Identify Them. By R. Kearton, F.Z.S8. 9} x 6.<br />
520 pp. Cassell. 14s. n.<br />
mE Tue Crectine Year. By W.P. WesTett, D.Sc. Part I,<br />
{ Rambles in Spring. Part Il., Rambles in Summer.<br />
i Part ITI., Rambles in Autumn. 9% x 74. Nelson.<br />
<br />
PHILOSOPHY.<br />
<br />
“£ AnIntropuction To Metapnysics. By Henri Bercson.<br />
Authorized translation. By T. E. Hutmg. 8 x 5.<br />
79 pp. Macmillan. 2s. n.<br />
<br />
POLITICAL,<br />
<br />
From THE Near East, 1909—1912. By<br />
74 x 5. 187 pp. Smith, Elder<br />
<br />
a2 Lurrers<br />
Maurice Barine.<br />
3s. 6d. n.<br />
<br />
27 Panama AND WHatit Means. By Joun Foster Fraser.<br />
7k < 5.291 pp. Cassell. 6s.<br />
<br />
SOCIOLOGY.<br />
<br />
“W WaySrtations. By Eximaseru Rosrs.<br />
Hodder & Stoughton. 6s. n.<br />
<br />
THEOLOGY.<br />
©) Conressions of A ConvERT. By Roperr Huan Benson.<br />
: 8 x 54. 164pp. Longmans. 3s. 6d. n.<br />
4 RELIGION AND THE Crisis. By Harotp Brecair. 7} Xx<br />
4%. 126 pp. Cassell. Is. n.<br />
Oo On THE INFLUENCE oF RELIGION anp Upon TrUTH-<br />
FruuNess. By F. H. Prrrycosrn, B.Sc. 73? x 5.<br />
324 pp. Watts. 45s n<br />
<br />
8x 5. 352 pp.<br />
<br />
<br />
<br />
<br />
TRAVEL.<br />
<br />
9 ‘Qursec: THe LAvRENTIAN PRovINcE.<br />
f Wittson. 9 x 5h. xii.<br />
10s. 6d. n.<br />
<br />
<br />
<br />
By Brcxizs<br />
x 271 pp. Constable.<br />
<br />
<br />
<br />
193<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
ee<br />
T the annual meeting of the Royal<br />
Literary Fund, on March 12, Mr.<br />
Rowland E. Protheroe, who presided,<br />
said the amount raised by the dinner was the<br />
largest with two exceptions in the history of<br />
the fund. He wished, however, that they<br />
could secure a more permanent and _ less<br />
fluctuating source of income to rely upon, and<br />
an increase in membership. They had at<br />
present some 700 members, and it would be a<br />
very good thing if they could raise their mem-<br />
bership to 1,000. The annual dinner was fixed<br />
for May 27; Lord Curzon would preside, and<br />
the Archbishop of Canterbury and Lord<br />
Morley would be among the speakers. The<br />
annual report, which showed that the income<br />
of the fund (including a balance from the<br />
previous year) was £5,487, and that during<br />
the year £3,020 was voted in grants to forty<br />
applicants, as compared with £2,125 to<br />
thirty-eight applicants in the previous year,<br />
was adopted. The president, vice-presidents,<br />
and members of the council were re-elected,<br />
with the addition of Viscount Haldane of<br />
Cloan as vice-president, and Mr. Reginald J.<br />
Smith, K.C., as a member of the council.<br />
<br />
Mr. Eden Phillpotts’s new novel, “‘ Wide-<br />
combe Fair,’”’ has been published by Mr. John<br />
Murray. It is a study of the varied life and<br />
interests of a sequestered West Country<br />
village. ‘‘ The Joy of Youth,” Mr. Phillpotts’s<br />
story which is running serially in the Fortnightly<br />
Review, reached its twelfth chapter in the<br />
March issue.<br />
<br />
“The Mating of Lydia” is the title of<br />
Mrs. Humphry Ward’s new novel, published<br />
last month by Messrs. Smith, Elder & Co.<br />
<br />
Mr. Henry Arthur Jones has issued, through<br />
Messrs. Chapman & Hall, ‘‘ The Foundations<br />
of a National Drama,”’ a collection of lectures,<br />
essays, and speeches of the years 1896—1912,<br />
revised and added to. Mr. Jones dedicates<br />
his work to “ Brander Matthews, Professor<br />
of Dramatic Literature in Columbia Univer-<br />
sity,’’ whom (he says) he has so often quoted,<br />
that he is “ urged by duty, no less than by<br />
friendship and sympathy,” to make the<br />
dedication. The book is embellished by a<br />
photogravure of Mr. Robert J. Aitken’s bust<br />
of the author. The price is 7s. 6d. net.<br />
<br />
Mr. Frankfort Moore’s new book, ‘‘ Fanny’s<br />
First Novel,” published by Messrs. Hutchinson,<br />
has reached its second edition. In it Mr.<br />
Moore returns to his favourite period. The<br />
“Fanny ” is, of course, Fanny Burney.<br />
<br />
<br />
194<br />
<br />
Mr. Jeffery Farnol’s ‘‘ The Amateur Gentle-<br />
man’? was published by Messrs. Sampson<br />
Low, Marston & Co. on March 8.<br />
<br />
Sir Isaac Pitman & Sons announce a new<br />
and cheaper (5s.) edition of Mrs. Ellis H.<br />
Chadwick’s ‘‘ Mrs. Gaskell: Haunts, Homes<br />
and Stories,” of which the original 16s. edition<br />
appeared in September, 1910. The new<br />
matter includes what is stated to be a strikingly<br />
beautiful portrait of Mrs. Gaskell before her<br />
matriage.<br />
<br />
The same publishers have brought out<br />
Mr. B. Burford Rawlings’s ‘“‘ A Hospital in<br />
the Making,” which is a history of the National<br />
Hospital for the paralysed and_ epileptic<br />
(Albany Memorial) between the years 1859<br />
and 1901. The price is 5s. net.<br />
<br />
In ‘The Romance of an Elderly Poet”<br />
(Messrs. Stanley Paul & Co., 10s. 6d. net),<br />
Messrs. A. M. Broadley and Walter Jerrold<br />
collaborate on “‘A hitherto unknown chapter<br />
in the life of George Crabbe,” based upon a<br />
series of letters written by Crabbe in 1815—25<br />
to Miss Elizabeth Charter. Much information<br />
is given in them concerning life in Bath and<br />
its neighbourhood at the period.<br />
<br />
Messrs. Stanley Paul announce two new<br />
Napoleon books, ** Napoleon in Exile at Elba,<br />
1814—1815,” and “Napoleon in Exile at<br />
St. Helena, 1815—1821,”’ both by Mr. Norwood<br />
Young, and both containing a chapter on the<br />
iconography of Napoleon at the time, by<br />
Mr. A. M. Broadley. The first-named work<br />
is priced at 21s., the second at 82s. net.<br />
<br />
Messrs. Stanley Paul are also the publishers<br />
of ‘‘The Life of James Hinton,” by Mrs.<br />
Havelock Ellis, a biography drawn largely<br />
from private papers and the assistance of<br />
intimate friends; of ‘‘ The White Slave<br />
Market ” by Mrs. Archibald Mackirdy (Olive<br />
Christian Malvery) ; of “‘ Samphire,”’ a volume<br />
of essays by Lady Sybil Grant, daughter of<br />
Lord Rosebery; of ‘‘ Torquemada and the<br />
Spanish Inquisition,” by Rafael Sabatini ;<br />
and of a new edition (the sixth, 5s. net.) of<br />
Mr. J. F. Nisbet’s ‘“‘ The Insanity of Genius.”<br />
<br />
Mr. Albany F. Major has written, and the<br />
Rev. C. W. Whistler has edited, a book entitled<br />
““The Early Wars of Wessex: Studies from<br />
England’s First School of Arms in the West<br />
Country.”’ This deals with the warfare of the<br />
pre-Norman period in Western England and<br />
particularly with the Danish invasions. There<br />
are to be maps, plans, and diagrams, and the<br />
volume is to be published by the Cambridge<br />
University Press, at 10s. 6d. net, but sub-<br />
scribers before April 80 will be entitled to<br />
purchase at 7s. 6d.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
In “‘ The Lawyer, Our Old Man of the Sea ”<br />
(Messrs. Kegan Paul, 7s. 6d. net), Mr. William<br />
Durran criticises the legal systems of England,<br />
India, and America, and gives a warning of<br />
the dangers threatening this country if legal .<br />
reforms are not soon introduced. A foreword<br />
is contributed by Sir Robert Fulton, M.A., ©<br />
LL.D.<br />
<br />
Messrs. Longmans, Green & Co. are the<br />
publishers of ‘‘ English Local Government :<br />
The Story of the King’s Highway,” by Sidney ~<br />
and Beatrice Webb; of ‘‘ Confessions of a Con- —<br />
vert’’ and ‘‘ The Paradoxes of Catholicism,’<br />
both by Monsignor R. H. Benson; and —<br />
of “ Levia-Pondera: an Essay Book,” by<br />
Mr. John Ayscough. They have added to<br />
their Silver Library a new edition of Sir. H<br />
Rider Haggard’s ** Rural Denmark and it<br />
Lessons.”<br />
<br />
Mr. Cecil Headlam is the author of the<br />
volume on France in Messrs. A. & C. Black’s<br />
‘* Making of the Nations ”’ series. Thirty-two<br />
full-page and sixteen smaller illustrations —<br />
decorate the book, of which the price is 7s. 6d.<br />
net.<br />
<br />
Three new medical works from the same |<br />
firm are ‘“‘ The Handbook of Medical Treat<br />
ment ”’ (8s. 6d.), ‘* The Pocket Clinical Guide ” ©<br />
(1s. 6d.), and ‘‘The Pocket Prescriber ”’<br />
(1s.), all by Mr. James Burnet, M.A., M.D.<br />
M.R.C.P.E.<br />
<br />
Mr. John Foster Fraser’s “‘ Panama and<br />
What It Means ’’ was published at the begin- |<br />
ning of last month by Messrs. Cassell, at 6s.<br />
It is the fruit of a special visit to the Canal<br />
zone.<br />
<br />
Messrs. John Long last month published a —<br />
novel entitled ‘“‘ A Girl of No Importance ”<br />
by Olivia Ramsey, author of “The Other<br />
Wife,” ‘‘ Two Men and a Governess,”’ etc. ©<br />
The story depicts some love episodes in the<br />
life story of a young peer, the scenes being —<br />
laid alternately in London and in the heart of ©<br />
the country.<br />
<br />
Messrs. John Long are also the publishers.<br />
of a new novel, ‘‘ Nathalia,”’ by Fred Whishaw, |<br />
author of ‘‘ The Revolt of Beatrix,” ete. The<br />
scene is laid at Moscow in the period which —<br />
just preceded the birth of Peter the Great,<br />
whose parentage was from the first a matter”<br />
of mystery and controversy in Court circles. —<br />
Mr. Whishaw extracts his romance out of the:<br />
life of the beautiful Nathalia Narystkin, —<br />
mother of Peter.<br />
<br />
Messrs. Watts & Co. have published, on<br />
behalf of the Rationalist Press Association, a —<br />
volume by Mr. F. H. Perrycoste entitled ‘‘ The:<br />
Influence of Religion upon Truthfulness.”<br />
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THE AUTHOR,<br />
<br />
‘1) This volume comprises two more chapters of<br />
<br />
the author’s magnum opus, of which a first<br />
instalment appeared three years ago under<br />
the title of ‘‘ Religion, Faith, and Morals.”<br />
<br />
«| In a prefatory note to the new volume the<br />
<br />
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author expresses the hope that it may be<br />
possible anon for him to do justice to himself<br />
and his critics alike by publishing the chapters<br />
of his Prolegomena, in which the scope and<br />
method of the whole work are explained in<br />
detail, and the philosophical foundations for<br />
his historical enquiry are laid.<br />
<br />
“Celestial Fire,” a Seventeenth Century<br />
devotional book, re-edited by E. M. Green,<br />
with a preface by the Rev. George Congreve,<br />
gives in its introduction the story of what is<br />
probably a unique experience in publishing.<br />
The editor acknowledges the most acceptable<br />
help, in unravelling the tangle, of the Society<br />
of Authors.<br />
<br />
The Rev. James Eckersley edits ‘‘ The<br />
Responsive Psalter,’ which, as the sub-title<br />
states, contains “‘the psalms set to chant-<br />
forms in accordance with the parallelisms of<br />
Hebrew poetry, and designed to conduce to a<br />
natural and expressive rendering of the words<br />
on the part of both choir and congregation.”<br />
The publishers are Messrs. Simpkin, Marshall<br />
& Co.<br />
<br />
“The Celibacy of Maurice Kane” is a<br />
novel by V. Conway-Gordon, published by<br />
Messrs. Holden & Hardingham.<br />
<br />
In “Where Education Fails” (Messrs.<br />
Ralph, Holland & Co., 1s. net) Mr. Preston<br />
Weir attempts to find the explanation of the<br />
non-success of the modern educational system<br />
in England compared with the hopes of its<br />
promoters. Lord Sheffield contributes an<br />
introduction.<br />
<br />
Miss Jeannette Marks publishes her “* Gallant<br />
Little Wales’ through the Houghton Mifflin<br />
Co., of New York and Boston. The book is<br />
illustrated from old prints, and is sold at a<br />
<br />
_ dollar and a quarter.<br />
<br />
Mr. F. Cullen Gouldsbury’s ‘“‘ Songs out of<br />
Exile (Rhodesian Rhymes) ”’ is published by<br />
Mr. T. Fisher Unwin at 3s. 6d. net.<br />
<br />
The same publisher is bringing out a play<br />
entitled “‘ This Generation ” by Mr. S. M. Fox.<br />
This play (which has not yet been acted),<br />
though not professing to give a picture of<br />
contemporary Socialism, has for its hero a<br />
<br />
_ socialist who is in conflict with his environ-<br />
<br />
ment.<br />
<br />
Some months ago a prize of 5,000 francs was<br />
offered for the best French novel published<br />
in 1911, in the judgment of a number of<br />
Parisian society celebrities. The prize was<br />
<br />
195<br />
<br />
carried off by a story by M. Louis de Robert,<br />
which is now to make its appearance in English<br />
under the title “‘ Life’s Last Gift.’ It deals<br />
with a young man stricken down with ill-<br />
health and seeking to requite a passion which<br />
comes to him in his last months of life. The<br />
English publishers are Messrs. Stanley Paul &<br />
Co., who will also add the book to their Colonial<br />
Library.<br />
<br />
** Shepherds of Britain,” by Miss Adelaide<br />
L. J. Gosset (Messrs. Constable & Co., 7s. 6d.<br />
net), is a prose anthology of literature dealing<br />
with shepherds and sheep, including contribu-<br />
tions from the pen of the editor herself. A<br />
companion volume is her ‘Shepherd Songs<br />
of Elizabethan England” (same _ publishers,<br />
5s. net).<br />
<br />
EK. Newton Bungey’s ‘‘ The Fordington<br />
Twins”? (Lynwood & Co.) deals with twin<br />
children brought up in poor circumstances,<br />
who unexpectedly inherit large property and<br />
have to own it jointly, as no one knows which<br />
is the elder. The book, which is mainly on<br />
humorous lines, will be out at the end of April<br />
or the beginning of May. About the same<br />
time a 2s. edition of the same author’s previous<br />
novel, “‘ Corn in Egypt,”’ will be issued.<br />
<br />
Mr. Stephen Knott’s new novel “ Once<br />
Round,” a story of Military life, will be pub-<br />
lished on April 2, by Messrs. Murray &<br />
Evenden.<br />
<br />
A short story by John Hasleth Vahey will<br />
appear shortly in the Pall Mall Magazine,<br />
and a new novel by the same writer, to be<br />
called ‘‘The Shadow of Salvador,’ with<br />
Messrs. Heath, Cranton and Ouseley, is also<br />
expected this spring. Mr. Vahey’s last novel,<br />
“<The Mesh,” appeared through Messrs.<br />
Sampson Low & Co.<br />
<br />
Mr. J. Stanley Little’s address delivered at<br />
Farnham on “ Thomas Hardy: Our Greatest<br />
Prose Poet,” is to be published shortly.<br />
<br />
‘““The Green Powder,’ a new novel by<br />
Miss Lillias Campbell Davidson, has just been<br />
published serially in the pages of the Daily<br />
News. Messrs. Partridge & Co. announce an<br />
immediate issue of a third edition of the same<br />
writer’s, ‘‘ A Girl’s Battle.”<br />
<br />
A booklet which has just been issued, under<br />
the suggestive title of ‘“‘ More Light on the<br />
Woman Question,” contains a record of the<br />
proceedings of the first Congress of the Men’s<br />
International Alliance for Woman Suffrage,<br />
held in London in October last, and gives<br />
the salient points from the numerous speeches<br />
made on the occasion by the English repre-<br />
sentatives and foreign delegates. There are<br />
two illustrations—a portrait of Sir John<br />
<br />
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196<br />
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Cockburn, K.C.M.G., the President of the<br />
International Alliance, and a photographic<br />
group of the delegates and associates of the<br />
Congress. Mr. Jaakoff Prelooker, editor of<br />
The Anglo-Russian, is responsible for the<br />
literary part of the record, which is issued from<br />
the headquarters of the Men’s League for<br />
Women’s Suffrage, price 2d. :<br />
<br />
Mr. Philip W. Sergeant’s new two-volume<br />
biography, ‘‘ Little Jennings and Fighting<br />
Dick Talbot,’ was published by Messrs.<br />
Hutchinson & Co. at the beginning of March.<br />
<br />
Mr. Perriton Maxwell announces his retire-<br />
ment as manager and editor of Nash’s<br />
Magazine, and is returning to the United<br />
States to take charge of Hearst’s Magazine.<br />
<br />
Mr. Stanley Paul, of 31, Essex Street,<br />
Strand, has acquired the business of Messrs.<br />
Greening & Co., Ltd. The firm of Greening &<br />
Co. will be continued under its own name ;<br />
and as there are some 800 titles on its list,<br />
Mr. Stanley Paul, who will conduct both<br />
businesses from his office in Essex Street, will<br />
by this arrangement control the management<br />
of upwards of 1,300 current books.<br />
<br />
The firm of Greening & Co. was founded<br />
sixteen years ago by Mr. Arthur Greening.<br />
The Lotus Library of foreign classics in trans-<br />
lations is one of the firm’s most valuable<br />
properties, containing stories by Anatole<br />
France, Daudet, Zola, Flaubert, Dumas, de<br />
Maupassant, Gaborian, Gautier, and de<br />
Musset. Mr. Paul intends to add a large<br />
number of more serious volumes to balance<br />
the fiction library in the list, and among the<br />
first books are announced a series of ‘“‘ Memoirs<br />
of Secret History,” concerning the French<br />
Revolution, the ‘‘ Recollections of an Officer<br />
in Napoleon’s Army,” and a volume on<br />
Madame de Pompadour in the Court Series<br />
of ‘‘ French Memoirs.”<br />
<br />
Mr. Arthur Beckett’s book, ‘“‘ The Wonderful<br />
Weald, and the Quest of the Crock of Gold,”<br />
is shortly to be republished in a 6s. edition<br />
by Messrs. Mills and Boon. In addition to<br />
the twenty illustrations in colour by Mr. E. F.<br />
Marillier, the new edition will contain a novel<br />
map in which the most romantic places in<br />
the Weald of Sussex will be shown in symbolic<br />
form.<br />
<br />
DRAMATIC.<br />
<br />
The notable run of “ Little Miss Llewellyn,”<br />
at the Vaudeville Theatre, has been followed<br />
by a revival of Sir Arthur Pinero’s farce<br />
““The Schoolmistress,’’ which was first seen<br />
at the Court twenty-seven years ago, and<br />
attained its 292nd performance there. The<br />
<br />
THE AUTHOR.<br />
<br />
cast at the Vaudeville includes Miss Hilda<br />
Trevelyan as Peggy Hesslerigge, Mr. Edmund<br />
Gwenn as Admiral Rankling, and Mr. Dion<br />
Boucicault as Vere Queckett.<br />
<br />
A new one-act play—or domestic episode,<br />
as we understand it is called—by Sir Arthur<br />
Pinero is in rehearsal at the St. James’s<br />
Theatre. Its title is ‘‘ Playgoers,” and it is<br />
to be played in conjunction with Mr. A. E. W.<br />
Mason’s *“‘ Open Windows,”’ of which the first<br />
performance took place on March 11, with<br />
Mr. George Alexander and Miss Irene Vanbrugh<br />
in the leading parts.<br />
<br />
Miss Cicely Hamilton’s dramatic version of<br />
Mr. Edgar Jepson’s ‘“‘ Lady Noggs, Peeress,”<br />
is to be transferred from the evening bill at<br />
the Comedy Theatre to the afternoon, during<br />
Mr. Kenneth Douglas’s season, which com-<br />
mences at the Comedy early this month.<br />
<br />
March 4 saw the production at the Aldwych<br />
Theatre of ‘‘ Her Side of the House,” a three-<br />
act comedy by Mr. Lechmere Worrall and<br />
Miss Atté Hall.<br />
<br />
On March 20 ‘‘ The Greatest Wish,’’ Mr. E.<br />
Temple Thurston’s dramatisation of his own<br />
novel, was produced by Mr. Arthur Bourchier<br />
at the Garrick Theatre, succeeding Mr. Stanley<br />
Houghton’s “‘ Trust the People.”<br />
<br />
‘The Morning Post,” a one-act play by<br />
Mr. Morley Roberts and ‘“‘ Henry Seton,” was.<br />
seen at Miss Esmé Beringer’s matinée at the<br />
Court Theatre on March 11, and subsequently<br />
was put into the evening bill at the Strand, as<br />
a curtain-raiser to ‘‘ The Woman in the Case.”<br />
<br />
On Easter Monday “ The Happy Island,”<br />
Mr. J. B. Fagan’s adaptation of the Hungarian<br />
dramatist, Melchior Longyel’s “* The Prophet,”<br />
was the play chosen by Sir Herbert Tree for<br />
his reappearance at His Majesty’s Theatre.<br />
The title first announced was “A White<br />
Man’s Burden,” but ‘‘ The Happy Island”<br />
was what was finally decided upon.<br />
<br />
At the Gaiety Theatre, Dublin, on<br />
February 25, there was seen a new poetic<br />
tragedy in three acts—** Queen Tara,” by<br />
Mr. Darrell Figgis. The play has been pub-<br />
lished in book form by Messrs. Dent, at 2s.<br />
cloth, and 1s. paper.<br />
<br />
The Stockport Garrick Society recently<br />
performed a play in three acts and a prologue,<br />
<br />
entitled ‘‘Jephthah’s Daughter,” by the<br />
author, whose pseudonym is X.Y.Z.<br />
At the Théitre Mboliére, Paris, on<br />
<br />
February 28, “‘ Une Adventure du Capitaine<br />
Lebrun ” was played for the first time. The<br />
author of this was Mrs. Irene Osgood, who has<br />
since the production been elected a member of<br />
the Society of Dramatic Authors in Paris.<br />
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Nel RS<br />
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THE AUTHOR.<br />
<br />
An organisation has been established for the<br />
representation of French plays in London, with<br />
Mr. J. T. Grein as chairman of the Executive<br />
Committee. The name of “‘ The Little French<br />
Theatre’? has been selected, and a West End<br />
house is to be secured, for Sunday performances<br />
in the winter, and week-day performances in the<br />
summer. The prospectus points out that, as<br />
the productions will be private, all the recently<br />
successful plays in Paris will be open to inclu-<br />
sion in the repertory. The regular company<br />
will be recruited from the considerable body<br />
of French actors in London. The annual<br />
subscription to the society will be 10s. 6d.,<br />
which will entitle members to a certain number<br />
of seats. Further particulars can be obtained<br />
from Mr. Philip Carr, who is the ‘ adminis-<br />
trator ”’ of the Executive Committee.<br />
<br />
The Masque, “‘ Love and the Dryad,” com-<br />
posed by Agnes H. Lambert (Mrs. Heygate<br />
Lambert), will be given, under the direction<br />
of the composer, at the King’s Hall Theatre,<br />
Covent Garden, on April 29, at 3 p.m. There<br />
will be a full orchestra, conducted by<br />
Mr. Eugene Goussens. The dances have been<br />
arranged for the stage by Miss Ruby Gernier,<br />
who will play the part of the Dryad. The<br />
caste includes Miss Evangeline Florence,<br />
Mr. Herbert Bromilow, Mr. Ernest Groom and<br />
others. The Masque will be followed by a<br />
dramatic scene ‘‘ Pan and the Woodnymph,”<br />
written and composed by Mr. Harrison<br />
Frewen, in which Miss Evangeline Florence<br />
will take the principal part. Tickets may<br />
be obtained from Messrs. Chappell & Co., and<br />
Messrs Keith, Prowse & Co., Bond Street.<br />
<br />
At the production of prize plays in the<br />
Lyceum Club competition at the special<br />
matinée, King’s Hall, Covent Garden, on<br />
March 12, one of the plays acted was Mrs.<br />
Steuart Erskine’s ‘‘ John Anderson’s Chance,”<br />
the scene of which is laid in “‘ the dining-room<br />
of a small house at Hampstead” at the<br />
present day.<br />
<br />
Mr. James A. Douglas, the author of ‘“‘ The<br />
Outcome of Agitation,” produced at the<br />
Kingsway Theatre, and another four-act play,<br />
just secured by a prominent London manager,<br />
has a story of the North West Territory,<br />
entitled ‘‘ The Lovers of the West,” in the<br />
Canadian News.<br />
<br />
MUSICAL.<br />
<br />
Mr. William Wallace, on January 1, delivered<br />
an address on ‘“‘ The Musician and Personal<br />
Responsibility,” to the Incorporated Society of<br />
Musicians, then in annual conference at Bir-<br />
mingham. This address has now been printed.<br />
<br />
197<br />
<br />
PARIS NOTES.<br />
— ><br />
A Colline inspirée,” by Maurice Barres,<br />
h after appearing as a serial in the<br />
Revue hebdomadaire, is<br />
lished in volume form.<br />
<br />
‘** La Comédie de celui qui épousa une femme<br />
muette,”’ a two-act play, by Anatole France,<br />
has also appeared, and is in great demand.<br />
<br />
“Vers les Humbles,” by Madame René<br />
Waltz, is an extremely delicate psycho-<br />
logical study, written in the form of a diary.<br />
It is the history of a girl’s disillusions and of<br />
her moral evolution, told in the same simple,<br />
natural way as this author’s previous book,<br />
‘‘La Vie intérieure,” which won for her an<br />
Academy prize.<br />
<br />
‘** Les Contes de Minnie ”’ (Histoire de bétes,<br />
d’enfants, de fées et de bonnes gens), is another<br />
of the charming series of books by M. André<br />
Lichtenberger, stories of children for grown-up<br />
people.<br />
<br />
Madame Marguerite Poradowska gives us a<br />
strong novel, under the title of “Hors du<br />
Foyer.”<br />
<br />
“La Poursuite du Bonheur,” by B. Van<br />
Vorst, is interesting and instructive, coming,<br />
as it does, from the pen of an American woman.<br />
<br />
‘La Famille Impériale 4 Saint-Cloud et a<br />
Biarritz,” by Dr. Barthez, is a volume con-<br />
sisting of a series of letters written by the<br />
doctor to his family. He gives an account of<br />
the everyday life of the Imperial family from<br />
the year 1856, when he was appointed medical<br />
adviser for the little prince, then only three<br />
months old. The letters continue until the<br />
year 1863.<br />
<br />
The last two volumes of the important work<br />
by Georges Goyau, entitled “‘ Bismarck et<br />
VEglise: Le Culturkampf,” have now been<br />
published. The first two volumes comprised<br />
the years 1870 to 1887, and the two which have<br />
just appeared continue up to the year 1890.<br />
The subject is treated very thoroughly and,<br />
thanks to the various anecdotes which the<br />
author gives, it is by no means a dull book.<br />
The account of the journey to Berlin, under-<br />
taken by the future Cardinal, Galimberti, is<br />
most interesting. Louis XIII. wished to<br />
sound Bismarck as to his attitude with regard<br />
to Italy and his ideas about the European<br />
situation. His messenger was to find out<br />
whether the intervention of the Pope was<br />
likely to be required on the Alsace-Lorraine<br />
question. After the lapse of so many years, it<br />
is most curious to return to that period of<br />
European history and to read details which<br />
have probably never been known by the<br />
<br />
now pub-<br />
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198<br />
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majority of people. It is a work which must<br />
have required a very great amount of docu-<br />
mentation, and only an extremely conscientious<br />
historian could have given us the valuable<br />
work which M. Goyau has just terminated.<br />
<br />
The Marquis de Ségur has now published<br />
the second volume of his work entitled, “ Au<br />
Couchant de la Monarchie.”” The first volume<br />
was on “Louis XVI. et Turgot,’’ and the<br />
second is on “ Louis XVI. and Necker ”’ (1776—<br />
1781).<br />
<br />
Among the memoirs and studies of historical<br />
characters, a book which will be read with<br />
great interest is the volume on Mirabeau, by<br />
M. Louis Barthou. It is curious to read an<br />
appreciation of a politician like Mirabeau by<br />
so well known a statesman as M. Barthou.<br />
<br />
The last volume of articles and lectures by<br />
Henri Poincaré is entitled ‘‘ Derniéres Pensées.”<br />
He was preparing it himself, up to the time of<br />
his death, as the fourth volume of his works<br />
for the ‘‘ Bibliotheque de Philosophie scienti-<br />
fique.’ Among the subjects treated in it<br />
are the following: ‘‘L’Evolution des Lois,”<br />
“‘ L’Espace et le Temps,”‘ “ Pourquoi l’Espace a<br />
trois dimensions,” ‘La Logique de l’Infini,”<br />
‘‘Les Rapports de la Matiére et de l’Ether,”<br />
“‘La Morale et la Science.” M. Henri Poin-<br />
caré was considered to be the most remarkable<br />
mathematician in France, and he was also one<br />
of the most eminent philosophers.<br />
<br />
““La Science moderne et |’Anarchie,”’ by<br />
Pierre Kropotkine, comes at a very opportune<br />
moment. The chapters which the author<br />
devotes to modern warfare, its financial<br />
origin and its atrocity are most instructive.<br />
<br />
A little weekly publication, in the form of a<br />
small review, commenced in the month of<br />
March, entitled Le Fait de la Semaine. The<br />
idea of the founders of this little publication is<br />
to take up the chief subject of public interest<br />
every week and study it from different aspects.<br />
The first number was devoted to the question<br />
of the military service of three years, the<br />
second number was entitled “Le Renouveau<br />
de la Presidence,’’ and the third is on the<br />
subject of ‘Les Drogues qui grisent.” The idea<br />
is an excellent one, as, thanks to this little<br />
weekly messenger, we shall be able to hear<br />
more than one side to a question. In the<br />
Revue de Paris (Nos. 4 and 5), M. Emile<br />
Boutroux has written an excellent article on<br />
Henri Poincaré, and in No. 5 there is also an<br />
instructive article entitled ‘* La Crise de notre<br />
Organisation militaire,”’ by Baiberti.<br />
<br />
The Revue hebdomadaire continues to publish<br />
the excellent series of lectures organised by<br />
the Société des Conférences. Among the<br />
<br />
THE AUTHOR.<br />
<br />
lectures published in recent numbers are those<br />
of Emile Faguet on ‘‘ La Fontaine,” and a<br />
series entitled ‘Mes Souvenirs,” by Jean<br />
Richepin, Gaston Deschamps, Maurice Donnay<br />
and Maurice Sabatier.<br />
<br />
Pierre de Quirielle also writes, in the same<br />
review, an article on Paul Thureau-Dangin,<br />
the late Sécretaire perpetuel of the French<br />
Academy, whose death is a great loss to the<br />
French literary world.<br />
<br />
The theatres have been more than usually<br />
active this year. The number of new plays<br />
and the quantity of small theatres must tend<br />
to make the task of the dramatic critic for the<br />
daily papers no easy one. At the Comédie-<br />
Marigny, M. Maurice Donnay’s four-act play<br />
‘‘ Les Kclaireuses,’”’ has been, and still is, a<br />
great success. The feminist question is very<br />
much discussed in France, and M. Donnay has<br />
made it the theme of his play. i<br />
<br />
At the Thédtre Sarah Bernhardt, Henri<br />
Lavedan’s two-act play, ‘‘Servir,” is<br />
excellently played by Guitry, M. Capellani and<br />
Mme. Gilda Darthy.<br />
<br />
At the Vaudeville, M. Alfred Capus is having<br />
his usual success with his five-act play,<br />
““Héléne Ardouin,’ and at the Bouffes-<br />
Parisiens, M. Henry Bernstein, with his new<br />
piece, ‘‘ Le Secret.”<br />
<br />
Atys HAuarp.<br />
<br />
‘La Colline inspirée.”” (Emile Paul.)<br />
<br />
“La Comédie de celui qui épousa une femme muette.”<br />
(Calmann-Lévy.)<br />
<br />
‘Vers les Humbles.”” (Calmann-Lévy.)<br />
<br />
“Les Contes de Minnie.” (Plon.)<br />
<br />
** Hors du Foyer.’ (Editions du Temps present.)<br />
<br />
“La Poursuite du Bonheur.’ (Hachette.)<br />
<br />
“La Famille Impériale & Saint-Cloud et 4 Biarritz.”<br />
(Calmann-Lévy.)<br />
<br />
“ Bismarck et ?Eglise: Le Culturkampf.” (Perrin.)<br />
<br />
* Au Couchant de la Monarchie.’’ (Calmann-Levy.)<br />
<br />
**Mirabeau.” (Hachette.)<br />
<br />
“< Derniéres Pensées.”” (Hachette.)<br />
<br />
“La Science moderne et l’Anarchie.”’ (Stock.)<br />
<br />
<br />
<br />
a<br />
<br />
THE CANADIAN BOOK MARKET.<br />
<br />
—+—~>— + —<br />
<br />
HE article in the January issue of The<br />
Author, entitled ‘‘ The Book Market in<br />
Canada,” contains some _ interesting<br />
<br />
generalisations on the conditions existing there,<br />
especially those relating to the close proximity<br />
of the United States. There is no doubt that<br />
the representatives of United States publishers<br />
find the Dominion a favourable selling ground<br />
and an agreeable addition to their own exten-<br />
sive market. So do the representatives of<br />
<br />
<br />
<br />
<br />
<br />
<br />
ae)<br />
<br />
Pet Reet te ES ee<br />
arian, Nas Sehr Naga? SGD<br />
<br />
)<br />
<br />
a<br />
<br />
<br />
<br />
‘THE AUTHOR.<br />
<br />
British publishers, while at the same time the<br />
publishing houses of strictly Canadian origin,<br />
which are chiefly located in Toronto and Mon-<br />
treal, are doing a satisfactory and increasing<br />
business. The latter are probably making<br />
more extensive sales in Canada to retail book-<br />
sellers than either their American or their<br />
British rivals. As book-buyers, Canadians are,<br />
as a rule, better customers than Americans.<br />
An instance corroborating this statement is<br />
found in a recent declaration by a publisher’s<br />
salesman familiar with both markets. He<br />
said that Canadian cities—he instanced Lon-<br />
don, Ontario and Vancouver, 3B.C.—were<br />
worth for business purposes more than Ameri-<br />
can cities of double their population. The<br />
Canadians are free book-buyers, and while<br />
their purchases in this line run chiefly to fiction,<br />
they will compare favourably with the book-<br />
buyers of the United States in respect to the<br />
more serious departments of literature.<br />
<br />
The writer of the article referred to sketches<br />
very fairly the influence of the United States<br />
on Canada in reference to clothes and food.<br />
He might also have mentioned boots and shoes,<br />
since Canadians are not slow to take advantage<br />
of the fact that the Americans are the best<br />
makers of footgear in the world. He is also<br />
right in saying that a flood of ephemeral<br />
American literature is poured into Canada.<br />
The magazines of the United States are legion,<br />
and there is a great market for them in Canada,<br />
not only in the cities, but in all places where<br />
men are subduing the earth, either as agricul-<br />
turists, miners or prospectors. It may be<br />
suggested, however, that the large sale of<br />
these publications is rather in spite of their<br />
specially American characteristics than be-<br />
cause of them. McClure’s Magazine sells in<br />
Canada, not because it exploits the Standard<br />
Oil or other scandals, not because it deals in a<br />
trenchant way with other purely American sub-<br />
jects, but because it. prints stirring stories and<br />
articles of general interest.<br />
<br />
In like manner it will be found that the<br />
alleged strong influence of the United States<br />
will not sell a book in Canada which is, to use<br />
a phrase in common use in publishing circles,<br />
“too distinctly American.” The sale of a<br />
book depends on a complexity of causes, but<br />
so far as fiction is concerned, these are its<br />
human interest—apart from locality—and the<br />
possession of those characteristics which go to<br />
make up what is called the “ story element.”<br />
“David Harum” was turned down by one<br />
Canadian publisher because he thought it was<br />
“too American.’ But its subsequent large<br />
sale in Canada proved that its humour and its<br />
<br />
199<br />
<br />
story, though redolent of the United States,<br />
were of universal appeal. In like manner the<br />
novels of ‘‘ Ralph Connor,’ whatever may be<br />
thought of their literary quality, have sold as<br />
well in the United States as in Canada, the<br />
land of their production, or in England. On<br />
the other hand, American topographical and<br />
Civil War novels do not have a large sale in<br />
Canada, and it is not likely that they ever will.<br />
<br />
While, therefore, the author of the excellent<br />
article on ‘“‘ The Book Market in Canada ”’ is<br />
right in most of his conclusions, it may be<br />
submitted that he pushes too far the notion<br />
that the readers of Canada are controlled by<br />
American influences. A very large proportion<br />
of the books in the public libraries of Canada<br />
are of British origin, and in the reading rooms<br />
of those institutions the copies of the English<br />
reviews and magazines are always eagerly read.<br />
Canada welcomes good literature from every<br />
source, but the note of Canadian life is dis-<br />
tinctly British. The ideals of Imperial unity<br />
have an increasing hold on the people. Those<br />
ideals are fostered by Canada’s educational<br />
system, by her churches, by the boy scout and<br />
cadet movement, and by the provisions of the<br />
Canadian Militia Act. They are also stimu-<br />
lated by the annual migration of Canadian<br />
visitors to England.<br />
<br />
BernarpD McEvoy.<br />
<br />
—_____+—>—+___—_<br />
<br />
THE AGREEMENT OF MESSRS. JOHN<br />
CURWEN & SONS WITH MUSICAL<br />
COMPOSERS.<br />
<br />
—_ ++ —<br />
<br />
‘'N the July number of The Author last<br />
year an article was published under<br />
the heading ‘‘ Composers’ Agreements.”<br />
<br />
In that article, an agreement issuing from the<br />
offices of Messrs. John Curwen & Sons was<br />
printed, with the approval of the Committee<br />
of Management, and with sundry favourable<br />
comments. Since that date, owing to the<br />
change in the Law of Copyright, Messrs.<br />
Curwen & Sons have issued another agreement,<br />
which was brought to the notice of the Com-<br />
posers’ Sub-Committee of the Society. The<br />
fresh agreement has some important clauses<br />
inserted in it, and, owing to the insertion of<br />
these clauses, the sub-committee and the<br />
Committee of Management find it impossible<br />
to approve the agreement in its present form.<br />
Members are referred to the agreement as<br />
printed in The Author of July, 1912. In the<br />
first clause an important alteration has been<br />
<br />
<br />
200<br />
<br />
made. The original agreement was limited to<br />
publication in ‘‘ Great Britain and Ireland,<br />
its Colonies and Dependencies’; in the new<br />
agreement the publishers have added, “ and<br />
in foreign countries.” They have also added<br />
a clause dealing with performing rights, which<br />
runs as follows :—<br />
<br />
“That in consideration of an undertaking hereby<br />
given by the publishers that no charge shall be made for<br />
permission for performances of the work, and subject<br />
to the clauses hereinafter mentioned, the composer hereby<br />
agrees to sell and assign to the publishers the exclusive<br />
rights of performance during the whole period of the copy-<br />
right of the work.”<br />
<br />
and a clause dealing with the licence for<br />
mechanical reproduction, which runs as<br />
follows :—<br />
<br />
“That in consideration of the payments and subject<br />
to the clauses hereinafter mentioned, the composer hereby<br />
agrees to sell and assign to the publishers the exclusive<br />
licence for the mechanical reproduction of the work.”<br />
<br />
The Composers’ Sub-Committee wrote to<br />
Messrs. Curwen & Sons in the following<br />
terms :—<br />
<br />
“The Composers’ Sub-Committee of this Society con-<br />
sidered your letter of the 18th ult. at their meeting on the<br />
8th inst. They regret you do not see your way to accept<br />
the suggestion put forward by them. They desire to point<br />
out that under the Act of 1911 copyright includes the<br />
performing right and the right of mechanical reproduction,<br />
and they have always made it a point in these agreements<br />
that the composer should not give away either the right<br />
of performance or the right of mechanical reproduction,<br />
and that no agreement demanding such control as<br />
suggested by yourselves on behalf of the publisher could<br />
be approved by them as acting for the composer. The<br />
sub-committee see no necessity, even granting that the<br />
publisher shares in these rights, for the sole control to<br />
remain in his hands. In making this statement, the<br />
sub-committee do not allow that the publisher has any<br />
claim to either of these rights, or to a share of these rights<br />
which they do not make any attempt to market.<br />
<br />
“As your agreement was printed in The Author as<br />
receiving the approval of the Composers’ Sub-Committee,<br />
I am asked to say that it will be necessary to give in that<br />
magazine the same publicity to the view of our sub-<br />
committee on the present agreement you have put<br />
forward.”<br />
<br />
In answer to that letter the publishers have<br />
replied as follows :—<br />
<br />
“In reply to your letter of ... we shall have no<br />
objection to your printing our agreement in The Author<br />
with your comments, provided you make it clear that the<br />
agreement is one that is used in cases where it is agreed<br />
that no charge is to be made for the performing right,<br />
and that the rights of mechanical reproduction are to be<br />
shared. Where this is not the case our agreement would<br />
not, of course, contain these clauses.”<br />
<br />
While the meaning of the publishers’ letter<br />
is clear, we do not understand the reason of<br />
the statement, ‘‘ the agreement is. one that is<br />
used in cases where it is agreed that no charge<br />
is to be made for the performing right.” If<br />
<br />
THE AUTHOR. *<br />
<br />
no charge is to be made, and the composer is<br />
willing to endorse this statement—no doubt<br />
there are certain forms of music on which it<br />
would be very inadvisable for a composer to<br />
make any charge for the performing right—<br />
there seems to be no reason whatever why, in<br />
order to accomplish this, the composer should<br />
sell and assign the exclusive right of perform-<br />
ance to the publisher. It is just as easy to<br />
agree to make no charge on the performing<br />
right if that right is still held by the composer,<br />
as if it was held by the publisher, with this<br />
additional security to the composer that he<br />
would still have the control of his own property,<br />
and would know how to act in case of any<br />
infringements of his right. It cannot be too<br />
often repeated that it is most important in the<br />
question of performing rights that the com-<br />
poser should retain the control and should have<br />
the power to act on his own judgment.<br />
<br />
The latter part of the letter refers to another<br />
alteration in the agreement which we have not<br />
as yet quoted. Clause 10 runs :—<br />
<br />
‘The publishers shall pay the composer, his heirs,<br />
executors or assigns the sum of... of all moneys<br />
received by them in consideration of permission for the<br />
mechanical reproduction of the work, and shall make<br />
such payment within one calendar month from the time<br />
such moneys are received.”<br />
<br />
This says that some portion-—not men-<br />
tioned—of the mechanical reproduction rights<br />
is to be handed over to the publisher. If<br />
the composer is unbusinesslike enough to allow<br />
the publisher to take a certain portion of the<br />
rights of reproduction on mechanical instru-<br />
ments (several articles have been written in<br />
The Author dealing with this point), there is<br />
no reason why these reproduction rights<br />
should be transferred to the music publisher.<br />
It is just as easy for the composer to retain<br />
control of these rights, and allow the publisher<br />
to have a certain portion of them, as it is to<br />
convey them all to the publisher, who would<br />
then have the absolute control. Indeed, it<br />
is much more important that the composer<br />
should have this control, for it may be that<br />
he does not desire his work to be reproduced<br />
on. mechanical instruments at all; or it may<br />
be that he wants to sell them for a sum of<br />
money out and out; or it may be—which is<br />
much more probable—that he does not want<br />
the publisher to have any share in that pro-<br />
perty which does not belong to him.<br />
<br />
It is on account of these very serious and<br />
important alterations that the Committee of<br />
Management have been forced to withdraw<br />
their approval of the agreement in its modified<br />
form.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
THE COMMON-SENSE OF FREE-LANCING.<br />
<br />
1<br />
By an Eprror.<br />
<br />
(A Repty To “THE Sorrows OF A FREE-<br />
Lance” in “ Tae Autuor,”’ Marcu 1).<br />
<br />
OME time ago I read in one of the<br />
morning papers the account of a<br />
bank clerk who gave up his situation<br />
<br />
(he was earning £3 a week, and living at home),<br />
and came to London to try free-lance<br />
journalism. He began idiotically by taking<br />
a room in Holborn at a rental of a sovereign<br />
a week, and finished by writing advertisements<br />
for whatever stray shillings he could obtain.<br />
I have been wondering, since reading the<br />
article by ‘A Free-Lance’’ in the March<br />
Author, whether the writer of that lugubrious<br />
and misleading story is any better equipped in<br />
the item of common-sense than the poor clerk.<br />
To begin with, the very best way to gain an<br />
editor’s attention is to post articles to him;<br />
when ‘‘ Free-Lance’”’? mentions the “ fearful<br />
postage expense to the author,” he simply<br />
shows that he was never intended by nature<br />
for any situation save one, where the plums<br />
drop straight into his mouth. If he cares to<br />
read my personal experience it may be of<br />
interest to him. I came from the West<br />
country, having for twelve months made a<br />
few extra guineas by verse and short story<br />
work. On the day of my arrival I took a<br />
room within a twopenny "bus ride of the City,<br />
at a rent of 10s. per week, including fires—<br />
for it was winter. And then I wrote. What<br />
hours of effort, of grim despondency, of glorious<br />
exhilaration, that little ‘‘ bed-sitter’? knew!<br />
And what teas, when the young artist, who<br />
lived in the room below, came upstairs to<br />
exchange chatter and to tussle with me at<br />
chess; what chaff, when a chance friend, a<br />
reporter (now a well-known sub-editor) called<br />
to tell me of his escapades, and to charm me<br />
back to good cheer ‘with his irresistible stories ;<br />
what conversations with the kindred spirits<br />
who loved Keats, Meredith, Francis Thompson,<br />
who held opinions on Shaw, Chesterton, Henry<br />
James, and everything under the sun, and ex-<br />
pressed them pithily and sometimes profanely !<br />
Soon, pace ‘“‘ A Free Lance,” without once<br />
interviewing a single editor, or sending any<br />
preliminary letters, and with not one intro-<br />
duction, I began to have a fair number of<br />
items accepted. The grave and_ benign<br />
Spectator honoured me several times by taking<br />
an article, and once by commissioning an essay :<br />
the Academy, the Outlook, Punch, the World,<br />
the Pall Mail and Westminster, opened their<br />
<br />
<br />
<br />
201<br />
<br />
f<br />
<br />
columns tome. Two or three papers wrote<br />
asking me tocall. On one occasion the editor<br />
of an old-established weekly telegraphed to<br />
know if I could let him have a sonnet ona<br />
national event by three o’clock the same<br />
afternoon. It was in the printers’ hands by<br />
the hour mentioned ; but I sincerely trust that<br />
never again shall I have to write a sonnet, a<br />
really respectable sonnet, against time. For<br />
three years this true friend—a dear, courtly<br />
old man, who died not long ago—took topical<br />
humorous verse from me almost every week,<br />
beside very many stories. Then came review-<br />
ing, plenty of it, without asking.<br />
<br />
In journalism, perhaps more than in any<br />
other profession, one thing leads to another ;<br />
the unfamiliar name, seen with a strong<br />
article or story, becomes talked about in the<br />
offices. Let a free-lance once give way to<br />
depression, and he might as well finish with<br />
his work. Let him worry over “ fearful<br />
postal expense,’’ and he may resign; one of<br />
my articles was refused by nineteen papers<br />
and accepted by the twentieth—the Spectator ;<br />
of course, it had been retyped several times.<br />
<br />
This brings me to the purchase of my type-<br />
writer, which saved me at once five or six<br />
shillings a week—for I never sent a hand-<br />
written article out on any consideration ;<br />
excepting, naturally, an urgent immediate<br />
commissioned one. That machine paid for<br />
itself several times over; it “did” a couple<br />
of novels without a pennyworth of repairs ;<br />
and both the novels were published at the<br />
publisher’s expense.<br />
<br />
Now, by a turn of the wheel, I read other<br />
people’s contributions instead of writing my<br />
own—though to all editors comes the task of<br />
an occasional article or review. And I read<br />
these piles of essays and poems, typed or<br />
scribbled, all the more sympathetically<br />
because I know exactly what some of their<br />
writers are going through in the way of hope<br />
deferred. Hundreds of them had better be<br />
tinkers, tailors, soldiers, sailors—especially the<br />
“poets ’?; but everything is read. It has<br />
been said a thousand times (yet no free-lance<br />
believes it!) that editors are on the look-out<br />
for good, original stuff; and it is perfectly<br />
true; at the same time, let the free-lance<br />
remember that there are a dozen reasons<br />
why his article may come back to him. Many<br />
papers, for example, have verse enough<br />
accepted for ten or twelve weeks ahead, or<br />
readable ‘“‘ middles”” have reached a goodly<br />
pile; then the editor, however, sympathetic<br />
he be, must relentlessly send back everything<br />
since his paper is not elastic.<br />
<br />
<br />
<br />
<br />
202<br />
<br />
The one charmingly sane remark of “A<br />
Free Lance’? concerns the interviewing of<br />
editors. The visiting contributor is nearly<br />
always a bore; sometimes he—or she—is a<br />
lunatic, apparently. Only a few weeks ago<br />
a lady passed, by guile, into my office, and<br />
began unpacking a small portmanteau; its<br />
sole contents were poems, neatly confined<br />
in scores or dozens, by elastic bands. Another<br />
time a soiled gentleman penetrated to the<br />
sanctum with a brown paper parcel under his<br />
arm that suggested the week’s washing; it<br />
also contained innumerable sheets of poetry.<br />
According to him it was poetry; according<br />
to the critical standard it was not. People<br />
who bring articles, generally omit to leave a<br />
stamped envelope, and write pathetically a<br />
few weeks after, wondering why they have not<br />
received a cheque. No editor cares to read a<br />
contribution while the writer waits. Person-<br />
ally, if an essay seems near the mark, but<br />
uncertain, I set it aside and read it again after<br />
the lapse of a day or two; I know many<br />
editors, and they are all, without exception,<br />
conscientious in reading everything that<br />
reaches them.<br />
<br />
With regard to the observations of ‘‘ A Free<br />
Lance’ on the difficulty of obtaining pay-<br />
ment, and the period that may elapse before<br />
publication, does he expect his editors to<br />
enquire solicitously when he would like his<br />
contribution to appear? They have some-<br />
thing better to do. Certain papers are risky ;<br />
they are well known, and contributions are in<br />
any case sent ‘“‘at owner’s risk.” With the<br />
good papers publication is a sufficient<br />
guarantee of payment. Let ‘“‘ A Free Lance ”<br />
amend his ways, and his sorrows, dear man,<br />
will dwindle to vanishing-point.<br />
<br />
<br />
<br />
+> —_____<br />
<br />
BRITISH COPYRIGHT IN CANADA.<br />
—_—+—> + —<br />
[Reprinted from the “* Musical Times” by kind<br />
permission of the Editor. |<br />
<br />
AN INJUNCTION GRANTED TO RESTRAIN THE<br />
ImporTATION INTO CANADA OF BRITISH<br />
CopyricnHt Music REPRINTED IN THE<br />
UNITED STATES.<br />
<br />
A judgment of far-reaching consequences was<br />
delivered on February 14 ult. by the Honour-<br />
able Mr. Justice Middleton in the High Court<br />
Division of the Supreme Court of Ontario.<br />
<br />
The plaintiff was Mr. Oliver Hawkes, of the<br />
well-known London firm of Hawkes & Son,<br />
and the defendants were a prominent Toronto<br />
firm of music dealers and publishers. The<br />
<br />
THE AUTHOR.<br />
<br />
complaint was that the defendants had in-<br />
fringed the plaintiff's copyright by importing<br />
into Canada an American reprint of one of<br />
the plaintiff's publications, which—although<br />
it enjoyed no copyright in the United States<br />
of America—was nevertheless protected in<br />
Canada by virtue of the provisions of the<br />
British Copyright Acts.<br />
<br />
Under the British Copyright Law everything<br />
that is copyright in Great Britain is ipso facto<br />
copyright in Canada. It was therefore origin-<br />
ally unlawful for anyone to import into Canada<br />
a foreign reprint of a work first published in<br />
Great Britain. But by a British Act passed<br />
in the year 1847, the British Colonies were<br />
enabled to import such foreign reprints on<br />
condition that they passed a local law designed,<br />
to compensate the British proprietor of the<br />
copyright. Canada in 1850 duly passed such<br />
a law, fixing the duty to be levied on the<br />
imported copies at 124 per cent. ad valorem<br />
for the benefit of the British owner, and by<br />
Orders in Council of December 12, 1847, and<br />
of July 7, 1868, the clauses in the British<br />
Acts against importation of foreign reprints<br />
were suspended as regards Canada.<br />
<br />
In consequence of a clause in the British<br />
North America Act (1867), which conferred<br />
upon Canada the right to legislate in Canada<br />
on the subject of copyright, serious disputes<br />
arose between the Mother Country and the<br />
Colony as to the nature and extent of that<br />
right. The Canadian Government maintained<br />
that Canada was entitled to legislate for<br />
its own territory, even to the exclusion of<br />
the British Copyright Acts. Consequently<br />
Canada, having in 1875 passed a local Act<br />
which conferred Canadian copyright only on<br />
condition that the work was printed and<br />
published in Canada, claimed that unless<br />
British works were so printed and published,<br />
they lost all their rights in Canada, and that<br />
foreign reprints might be imported from the<br />
United States without restriction. The British<br />
contention had always been that the British<br />
North America Act had only enabled Canada<br />
to legislate for the copyright of works of<br />
Canadian origin, and that Canadian copyright<br />
legislation could have no effect on any British<br />
work first published outside Canada. The<br />
point was finally settled against Canada in<br />
the Canadian case of Smiles v. Belford.<br />
<br />
More recently another attempt was made<br />
to get round the decision in Smiles v. Belford.<br />
There is a provision in the British Customs.<br />
Consolidation Act of 1876 that the importa-<br />
tion of foreign reprints into British Colonies:<br />
can only be restrained when the Colonial<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
9 (Customs have been duly notified that a copy-<br />
<br />
of right, in any given case, exists. There is,<br />
<br />
4 however, an exception in the Act which renders<br />
<br />
such notification unnecessary in cases where a<br />
<br />
» Colony has made entire provision for the<br />
<br />
: management and regulation of its own Customs.<br />
<br />
i In the important case of Adam & Charles<br />
<br />
} Black v. The Imperial Book Company it was<br />
<br />
, decided that Canada had made such a pro-<br />
<br />
211 vision, and that consequently importations of<br />
<br />
rch British copyright works from the United<br />
<br />
-~* States into Canada could be restrained without<br />
<br />
“any previous notification to the Canadian<br />
<br />
a) Customs that a copyright existed. Eventually<br />
<br />
+ im 1894, Canada passed a Customs Act under<br />
<br />
‘+ which she formally declined to collect the<br />
<br />
ef 123 per cent. duty, which in 1850 she had<br />
<br />
FAs aindertaken to collect for the benefit of the<br />
<br />
sce British owner, but which in fact she had never<br />
») troubled to collect.<br />
<br />
The question then became a simple one.<br />
4° The British owner was no longer fettered by<br />
ied the British Act of 1847 and the Orders in<br />
‘oD Council thereunder; for Canada had repu-<br />
=> diated her obligation to collect the duty.<br />
<br />
‘ ‘And the case of Adam & Charles Black v. The<br />
eet L Imperial Book Company had decided that<br />
©: importation of reprints of British copyrights<br />
. could be restrained without any notice to the<br />
s) Canadian Customs. The field was therefore<br />
<br />
j thrown open for a test action such as that of<br />
if ‘Hawkes v. Whaley, Royce & Company. In<br />
sald that case the contention of the British copy-<br />
») right holder has been completely vindicated,<br />
<br />
and the decision is of such importance to all<br />
it who are interested in the protection of British<br />
<br />
» copyright property, that we print the Order of<br />
/) ithe Court in full, with the object of giving it<br />
‘48 additional publicity.<br />
<br />
In THE SUPREME CouRT OF ONTARIO.<br />
Hicu Court Division.<br />
<br />
Tur HoNouURABLE Friday, the Four-<br />
<br />
“Mr. JusticE MIDDLETON teenth day of<br />
February, 1913.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“BETWEEN :<br />
Oliver Hawkes, Plaintiff.<br />
and<br />
Whaley, Royce & Company, Limited,<br />
Defendants.<br />
Upon motion made unto this Court this day<br />
‘by counsel for the plaintiff in the presence of<br />
counsel for the defendants, and upon hearing<br />
read the Writ of Summons herein and the<br />
‘notice of motion served, and the affidavit of<br />
‘Frederick Harris filed in support of the motion,<br />
and the affidavit of Eri Whaley in answer, and<br />
vupon hearing what was alleged and counsel<br />
<br />
208<br />
<br />
f<br />
<br />
for both parties consenting that this motion<br />
be turned into a motion for judgment and<br />
that judgment be entered as_ hereinafter<br />
provided,<br />
<br />
1. Tus Court poTH ORDER AND ADJUDGE<br />
that the defendants, their officers, servants<br />
and agents, be and they are hereby perpetually<br />
restrained until after the expiry of the plain-<br />
tiff’s copyright in and for the British Do-<br />
minions now existing in the musical book or<br />
publication known as ‘Otto Langley’s Tutor<br />
for the Violin,’ from printing or causing to be<br />
printed, or importing for sale or selling,<br />
publishing or exposing for sale or hire or<br />
causing to be sold, published or exposed for<br />
sale or hire, or from having in their possession<br />
for sale or hire without the consent of the<br />
plaintiff any copy or copies of reprints of the<br />
plaintiff's said publication published by one<br />
Carl Fischer of the City of New York in<br />
infringement of the plaintiff's said copyright,<br />
under the title of ‘Otto Langley’s New and<br />
Revised Edition of Celebrated Tutor to Violin,’<br />
or any other reprints or copies of plaintiff's<br />
said copyright.<br />
<br />
2, ANpD TuIS COURT DOTH FURTHER ORDER<br />
AND ApJuDGE that the defendants do pay to<br />
the plaintiff his costs of this action, including<br />
costs of this motion, forthwith after taxation<br />
thereof.<br />
<br />
Judgment signed this<br />
<br />
14th day of February, 1913.<br />
<br />
——___—_—>—e_<_<br />
<br />
MAGAZINE CONTENTS.<br />
eg<br />
British REVIEW.<br />
Munchausen: The German Comic Giant.<br />
<br />
George.<br />
The Poetry of Alice Meynell. By Albert A. Cock.<br />
<br />
ENGLISH.<br />
Poem: Aphrodite at Leatherhead. By John Helston,<br />
Synge. By Lady Gregory.<br />
The Brain Thief. By Haldane McFall.<br />
The Commercial Side of Music. By G. Herbert Thring.<br />
Ragtime: The New Tarantism. By Francis Toye.<br />
NATIONAL,<br />
The Post Impressionist.<br />
<br />
By W. L.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS.<br />
<br />
ema<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]<br />
<br />
Frout Page £4 0 0<br />
Other Pages a ee 0.<br />
Half of a Page ... a hes tee ive as es vee ke a8<br />
Quarter of a Page ies ese ver ie ca in ac 0 15-6<br />
Highth of a Page is soi re sie 0°70<br />
Single Column Advertisements 6 0<br />
<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
BeLMont & Co., 29, Paternoster Square, London, E.c.<br />
<br />
per inch 0<br />
<br />
<br />
204<br />
<br />
HOW TO USE THE SOCIETY.<br />
— 1 —<—4$-——<br />
<br />
1, VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
8. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7, Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
This<br />
The<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
a Se coh SaeeeeEemmneee!<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
<1<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement, There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
THE AUTHOR.<br />
<br />
. doctor !<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements,<br />
<br />
(3.) Not to allow a special charge for ‘office expenses,”’<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :— :<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
——_——__+———__- —_____—_<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—+— +<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :— :<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory, An author who enters inte<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
<br />
percentage on the sliding seale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (3.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10, An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
2 gg<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
—— $<<br />
<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
<br />
<br />
205<br />
<br />
DRAMATIC AUTHORS AND~ AGENTS.<br />
—_+-—~<9—+<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual elaim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
<br />
<br />
<br />
=<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
<br />
<br />
ITTLE can be added to the warnings given for the<br />
T. assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
———————<br />
<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe, The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
—_—___+——+-—____—<br />
<br />
THE READING BRANCH.<br />
<br />
a gc<br />
EMBERS will greatly assist the Society in this,<br />
\ branch of its work by informing young writers<br />
of its existence. Their MSS, can be read and,<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works, The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
i<br />
<br />
REMITTANCES.<br />
<br />
So<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered |<br />
letter only.<br />
<br />
<br />
206<br />
COLLECTION BUREAU.<br />
<br />
—t+~< +<br />
<br />
HE Society undertakes to collect accounts and moneys<br />
<br />
j due to authors, composers and dramatists.<br />
<br />
1. Under contracts for the publication of their<br />
works.<br />
<br />
2. Under contracts for the performance of their works<br />
and amateur fees.<br />
<br />
3. Under the Compulsory Licence Clauses of the Copy-<br />
right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause 19, referring to mechanical instrument<br />
records.<br />
<br />
The Bureau is divided into three departments :—<br />
<br />
1. Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amount passing through the<br />
office, the expenses are more than covered, the Committee<br />
of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
The Bureau is in no sense a literary or dramatic<br />
agency for the placing of books or plays.<br />
<br />
CHANGE OF ADDRESS.<br />
ere<br />
From March 1, the Society’s Offices will be<br />
<br />
at No. 1, Central Buildings, Tothill Street,<br />
‘Westminster, S.W.<br />
<br />
<br />
<br />
GENERAL NOTES,<br />
<br />
<br />
<br />
Tue AUSTRALIAN CopyricHT Act.<br />
<br />
WE have to thank the Colonial Office for its<br />
courtesy in supplying the Society with a copy<br />
of the Australian Copyright Act. We endea-<br />
voured to obtain it in other directions, but this<br />
is the first copy that has come to hand. We<br />
have pleasure in laying it before members in<br />
the form of a supplement.<br />
<br />
The careful perusal of the Act will show that<br />
on the whole it is satisfactory. The schedule<br />
referred to has been omitted, as the British<br />
Copyright Act was printed as a supplement to<br />
the July number (1912) of The Author. The<br />
Clauses referring to summary proceedings need<br />
the careful attention of all members of the<br />
Society. It will be seen on comparison with<br />
the Clauses in the English Act that they give<br />
a much wider protection. This is satisfactory,<br />
for the Clauses referring to summary pro-<br />
<br />
THE AUTHOR.<br />
<br />
ceedings in the British Act were ruthlessly, and<br />
in many cases quite unwarrantably, cut down,<br />
leaving a very poor chance of recovery for<br />
infringement ; but members must also note<br />
that these Clauses in the Australian Act<br />
cannot be enforced unless the literary work or<br />
dramatic piece has been duly registered in<br />
Australia. This has its disadvantages, but<br />
also its advantages. Its disadvantages arise<br />
owing to the trouble necessary to carry<br />
through the registration, though the matter is<br />
not very complicated. Its advantages are<br />
that such registration affords prima facie<br />
evidence in the Australian Courts that the<br />
author is the owner of the copyright, and it<br />
will not, therefore, be necessary for him to<br />
prove his title in the Australian Courts. It<br />
might be a matter of considerable difficulty to<br />
prove a titleif it was necessary, as it is necessary<br />
when summary proceedings are taken, to carry<br />
the matter through rapidly.<br />
<br />
Tue AMERICAN PRINTING TRADE.<br />
<br />
From the March number of Chicago Dial,<br />
we quote a very interesting passage referring<br />
to the increase of papers in the United States<br />
and Canada. We wonder how these statistics<br />
compare with the statistics in Great Britain.<br />
It seems extraordinary that in a great in-<br />
dustrial nation like the United States the<br />
printing and publishing industry is exceeded<br />
in number of employees and value of product<br />
by only four other industries.<br />
<br />
“The growth of the periodical press seems to keep pace<br />
with the growth of the world’s population. In the United<br />
States and Canada, for example, there was in 1912 a birth-<br />
rate of newspapers and periodicals amounting to more than<br />
five each week day ; that is, 1686 new publications started<br />
into being. But the death-rate was so nearly equal to the<br />
birth-rate that the net increase for the year was only<br />
thirty-six, about equally divided between this country and<br />
our northern neighbour, and chiefly confined to the field of<br />
daily journalism. So largely are we Americans a nation of<br />
readers that the printing and publishing industry is<br />
exceeded, in number of employees and value of product, by<br />
only four other industries—or so the statisticians assure us.<br />
In the last ten years the value of the annual output of<br />
printed matter in America has increased by more than<br />
eighty-six per cent. Nearly every trade and industry has<br />
its one or more periodicals, and the whole mass of<br />
periodical publications is divided into 208 classes, with the<br />
weekly issues of all sorts in a large majority. A study of<br />
the ‘American Newspaper Annual and Directory’<br />
impresses one with the magnitude of the industry that<br />
supplies to thousands of energetic Americans practically<br />
all the reading matter they ever avail themselves of.”<br />
<br />
————<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
UNITED STATES NOTES.<br />
<br />
——<br />
<br />
T the joint session last December of the<br />
American Academy of Arts and Letters<br />
and the National Institute of Arts and<br />
<br />
Letters (the body from which the Academi-<br />
cians are chosen) the president, Dr. Henry<br />
Van Dyke, deprecated the idea that the<br />
company present was one of “ self-appointed<br />
inheritors of mortal celebrity ’”’—all members<br />
of either society being chosen by the votes of<br />
their competitors and rivals. It was natural<br />
and proper that such a disclaimer should be<br />
made in an assembly of this kind, for no one<br />
knows better than literary men how divergent<br />
are the judgments of the day and of posterity<br />
respectively upon books and their writers.<br />
How many of to-day’s geniuses—or, to put the<br />
matter on a lower plane, to-day’s best-sellers—<br />
will be found hereafter in the list of the real,<br />
not the academic, immortals ? Only a publisher<br />
or a second-rate critic can, with any appearance<br />
of confidence, hail a work as “‘ the greatest<br />
novel ” (or whatever it may be) since this or<br />
that masterpiece, as “a book that is destined<br />
to live,” and so on. Perhaps posterity will<br />
preserve some of those volumes to which<br />
allusion has now to be made, but here it only<br />
falls to my lot to record their names and their<br />
authors.<br />
<br />
Fiction, as usual, comprises by far the<br />
largest section. Two dead writers are repre-<br />
sented in David Graham Phillips’s ‘‘ George<br />
Helm” and Myrtle Read’s ‘“‘The White<br />
Shield ’—the latter a collection of short tales.<br />
Robert W. Chambers has two works to his<br />
name, “‘ Blue Bird Weather” and “ The Gay<br />
Rebellion,” a skit on the suffragettes. L. J.<br />
Vance’s new book is “‘ The Day of Days” ;<br />
Booth Tarkington’s, “The Flirt” ; Edith<br />
Wharton’s, “The Reef’; Charles Egbert<br />
Craddock’s, ‘* The Ordeal”’; Margaret Deland’s,<br />
“The Voice’; Payne Erskine’s, “ Joyful<br />
Heatherby’”’?; Gouverneur Morris’s, ‘‘ The<br />
Penalty’’; Randall Parrish’s, ‘‘ Gordon Craig,<br />
Soldier of Fortune.” Hallie Erminie Rives<br />
had brought out ‘“‘ The Valiants of Virginia,”<br />
Ridgwell Cullum ‘‘ The Night Riders,” Mary<br />
Thompson Daviess ‘‘ Andrew the Glad,”<br />
H. S. Harrison (author of Queed) ‘“ V. V.’s<br />
Eyes,” John Fox, jun., ‘‘ The Heart of the<br />
Hills,’ Montagu Glass ‘‘ Elkan Lubliner,<br />
American,” and Will Irwin ‘‘ Where the Heart<br />
is.<br />
<br />
With ‘“‘ The Lady and Sada San,” Frances<br />
Little jumped into the envied list of best<br />
sellers before the end of 1912, though too late<br />
<br />
<br />
<br />
207<br />
<br />
to be mentioned in the last issue of these Notes.<br />
Theodore Dreiser’s “*The Financier” and<br />
H. L. Wilson’s ‘“ Bunker Bean,” are two<br />
novels, very different in kind, that have<br />
attracted a lot of attention. Nor must notice.<br />
be omitted of the following :—‘** Paul Rundel,”’<br />
by W.N. Harben, ‘‘ A Jewel of the Seas,” by<br />
Jessie Kaufman, ‘‘ The Olympian,” by James.<br />
Oppenheim, “ The Harbor of Love,” by R. H.<br />
Barbour, *“* A Living Legacy,.”” by Ruth Under-<br />
wood, ‘** Concerning Sally,”’ by W. J. Hopkins,<br />
“Madison Hood,” by Hamilton Drane, ‘*‘ Which<br />
One?” by R. A. Bennet, “The Locusts’<br />
Years,” by Mary H. Fee, “ Jack Lorimer,<br />
Freshman,” by W. L. Sawyer, ‘‘ Miss Jimmy,”<br />
by Laura Richards, “Sally Castleton,<br />
Southerner,” by Crittenden Mariott, ‘‘ The<br />
Shadow,” by A. Stringer, and ‘‘ Everbreeze,”’<br />
by Mrs. S. P. McLean. “The Lost Million ” is<br />
a sensational tale by Winthrop Alder—which<br />
is stated to be the pseudonym of a well-known<br />
author. Two collections of short stories are<br />
J. R. Scott’s ‘‘ The First Hurdle and Others,”<br />
and Mrs. L. B. Van Slyke’s ‘“ Eve’s Other<br />
Children.’ Lastly, if it is to be classed under<br />
Fiction, George Ade’s latest is “‘ Knocking the<br />
Neighbours.”<br />
<br />
As this goes to the printers I have time to<br />
include in my list three more novels, published<br />
early in March :—‘ Pollyanna,” by Eleanor<br />
H. Porter; ‘‘ The Case of Jennie Brice,” by<br />
Mary Roberts Rinehart ; and ‘‘ The Poisoned<br />
Pen,” by Arthur B. Reeve.<br />
<br />
In comparison with the swarm of novels, the<br />
list of biographical works is very small, even.<br />
if it be made to cover personal reminiscences.<br />
John Van de Zee Sears has published ‘‘ My<br />
Friends at Brook Farm.” J. K. Hosmer’s<br />
“The Last Leaf,” and Hubert Howe Bancroft’s<br />
‘“‘ Retrospection ” are both the results of the<br />
life-long observation of two old and respected<br />
Americans. The title of George Iles’s<br />
‘‘ Leading American Inventors ”’ sufficiently<br />
explains the book. Of the ‘“ Writings of<br />
John Quincy Adams,” edited by W. C. Ford,<br />
the first volume has just appeared. In<br />
“Lincoln’s Own Stories”? Anthony Goss<br />
illustrates Abraham Lincoln’s life by means of<br />
authentic stories told by and of him.<br />
<br />
Under History we find ‘The History of<br />
Plymouth Plantations, 1620—1647,” by<br />
Governor William Bradford ; ‘‘ The Sunset of<br />
the Confederacy,” by Morris Scaff; ‘* The<br />
Elmira Prison Camp,” by C. W. Holmes ;<br />
and “The Unseen Empire,” by Dr. D. S.<br />
Jordan, who characterises his work in his<br />
sub-title as “a study of the plight of nations<br />
that do not pay their debts.”<br />
<br />
<br />
208<br />
<br />
Description and Travel have a longer list,<br />
among which may be noted the following :<br />
“The Beginnings of San Francisco,” by<br />
Z. S. Eldridge, and ‘‘ San Francisco as it was,<br />
as it is, and how to see it,” by Helen Purdy ;<br />
“The Colonial Homes of Philadelphia and its<br />
Neighbourhood,” by H. D. Eberlein and<br />
H. M. Lippincott ; “* Boston, New and Old,”<br />
by T. R. Sullivan; ‘‘ Panama,” by C. W.<br />
Burris, and “Panama Canal: What it is,<br />
What it Means,” by John Barrett; ‘“* The<br />
Awakening of the Desert,” by J. C. Birge ;_ and<br />
“Seeing Europe on Sixty Dollars,” by W. F.<br />
Fauley. ‘‘ Old Chinatown ”’ is a collection of<br />
ninety-two pictures by Arnold Genthe, with<br />
an accompanying letterpress by Will Irwin.<br />
In ‘“‘ Myths of the Modoes,” Jeremiah Curtin<br />
deals with an Indian tribe in California and<br />
Oregon. The former state is treated more<br />
generally in the late Bradford Torrey’s<br />
“Field Days in California.” ‘A Mexican<br />
Journey,” by E. H. Blichfeldt, is decidedly<br />
topical just now.<br />
<br />
Of books on social subjects first place may<br />
be given to President Woodrow Wilson’s “ The<br />
New Freedom.” Bishop C. B. Brewster writes<br />
of “ The Kingdom of God in American Life.”<br />
In “ The End of Strife : Nature’s Laws applied<br />
to Incomes,” J. W. Batdorf proposes a federal<br />
income tax to meet the problem of the con-<br />
comitant rise of prices and decrease of income.<br />
“‘ Industrial Combinations and Trusts” is by<br />
Dr. W. S. Stevens, of Columbia University.<br />
‘‘The Temper of the American People” is<br />
the title of a work by G. T. Smart; and in<br />
“« American Social and Religious Conditions ”<br />
the Rev. Charles Stelzle attacks a similar<br />
subject.<br />
<br />
‘* Americans and Others ” (Agnes Repplier)<br />
and “‘The American Mind” (Bliss Perry)<br />
resemble the last two books in their titles, but<br />
are cast in the form of Essays. Under this<br />
head may be placed John Burroughs’s “ Time<br />
and Change”; Irving Babbitt’s “ Masters<br />
of Modern French Criticism’’; Brander<br />
Matthews’s ‘‘ Gateways to Literature’’; and<br />
Mrs. L. C. Pickett’s ‘* Literary Hearth-Stones<br />
of Dixie,’ though this is semi-biographical.<br />
<br />
Two learned works are “ Tiglath Pileser<br />
III.,” by Professor A. S. Anspacher (Columbia<br />
University), and ‘‘ The Inner Life and the<br />
Tao-Teh-King,’ by C. H. A. Bjerregoard,<br />
Librarian of the New York Public Library.<br />
Learned in a different way from either of<br />
these is ‘‘The Birds of Eastern North<br />
America,” by C. A. Reed, with illustrations in<br />
colour of every bird common to the United<br />
States and Canada.<br />
<br />
THE AUTHOR.<br />
<br />
There are always some new books by women<br />
on the feminist movement in every season’s<br />
list in the States nowadays. Two may be<br />
singled out here among recent publications,<br />
“* Why Women are So,”’ by Mrs. M. E. Coolidge,<br />
and ‘‘ The Business of being a Woman,” by<br />
Ida M. Tarbell. A male writer who handles<br />
the subject is Professor E. T. Devine, occupant<br />
of the chair of social economy at Columbia<br />
University. ‘‘ The Family and Social Work ”<br />
is the style of his volume.<br />
<br />
At the above-mentioned joint session of the<br />
Academy and Institute of Arts and Letters,<br />
Dr. Van Dyke lamented the literary and<br />
artistic losses of the past year, including<br />
numerous members of the two societies.<br />
Death continues to make inroads upon the<br />
ranks of American writers. Too late to<br />
include in the obituary section of these notes<br />
last January were the losses of Whitelaw<br />
Reid (of whom it is superfluous for me to say<br />
anything now); of Will Carleton, the poet, who<br />
had attained to the age of sixty-seven years<br />
when he succumbed to illness last December ;<br />
and of Mrs. Laura Case Collins, who was<br />
eighty-six and had become but a name to<br />
modern readers. Right at the end of the<br />
year died General Theophilus Francis Roden-<br />
bough, who wrote a number of books and<br />
edited an American military journal. In<br />
January Mrs. Julia Ripley Dorr, a poetess<br />
and a friend of Emerson, Longfellow, Holmes<br />
and Lowell, died at the age of eighty-eight.<br />
The February obituary includes Anne Warner<br />
French, in England, on the 1st of the month ;<br />
Mrs. Irene Benson, a writer of juvenile books,<br />
on the 6th; Charles Major, author of ** When<br />
Knighthood was in Flower,” on the 18th;<br />
Cincinnatus Heine (‘“‘ Joaquin ’’) Miller, univer-<br />
sally known as the ‘“ Poet of the Sierras,”” on<br />
the 17th; and about the same time William<br />
de Lancey Ellwanger, another poet. It is<br />
a curious fact with regard to many of those<br />
whose decease is recorded here that they<br />
lived so long. Two octogenarians have been<br />
mentioned, and Joaquin Miller was seventy-<br />
one. In comparison Major and Ellwanger<br />
were young at fifty-six and fifty-seven.<br />
<br />
Pirie WALSH.<br />
<br />
$< ——__<br />
<br />
THE AGENT LITERARY AND DRAMATIC.<br />
—— +<br />
<br />
5 ua literary agent must enjoy towards<br />
<br />
the author a position of great confi-<br />
<br />
dence and great responsibility. He<br />
<br />
is responsible not merely for protecting the<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
author adequately from the publisher, the<br />
editor or the manager, should such protection<br />
be necessary, but he has also to see that in all<br />
his own dealings the author is kept fully<br />
informed ; it is necessary that the position of<br />
great confidence is not betrayed—it is not<br />
merely a negative honesty, but a positive<br />
virtue that is looked for.<br />
<br />
The value of the agent is much discussed,<br />
but in many cases his services are useful,<br />
and in some quite valuable; but from<br />
information received by the Society of Authors<br />
it would seem that he should be sometimes<br />
protected against himself.<br />
<br />
First he should, before commencing to<br />
work for an author, make a fair and reasonable<br />
agreement. The question immediately arises,<br />
‘What is a fair and reasonable agreement ? ”<br />
If a solicitor is employed to draft a contract,<br />
he is paid a fixed fee for the work done. Ifa<br />
land-agent or house-agent is employed to<br />
let a property, he also is paid a fixed percentage<br />
on the first year’s rent obtained for his client.<br />
To a certain extent the literary agent combines<br />
the two positions, that of the man who finds a<br />
market, and that of the man who draws up<br />
the contract. If he is a good literary agent,<br />
he ought to have the necessary knowledge<br />
to a greater extent than the ordinary solicitor.<br />
The legal principles are not so much in question<br />
as the practical details.<br />
<br />
The literary agent, however, does not claim<br />
a fixed fee, and he does not claim a commission<br />
over a fixed term of years. In marketing and<br />
drafting a licence for the publication of 4<br />
work, or for the production of a drama, he<br />
claims a percentage on the returns, during the<br />
legal term of copyright, that is the life of the<br />
author and for fifty years afterwards. The<br />
| question naturally arises, “ Is this a fair and<br />
reasonable contract?” It may be in some<br />
cases, in others it is distinctly unreasonable.<br />
The Dramatic Sub-Committee of the Society<br />
of Authors and a specially selected Sub-Com-<br />
mittee each drafted a contract with agents.<br />
The first was a contract for the placing of a<br />
drama, and the second a contract for the<br />
placing of a book. Both of these sub-<br />
committees came to the conclusion that a<br />
fixed percentage, until the amount reached a<br />
settled sum, was the only fair and reasonable<br />
agreement with the literary agent for the<br />
double work of finding a market and drawing<br />
up a contract. The members of the Society<br />
are strongly advised to keep this opinion before<br />
them.<br />
<br />
The question is one of great importance,<br />
because in some cases an author, ignorant of<br />
<br />
209<br />
<br />
literary agents’ fees and methods, is advised<br />
to go to an agent and is disappointed when he<br />
finds that, contrary to the usual arrangement in<br />
other businesses, he would have, most probably,<br />
to pay the agent 10% during the whole term of<br />
copyright, in the absence of a special agree-<br />
ment. It is, therefore, clearly a matter of no<br />
little moment that the agent should make a<br />
fair and reasonable agreement before he begins<br />
negotiations, and should place the whole facts<br />
of the position candidly before the author.<br />
If he does this and a contract is signed, there<br />
can be no dispute subsequently. If the author<br />
finds the agent is thoroughly trustworthy, he<br />
no doubt will allow him, when the total fee<br />
decided upon has been collected, to continue<br />
to collect the royalties, subject to a reasonable<br />
and reduced percentage. The sub-committees<br />
referred to considered that 5° was reasonable<br />
for the mere collection of monies and checking<br />
of accounts. Of course, where a work is sold<br />
for a sum down—for instance, the first serial<br />
use or the magazine rights in stories, or the<br />
licence to produce a play for a year—then the<br />
agent would naturally be paid a commission<br />
at a fixed rate for the one transaction, as would<br />
a house-agent or lawyer for letting a property<br />
or settling a contract.<br />
<br />
The preliminaries then, having been fixed,<br />
the agent proceeds to market the work, and<br />
from the moment the agreement is signed, the<br />
position of the closest confidence ought to exist<br />
between the agent and the author. As soon as<br />
an offer is made, and, subject to the willingness<br />
of the author or the dramatist to accept the<br />
financial side, the agent, acting in his capacity<br />
of expert adviser—in which sometimes he is by<br />
no means an expert—drafts a contract for the<br />
signature of the author. If he is a satisfactory<br />
agent, he will explain at every turn in the<br />
negotiations the disadvantages that may<br />
acrue to the author if he accepts some of the<br />
terms put forward by the publisher, or if he<br />
fails to insist upon some of the terms suggested<br />
for his own protection. In many cases the<br />
agent is quite clear on these points, and the<br />
author goes away with a full knowledge of<br />
what he may get and of what he must part with.<br />
In some cases that have come to the ken of<br />
the Society of Authors, the agent has advised<br />
the author to give away rights—thus weakening<br />
the contract—not necessarily with a view to<br />
the author’s benefit, but because the agent<br />
desires, in the rush of business, to get rid of<br />
one transaction in order to make way for<br />
others that are waiting. In so advising, the<br />
agent does not merely damage the individual<br />
author, but the whole profession of authorship.<br />
<br />
<br />
<br />
<br />
<br />
<br />
210<br />
<br />
He allows abuses to pass into currency until<br />
they can almost be defended as trade customs.<br />
This point might be dealt with much more fully,<br />
but I do not propose to enter into greater<br />
detail in the present article. There are many<br />
difficult positions in the present marketing of<br />
books, dramas, and all sorts of literary produc-<br />
tion, which have apparently been brought<br />
about by the agent’s neglect of the importance<br />
of standing firm on behalf of authors and<br />
dramatists.<br />
<br />
Having made all the points in the publisher’s<br />
agreement quite clear to the author (or not,<br />
as the case may be, and usually is), the agent<br />
then proceeds to insert a clause in the agree-<br />
ment, two examples of which are printed<br />
herewith :—<br />
<br />
(1) That the author hereby authorises and empowers his<br />
agent to collect and receive all sums of money payable to<br />
the author under the terms of this agreement, and declares<br />
that the agent’s receipt shall be a good and valid dis-<br />
charge to the publishers. The author hereby also<br />
authorises and empowers the publishers to treat with the<br />
agent on his behalf and in all matters concerning this<br />
agreement in any way whatsoever.<br />
<br />
Or (2) All sums due under this agreement shall be paid<br />
to the author’s representatives, whose receipt alone shall<br />
be a full and sufficient discharge of the obligation, and the<br />
said representatives are hereby authorised by the author<br />
<br />
to conduct all negotiations with the publishers in respect<br />
of the said work.<br />
<br />
From all the evidence that it has been<br />
possible to collect in the office of the Society<br />
it does not appear that the agent ever<br />
explains to the author the difficulties and<br />
dangers which may result when this clause<br />
in either form is inserted. That is to say,<br />
that on the first point, where the agent’s<br />
action touches his own position as confidential<br />
adviser, he very generally allows the author<br />
blindfold to sign an agreement with a clause<br />
inserted that may work mischief for his client.<br />
Attention has already been drawn to the<br />
difficulties that arise owing to the agent<br />
allowing the author to give way to certain<br />
of the publisher’s demands, but these can<br />
hardly be classed in the same list as the<br />
neglect to inform the author of the dangers<br />
of the clause referred to. If an author suffers,<br />
by the operation of this clause, he is the<br />
victim of what I consider to be indistinguish-<br />
able from a breach of trust. The first serious<br />
fault of which the author should be made<br />
aware, is that this clause is technically called<br />
“‘an authority coupled with an interest to a<br />
third party,” and is irrevocable as between<br />
the two parties who sign the agreement. No<br />
doubt the agent desires to protect his own<br />
interests. He is right to do so, but he must<br />
protect them in some other way—in any case<br />
<br />
THE AUTHOR.<br />
<br />
he must not abuse his confidential position.<br />
It is very easy, should the author desire the<br />
agent to collect his monies, to give the agent<br />
a separate and formal authority which could<br />
be handed to the publisher, and which could<br />
be cancelled at any time the author might<br />
desire; but even then, it is doubtful if the<br />
authority the author should give should be<br />
as wide as the irrevocable authority given<br />
in the clauses quoted. In clause 1 -and in<br />
clause 2 the agent’s receipt shall be a valid<br />
discharge to the publishers. In clause 2,<br />
indeed, the agent’s receipt “‘ alone’ shall be<br />
a valid discharge. Now a further legal point<br />
arises. A Court will not allow a statement of<br />
accounts to be re-opened when the accounts<br />
have once been closed by a formal receipt<br />
being given for the money paid, unless it can<br />
be shown at a subsequent date that the<br />
accounts are not being paid in accordance<br />
with the contract, and that there are clearly<br />
mistakes in them. If the agent carefully<br />
checked the accounts to see they were rendered<br />
in accordance with the terms of the agreement,<br />
and were correct as compared with the accounts<br />
that had already been rendered, even then the<br />
power of giving a valid receipt might put<br />
great temptation in his way; but on many<br />
occasions, from the study of publishers’<br />
accounts that have passed through agents’<br />
hands, it is quite clear that the agents have<br />
received accounts and cheques, have forwarded<br />
the receipt, and without going into the details<br />
have passed them on to the author unchecked.<br />
This brings about a very serious position for<br />
the author, and there is nothing in_ the<br />
clause to make the agent liable for such<br />
omission. He does not undertake to check<br />
the accounts, although he is permitted to<br />
give the valid receipt. These powers, then,<br />
in the agent’s hands, might make it difficult<br />
for the author to move actively and success-<br />
fully in the matter.<br />
<br />
Another point arises when the author<br />
empowers the publishers to negotiate with<br />
the agent on his behalf ‘‘in all matters con-<br />
cerning his agreement,’ and, as the first<br />
clause adds, ‘‘in any way whatsoever.” The<br />
author, then, has first irrevocably, during the<br />
continuance of the agreement, appointed the<br />
agent to collect his monies; . secondly, he<br />
has irrevocably appointed him to give a valid<br />
receipt; and, thirdly, he has irrevocably<br />
appointed him to deal with the publishers in<br />
all questions concerning the agreement. If<br />
the agent got into any financial difficulties<br />
(agents have been known to pass_ through<br />
financial crises) the publisher would still be<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
OUR DILATORY METHODS.<br />
<br />
bound to hand over the author’s money to<br />
the agent, and it is possible that when the<br />
final crash of bankruptcy came, the agent<br />
might have collected considerable sums on<br />
behalf of his authors, and the authors would<br />
only be entitled to a dividend as creditors in<br />
the bankruptcy. If, however, the author<br />
gives authority to the agent to collect his<br />
monies, that is revocable, a power to give a<br />
valid receipt that is revocable, and a power<br />
to deal with the publishers concerning the<br />
agreement that is revocable, then, if he sees<br />
that it is probable that his agentis in difficulties,<br />
he can revoke the authority, collect his own<br />
royalties, and pay to the agent in due course<br />
the commission due to him for placing the<br />
book or the drama with which the agreement<br />
is concerned; he can give his own valid<br />
receipt to the publishers ; and, finally, in any<br />
case where a dispute arises under the agree-<br />
ment and he prefers to conduct it himself, he<br />
can do so, and could most probably settle the<br />
matter in a more satisfactory way than the<br />
agent, or failing settlement could, if necessary,<br />
employ a lawyer to settle on his behalf.<br />
There are two points, then, to which<br />
attention should be specially drawn, first, the<br />
amount of remuneration an agent is receiving<br />
for the work he does, and, secondly, the limited<br />
power alone which should be entrusted to the<br />
agent for carrying out the work which he is<br />
able to undertake. It must be repeated that<br />
as the position between the agent and author<br />
is one of a specially confidential nature, it is<br />
all the more incumbent upon the agent to<br />
keep that position undefiled! He should<br />
explain all the difficulties of the publisher’s<br />
agreement, and while advising the author, he<br />
must let him settle for himself what he will<br />
give up, what he will reserve, and what risks he<br />
will take. He should explain the difficulties<br />
and dangers inherent in the clauses quoted,<br />
and allow the author to act, after appreciating<br />
them. For the same reason that the author<br />
employs an agent to negotiate his business and<br />
market his works, he would most probably<br />
desire the agent to collect the monies and to<br />
discuss all the difficulties that arise; but in<br />
no circumstances should the authority be<br />
irrevocable and unlimited, and it is certain<br />
that these vast discretions would never be<br />
given to agents if the authors understood<br />
rightly the various positions which might arise<br />
under their agreements. ‘These positions it is<br />
the agent’s positive duty to explain to his<br />
principal, clearly, correctly and frankly.<br />
<br />
G. H. T.<br />
<br />
<br />
<br />
211<br />
<br />
<br />
<br />
OME years ago an American organisation<br />
in London wrote, asking me to call.<br />
I called.<br />
<br />
At once I was shown in. A great literary<br />
work in many volumes was to be produced.<br />
Would I like to take part in its production ?<br />
<br />
I replied “‘ Yes.”<br />
<br />
Then would I quote my terms ?<br />
<br />
I suggested that the director I was address-<br />
ing should quote a price. He did so. I<br />
refused it and quoted as much again. He<br />
offered me half as much again as the additional<br />
sum I had named, and I closed with the offer.<br />
<br />
““ When could I start work ? ” was his next<br />
question.<br />
<br />
I suggested the following Monday.<br />
<br />
“ Could I start to-morrow ? ”’<br />
<br />
I said, ‘‘ Yes—to-morrow.”’<br />
<br />
“Then why not start right now ?” he said.<br />
“There is a table there that you can use. I<br />
will tell you what to do.”<br />
<br />
Within ten minutes of the time I had entered<br />
the room I was engaged and actually at<br />
work.<br />
<br />
Forty other men were engaged in the same<br />
way. Sixty shorthand-typists were engaged<br />
inside an hour.<br />
<br />
Recently an English firm wrote tome. They<br />
made a tentative proposal. They didn’t<br />
want—this was clear—to “ give themselves<br />
away.” Would I be prepared to assist in the<br />
production of a literary work .. . supposing<br />
that my qualifications . . . supposing they<br />
could see their way . . . supposing my terms<br />
: Would I “ write in’? and say what I<br />
thought about it ?<br />
<br />
I “ wrote in.”<br />
<br />
Three days passed. Then came a printed<br />
form acknowledging my letter.<br />
<br />
I waited.<br />
<br />
I waited a week.<br />
<br />
Then I ‘‘ wrote in ”’ again.<br />
<br />
Two days passed. Then a typed letter—<br />
“My communication was under consideration<br />
. . . I should hear in due course.”<br />
<br />
A fortnight passed. Thinking the “ due<br />
course”? must have elapsed, I “wrote in”<br />
again.<br />
<br />
Two days passed. Then a letter:<br />
<br />
‘My communication would be brought up<br />
at the General Mecting on the following<br />
Thursday.”<br />
<br />
Four days passed. Then a letter—* Would<br />
T call at three on Tuesday ? ”<br />
<br />
<br />
<br />
<br />
212<br />
<br />
<br />
<br />
I called at three on Tuesday. Mr. was<br />
extremely busy. Would I send in my card ?<br />
And what was the nature of my business ?<br />
<br />
Half-an-hour’s wait.<br />
<br />
Ushered into the presence of the Grand<br />
Llama.<br />
<br />
The Grand Llama most solemn. “ My<br />
proposal had been placed before his Board.<br />
The Board were favourably disposed, but<br />
<br />
. . they could not decide at once . . . there<br />
were points to be considered . . . my terms<br />
seemed rather high... they must take<br />
inquiries as to qualifications... had I<br />
<br />
‘eredentials’’ I could show . . . what would<br />
be my very lowest terms... had I ever<br />
done work of this kind before... .?”<br />
<br />
I named my bedrock terms. The Grand<br />
<br />
Llama raised his eyebrows. ‘He really<br />
didn’t know... he didn’t think . . . con-<br />
sidering the enormous expenses the Company<br />
would be put to in the mechanical production<br />
of so vast a work... it was, of course,<br />
extremely speculative . There would be<br />
a Board Meeting in a fortnight’s time. He<br />
would try then to let me know : . .”<br />
<br />
Sixteen days passed. Then a letter—‘‘ The<br />
Board favourably disposed. Would I call at<br />
three on Friday ? ”<br />
<br />
I rang up.<br />
<br />
‘“* The Grand Llama too busy to answer the<br />
telephone. What did I want to say to him ?<br />
Could the clerk give him a message? No?<br />
Then would I please ‘ write in’ making an<br />
appointment ? ”’<br />
<br />
Appointment made—and kept. Fifteen<br />
minutes’ wait. The Grand Llama quite<br />
cordial. ‘* Yes, they would want me to do<br />
this work. A letter of confirmation would be<br />
sent in due course.”<br />
<br />
Three days. Letter of confirmation re-<br />
ceived. “ Would I start work on the following<br />
Monday ? ”<br />
<br />
Total period of delay—two months and two<br />
days. And this is not fiction. It is truth.<br />
Basiu Tozer.<br />
<br />
oie ea a ee<br />
<br />
BRITISH WRITERS AND JOURNALISTS<br />
IN PORTUGAL.<br />
<br />
+<br />
<br />
By James Baker, F.R.G.S.<br />
<br />
OR some years past a wish had been<br />
expressed by members of the Sociedade<br />
<br />
_._ Propaganda de Portugal that the<br />
British International Association of Journalists<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
should pay a visit to the little country on the<br />
Western Ocean, but political events had<br />
delayed matters. This year, however, a<br />
cordial invitation was accepted by the Presi-<br />
dent of the Journalists’ Association, Sir James<br />
Yoxall, M.P., and in February a score of<br />
men and women journalists sailed by the<br />
R.M.S. Hilary of the Booth Line for Oporto.<br />
Mr. J. R. Fisher, of the Belfast Northern<br />
Whig, was elected chairman of the expedi-<br />
tion, as the President was prevented from<br />
travelling by Parliamentary pressure. Before<br />
reaching Portugal the party received a hearty<br />
greeting at Vigo from the representatives of<br />
the old friends of Galicia, Senors Oya and<br />
Barreras.<br />
<br />
At Oporto we saw at once an example of<br />
the warmth and cordiality of the reception<br />
that all Portugal was to give to us.<br />
<br />
A crowded programme had been prepared<br />
by the Sociedade de Propaganda, and Senors<br />
Wissmann and Roldan, the chief organisers,<br />
both of whom spoke excellent English, with<br />
Senor Vasconceles, accompanied us through-<br />
out the tour. This programme was added to<br />
by every town in their anxiety to give us a<br />
hearty welcome.<br />
<br />
The party included many specialists; and<br />
arrangements were made that they should<br />
have opportunities for seeing those matters of<br />
special interest such as schools, hospitals,<br />
prisons, factories with special machinery, and<br />
historical and archeological subjects.<br />
<br />
At Oporto the representatives of the town<br />
and of the port of Leixdes, with the chief of<br />
the Press, Senor Bernardo Lucas, met us;<br />
and a journey by special electric cars was made<br />
to the Exchange, where the Maire of Oporto<br />
gave us welcome. The birthhouse of Henry<br />
the Navigator and his statute told us of<br />
Portugal’s early maritime adventures; and a<br />
visit to the atelier and artistic home of Senor<br />
Antonio Teixeira Lopes, the great sculptor,<br />
gave us a delightful introduction to the<br />
modern art of Portugal.<br />
<br />
By kindly forethought, Senor Benoliel, a<br />
most expert photographer, was attached to<br />
our expedition; with orders to take pictures<br />
of any special scene or object for which our<br />
members wished. Senor Almeida, M.V.O.,<br />
who for four years had been second secretary<br />
of the Portuguese Legation in London, gave us<br />
also great assistance. A reception in the<br />
Moorish Salon of the Town Hall brought the<br />
day in Oporto to a close.<br />
<br />
At 6 a.m. on the following morning we were<br />
astir for the journey to Braga and Bom Jesus.<br />
The architectural glories of these spots are<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
world famous, but added to these we had the<br />
walks through the groves: bright with the<br />
blooms of camelias, and of the varied mimosa<br />
trees. Then we clambered up to Mount<br />
Sameiro for the view over a gigantic “ Dart-<br />
moor,” then on to the village of Briteiros to<br />
visit the Gallo-Celtic ruins of Citania—a vast<br />
prehistoric settlement on a high mountain ;<br />
with huts and houses and towers and graves<br />
and roads.<br />
<br />
After leaving Citania we journeyed on to<br />
Coimbra, where excited crowds received us.<br />
The students in long cloaks in true .student<br />
turbulency followed us up to the University ;<br />
there we had the help and guidance of Dr.<br />
Simoes de Castro, the veteran historian.<br />
<br />
The sequestered retreat of the Quinta das<br />
Lacrimas was visited, and the old and new<br />
cathedrals. Late at night, in motor cars, we<br />
ascended through the silent cedar forest of<br />
Bussaco, and by the light of the full moon<br />
arrived at the fairy-like Moorish Palace hotel,<br />
being greeted by showers of camelias and other<br />
flowers. None of the party will ever forget<br />
the glorious day spent at Bussaco, in the wild<br />
forests, and by the quaint little shrines beneath<br />
the cedars, towering to a 100 feet, the glorious<br />
views, and the climb up to the grim ridge<br />
where Wellington gave the first fieree check to<br />
Napoleon’s victorious army. The curious<br />
church and cloisters are all that is left of<br />
the monastery, and near by is the olive tree,<br />
whereto, tradition says, Wellington tied up<br />
his charger.<br />
<br />
But we had to quit this sylvan retreat for<br />
an arduous day’s motoring to Batalha, whose<br />
cathedral stands out as an _ architectural<br />
wonder, with its lofty nave and delicate<br />
light pillars. Then from Batalha_ through<br />
Leiria, with its finely situated castle, on to<br />
Thomar; all this day, Dr. Vierra Guimaraes,<br />
who is steeped in the lore of the district, gave<br />
us the advantage of his presence and _ his<br />
learning. The reception at Thomar was over-<br />
whelming. Cavalry escort, many bands,<br />
enormous crowds, rockets and showers of<br />
flowers; and in the great church of the<br />
Knights of Christ, famous for its wonderful<br />
“Sea”? window, the school children sang<br />
** God save the King.” After a most interest-<br />
ing dinner, we motored to the railway, and at<br />
10 p.m. travelled to Lisbon, arriving at<br />
midnight.<br />
<br />
In the capital our reception was as cordial<br />
as in the country districts. Here we went<br />
over the latest schools, and the great “‘ Peni-<br />
tenciary”” the principal prison; hospitals,<br />
-markets and public dining halls, parks and<br />
<br />
213<br />
<br />
golf links{were visited, as well as Lisbon’s<br />
historic buildings, the famous Artillery<br />
Museum with the Hall of Henry the Navigator ;<br />
and the church of St. Vincent, where lie the<br />
Braganzas.<br />
<br />
A wish had been expressed that our members<br />
should meet the President of the Republic,<br />
and while in the Museum below the Palace<br />
at Belem, where now the President lives, a<br />
message was brought that he would receive<br />
us. Ushered into his rooms, we had an<br />
interesting conversation. He had been in<br />
London twice, and found that many English<br />
knew the history of Portugal better than the<br />
Portuguese themselves. In the evening a<br />
banquet by the city of Lisbon was given,<br />
presided over by the President of the Council.<br />
The Minister for Foreign Affairs, our own<br />
Ambassador, Sir Arthur Hardinge, K.C.B.,<br />
G.C.M.G.; our Consul, P. A. Somers Cocks,<br />
C.M.G., and a brilliant company were present.<br />
Sir Arthur Hardinge and the Portuguese<br />
Minister gave important speeches in French.<br />
The present writer replied to the toast of the<br />
Journalists, and Mr. Fisher proposed the<br />
prosperity of the Sociedade de Propaganda.<br />
<br />
On the morrow, in motors, we visited Cintra<br />
and Monserrat, where General Sartorius<br />
received the visitors; Pena and Estorial,<br />
where Sir Clement Markham was called upon ;<br />
and finally Cascaes. In the evening a special<br />
reception was given by the Portuguese Geo-<br />
graphical Society. The next day was given<br />
up to special work, and the new agricultural<br />
school at Queluz was inspected. At 10 p.m.<br />
we crossed the Tagus in the only rainstorm<br />
we had, and in a special wagon-lit train ran<br />
all night down to the famous southern pro-<br />
vince of the Algarve. At Villa Nova, at<br />
6.30 a.m., the sun broke through, and we<br />
motored to Portima&o and Praia da Rocha, a<br />
glorious spot on the Pheenician sea, with<br />
sands and worn rocks of lovely hues and<br />
strange shapes.<br />
<br />
We could well have lingered here for days,<br />
but our relentless guides, Senors Roldan and<br />
Wissmann motored us off to the mountains of<br />
Monchique, and then to Lagos, where the<br />
whole town was en féte, and a luncheon was<br />
served in a flower-bedecked balcony over-<br />
looking the glorious bay ; then to the great<br />
headland of Piedade, whence a good view<br />
was had of Sagres point, where Henry the<br />
Navigator thought out his schemes of ex-<br />
ploration. :<br />
<br />
Space forbids description of mule rides upon<br />
precipitous heights, receptions in quaint towns<br />
<br />
-and in peasants’ homes, and the scenes in this<br />
<br />
<br />
prosperous, highly cultivated province, where<br />
fig vine and almond and corn _ thrive<br />
amazingly.<br />
<br />
Our last day here was packed with interest,<br />
a run through Portimao, with a visit to its<br />
great Sardine Factory, and on to Faro, where<br />
people and students in their hot hospitality,<br />
headed by the Governor of the Province and<br />
notables, tried hard to hold us all day, but we<br />
ran away to the wonderful Roman ruins of<br />
Stoy; Tower and Forum and pavements all<br />
untouched; then on in the evening to the<br />
strange old Moorish town of Olhao, a veritable<br />
Tangiers in Portugal, with quaint arched<br />
bazaar-like streets, and Mosque; and here, not<br />
far from the Spanish frontier, we ended our<br />
tour in Portugal, our special train taking us<br />
back to Lisbon in the night, and the next day,<br />
after many adieux to our hospitable friends,<br />
we embarked on the R.M.S. Lanfrane for<br />
England, having proved how wonderful and<br />
delightful a country is Portugal in the early<br />
spring. The two things most needed in<br />
Portugal are roads (including additional<br />
railroads) and schools. It is a marvellously<br />
rich country, full of immense possibilities.<br />
Surely it has a great future before it.<br />
<br />
++ ____<br />
<br />
THE LETTERS OF AN ORDINARY<br />
<br />
AUTHOR.<br />
—<br />
Collected and edited by JouN HASLETTE.<br />
III.<br />
Mains CoTraGE,<br />
SANTOLLER,<br />
Bucks.<br />
To Messrs. Back and Bleak. Publishers.<br />
<br />
Dear Sirs,—I have to acknowledge your<br />
letter of the 9th inst., and note with pleasure<br />
that your reader reports favourably on my<br />
novel entitled ‘‘ The Topmost Bough.”<br />
<br />
It is always agreeable to find one’s work<br />
approved by a critic ; still more to have that<br />
verdict emphasised by a firm who combine<br />
literary taste with business acumen. Person-<br />
ally, of course, I think that the book will “ go.”<br />
If I had not thought so I should not have<br />
troubled to write it, or asked you to savour it<br />
with a view to its ultimate appearance in six<br />
shilling form.<br />
<br />
You will forgive me now if I leave the<br />
question of literature aside, and deal with that<br />
portion of your letter referring to the terms<br />
upon which you will agree to publish my novel.<br />
<br />
You say, and I agree with you, that a first.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
novel is a difficult proposition ; that the public<br />
has an eye for old favourites, and does not<br />
always care to wade through many first<br />
attempts in an endeavour to provide itself with<br />
recreative reading. But, even with that in<br />
mind, you will admit that no author has<br />
tempted fortune in the first place with a second<br />
novel, only an Irishman with the cleverness<br />
of Sir Boyle Roche’s famous bird could<br />
accomplish the feat. Every novelist has been<br />
guilty of a first novel, and many of them have<br />
been published by firms like H—— and M——,<br />
and even by D—— and M n.<br />
<br />
You hint (very delicately) that the printing,<br />
publishing and pushing of a novel, for a small<br />
edition of one thousand copies, costs £100. I<br />
have heard this before. I have also heard that<br />
it costs £120 or £150, and occasionally £160.<br />
Of course, the printers are old-fashioned people,<br />
and do not quote close prices. That must be<br />
the reason why some estimate the cost of<br />
production at 1s. per copy, some at 1s. 3d., and<br />
some at 1s. 9d., while the old-established firms<br />
of publishers can get a large edition done at<br />
about 8d. It occurs to me that your firm<br />
might employ the printer favoured by M——<br />
or H , and save money by having your<br />
books printed at the cheaper rates.<br />
<br />
I notice that I am to pay you the sum of £70,<br />
and to receive in return the sum of Is. 6d. a<br />
copy royalty. Other editions, if any, are to<br />
be published by you, free of further cost to me.<br />
I am grateful for this generous provision.<br />
<br />
Your method of reasoning, if I follow it<br />
correctly, is something like this : One thousand<br />
copies of the novel are brought forth, and of<br />
this number you send out one hundred for<br />
review, etc. This leaves 900 copies on hand.<br />
These 900 copies will bring me, in royalties,<br />
some sixty-seven pounds. But, you say, if<br />
900 copies are sold, it will be a sign that there<br />
is a good demand, and that a second edition ©<br />
will be called for, while I shall only be £3 to the<br />
bad. This is cheering news. I follow up the<br />
idea, and suppose that a second thousand are<br />
printed at your expense. Take it that 500<br />
copies are sold. Then my loss of £8 is wiped<br />
out, and I am in pocket to the tune of £34 10s.<br />
This, as you justly remark, is a profit to me of<br />
more than 50 per cent. on my original invest-<br />
ment !<br />
<br />
When I came to this passage in your letter,<br />
I must confess that I was puzzled. It pea<br />
to me that I was doing very well indeed. But<br />
my horridly logical mind cried out that there<br />
was a flaw in the reasoning. After all, I am<br />
not an investor, but an author. I did not set<br />
out to invest £70 in a publishing house’;, I<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
wrote a novel, and expected to get a return on<br />
the capital represented by my brains. When<br />
the investor buys stock in a railway company<br />
he does not give six months of his time to that<br />
company in addition to the solid cash he pays<br />
for the stock.<br />
<br />
Again, there was another point (presented<br />
by my wretched mercenary sense) ; so long as<br />
you have to sell your goods to make a profit it<br />
is certain that you will work hard to effect<br />
sales. But, if you are paid for the stuff before-<br />
hand, your zeal will languish, you will say to<br />
yourself, * Does it really matter if this novel<br />
Sells or not? Has not the author already paid<br />
for it 1”<br />
<br />
No, gentlemen—if you will send me a pro-<br />
spectus of your company, I may think of invest-<br />
ing money in it, but a novel will not be thrown<br />
in, like a coupon prize with pounds of tea.<br />
<br />
I fear much that “ The Topmost Bough ”<br />
must venture again upon its lonely pilgrimage.<br />
Glad would have been the day that saw your<br />
imprint upon the novel—free of charge. But<br />
I am not in the literary line for my health. I<br />
have none of the vanity of the man who must<br />
see himself in print or die. If I could draw a<br />
cheque off-hand for £70, it is a question if novel-<br />
writing would interest me so much as it does.<br />
I regret that your reader and your good selves<br />
should have laboured in vain, but so must it be.<br />
<br />
The novel may fail of other takers ; it may<br />
return like the cat of fable, until I am moved<br />
to make of it a burnt offering; but you may<br />
rest assured that, while I am unable to accept<br />
your offer, your words of praise and cheer will<br />
brighten many lonely moments of my life. I<br />
will keep your letter, and refer to it in moments<br />
of depression.<br />
<br />
I remain, Dear Sirs,<br />
Yours truly,<br />
“Plenry WYVERN.<br />
<br />
P.S.—Please return MS. and oblige.<br />
<br />
<br />
<br />
IV.<br />
<br />
Marys CotTraGE,<br />
SANTOLLER,<br />
Bucks.<br />
<br />
To Miss Henrietta Briggs.<br />
<br />
My Dear Aunt,—Very many thanks for<br />
your letter sympathising with me on my ap-<br />
<br />
arent lack of success in the “ life literary.”<br />
<br />
t is pleasant to hear that I am not forgotten,<br />
and to feel that, at least, one of my relatives<br />
encourages me in what you so rightly express<br />
as ‘‘ an uphill task.”<br />
<br />
I have carefully read your hints, and have<br />
<br />
<br />
<br />
215<br />
<br />
put them away for future reference. They<br />
may assist me to a success like that of Mrs<br />
when I make use of them. You say that what<br />
is wanted nowadays is a story of “ sweetness<br />
and light,” a story which shall wring tears from<br />
the reluctant eye ; preferably, a story dealing<br />
with a dear child which, by its tender example<br />
and loving counsel, reclaims its erring father<br />
and mother. Failing this, you suggest that I<br />
should abandon my present style of writing,<br />
and imitate that of our great master of mystery,<br />
Mr. Your first idea strikes me as being<br />
very novel, and likely to appeal to a wide circle<br />
of readers, but I think it may have been done<br />
before—in America. Did not Mr. Dooley once<br />
speak of ‘ putting parents in the custody of<br />
their own childer.” Only one difficulty pre-<br />
sents itself to me in this connection. I have<br />
very little experience of children; the only<br />
little ones with whom I have lately come in<br />
contact being Uncle Tom’s boys. You will<br />
remember that I found it impossible to work<br />
when staying with Uncle and nearly quarrelled<br />
with the dear man in consequence.<br />
<br />
Sensation is another matter. My friend<br />
Maitland has a large selection of the works of<br />
the Master; and, no doubt, he will lend some<br />
to me, if I ask him. My own style of writing,<br />
however, is like an Old Man of the Sea. It<br />
clings to me persistently, and I find it extremely<br />
hard to imitate the style of other authors.<br />
Don’t you think this may be due to the fact<br />
that our minds differ ?<br />
<br />
Yes, it is quite true that a year has passed<br />
since I turned to the writing of fiction. It does<br />
seem a long time, and I must admit that I have<br />
not made a fortune during the twelve months.<br />
Talking of making money, I am glad to hear<br />
that Cousin Harry enters upon a four-year<br />
pupilship to architecture. In the circum-<br />
stances, the premium of £400 does not seem<br />
extortionate. In four years’ time he may be<br />
made an assistant.<br />
<br />
It is quite true that I am engaged to be<br />
married. To you, I know, it seems unwise.<br />
But even authors were created in two sexes,<br />
and I have hopes of making a decent income<br />
within a few years.<br />
<br />
Thanks for your offer of some excellent plots<br />
which I could work into stories. If you will<br />
take the trouble to write them out, I shall read<br />
them with much pleasure, and treasure them<br />
for all time. So many kind friends tell me<br />
stories, but they are mostly pointless. Yours,<br />
however, will be different. You understand<br />
that the fact that a man goes to India, and<br />
afterwards returns to marry a lady, with whom<br />
he was formerly in love, does not make a story.<br />
<br />
<br />
<br />
<br />
<br />
<br />
216<br />
<br />
Editors demand something more original.<br />
They cannot be brought to see that the simple<br />
recital of everyday events interests millions.<br />
I must close now, with love to all at the<br />
** Mount,”’<br />
Your affectionate nephew,<br />
<br />
Harry.<br />
———+ > —_______<br />
A HISTORY OF ENGLISH PROSE’<br />
RHYTHM.*<br />
<br />
<br />
<br />
ee praise the work of a master so excep-<br />
tional and so universally regarded as<br />
Professor Saintsbury savours of im-<br />
pertinence ; to epitomise it effectively would<br />
be impossible for any one but its author; and<br />
to overlook it is impossible. In such circum-<br />
stances a reviewer might becomingly plead for<br />
permission to say only, ‘‘ Obtain this book,<br />
and make a serious study of its contents ”’ ;<br />
adding no more; and having said that would<br />
indeed have said what was most pertinent.<br />
The scope of the work is exactly described<br />
in its title. Building upon a foundation, at<br />
first essentially analytical, and always his-<br />
torical, and beginning from the earliest extant<br />
specimens of the language, Professor Saints-<br />
bury advances, through memorable observa-<br />
tions, on the effect of the Latin influences, until<br />
he is in a position to offer definite evidence of<br />
what constitutes agreeable or majestic rhythm<br />
in English prose. Thereafter he is in a position<br />
to test the rhythmic qualities of the prose<br />
of selected authors of high reputation, with<br />
results that are among the most noteworthy<br />
things contained in the book. When mar-<br />
shalled according to their ability to command<br />
numbers and to balance sentences, the cele-<br />
brated authors change in a very remarkable<br />
manner their familiar positions. Milton is found<br />
by no means always impeccable. Dryden<br />
holds his own as a master without fault.<br />
For the author a pertinent question will be<br />
whether the results of Professor Saintsbury’s<br />
investigations have direct value for profes-<br />
sional literary men. It must be answered that<br />
they are of the supremest value, and such as<br />
not to be overlooked by any one who attempts<br />
to write English prose. In these days, when<br />
poets (of a kind) have easily persuaded them-<br />
selves to disregard quantity, there will be<br />
enough of those who will declare, ‘‘ We care<br />
nothing about these things!”’—a quite un-<br />
necessary protest, seeing how abundant in<br />
their works is the evidence of that painful<br />
truth. But then there is also a story about a<br />
<br />
*“ A History of English Prose Rhythm.” By George<br />
Saintsbury London: Macmillan & Co. 1912.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
fox and some grapes. To the authors who, on<br />
the other hand, do care how their sentences<br />
sound, the book may be recommended in the<br />
warmest terms. In it Professor Saintsbury<br />
has done for the English language what has<br />
never before been done for any language<br />
ancient or modern. The originality of the work<br />
is at the same time not more epoch-making<br />
than its doctrines are of supreme cogency.<br />
<br />
By way of caution, it may not be out of<br />
place to add that any one who does not possess<br />
an ear, and has also nothing to say, might by a<br />
consistently unintelligent use of the informa-<br />
tion contained in the volume, and particularly<br />
by “minding” the axioms and suggestions<br />
contained in the third appendix, succeed in<br />
writing English as pedantic and ridiculous as<br />
any that has ever been written. .<br />
<br />
Those who are familiar with the author’s<br />
writings will find inwoven with his teaching<br />
no lack of the delicious things that give it<br />
piquancy; such, for instance, as a reference<br />
to ‘“‘ the specious and half-informed ignorance<br />
which has now, for nearly half a century, been<br />
diffused among the lower classes by board-<br />
schools, and, through the contamination of<br />
grammar and public schools, among the middle<br />
and upper classes.”<br />
<br />
It must on no account be supposed that the<br />
work is of value to the student of English<br />
prose alone. Incidentally it throws startling<br />
sidelights upon the nature of prose even most<br />
remote from English, suggesting solutions of<br />
the puzzling phenomena that it in certain cases<br />
presents. But the essential thing to be noted<br />
here is that every author should procure the<br />
book and acquaint himself with its disclosures.<br />
<br />
CORRESPONDENCE.<br />
—~—<br />
UNREVIEWED Books.<br />
<br />
Str,—Perhaps you will allow me to add<br />
something to Mr. Isidore Ascher’s article on<br />
unreviewed books in The Author of February.<br />
This problem was discussed in the Preface of<br />
my “ Britannia Poems,’ 1910, the first time<br />
it was discussed seriously anywhere, I think.<br />
<br />
My Preface contains a complete list of the<br />
reviews and newspapers that received a copy<br />
of my first book, ‘‘ Home once More,” with a<br />
starring of them that noticed the book. I<br />
believe this to be the first time again that<br />
such a summary was published by any author.<br />
In my Preface I wrote :—<br />
<br />
** , . . So twenty-one copies were thrown<br />
in the proverbial gutter! I want to be<br />
quite sensible over this old trouble, and to<br />
<br />
<br />
<br />
<br />
<br />
<br />
ne<br />
<br />
as<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
be fair to editors and reviewers, . . . yet<br />
I have complaints to make in the interests<br />
of authors generally. I sent my book out<br />
carefully : to good literary papers, promptly<br />
on publication, postage paid. ... Why<br />
could not these papers return my book<br />
when they could not notice it? Why need<br />
they keep books, sent in good faith because<br />
they review books, and because by _re-<br />
viewing books they ask for others? They<br />
may say: ‘We did not ask ior your silly<br />
book.’ ...I1 reply: ‘Don’t be absurd!<br />
You exist as literary organs because you<br />
review books.... You cannot review<br />
unless books are sent. ... You get hun-<br />
dreds of books and notice dozens... .’<br />
These loose habits are wrong, and the<br />
Society of Authors ought to do something.<br />
A book is sent out on trust, and should be<br />
regarded as the property of the sender until<br />
a notice has appeared, or it has been re-<br />
turned, like a manuscript. Or how would<br />
this do: for editors to be asked beforehand<br />
whether they are likely to notice a book if<br />
sent? I have tried this several times.<br />
. . . There I will leave the problem, en-<br />
larging it a little by this that the balance<br />
of unnoticed copies is a heavy tax on young<br />
authors. And this: that the relations<br />
among Authors, Publishers, and Critics,<br />
are still as unsatisfactory as ever: if any<br />
man can solve this problem he will deserve<br />
all he gets!”<br />
<br />
This part of the Preface was discussed in<br />
many papers and received all sorts of treat-<br />
ment, from low ridicule to high commenda-<br />
tion; but Mr. James Milne, of the Daily<br />
Chronicle, went beyond all others. The book<br />
had been criticised twice in papers under his<br />
literary control, and when he found it was not<br />
possible to give it a full-dress review in the<br />
Daily Chronicle, he wrote me a letter in which,<br />
after telling what had been done already, he<br />
ended thus: ‘‘ Now I am returning you the<br />
book which, I hope you will agree, completes the<br />
matter.” His letter is dated February 3, 1911.<br />
<br />
Is it too much to declare that Mr. Milne<br />
has done a new thing and set a precedent<br />
that may be of some historic value in the<br />
record of relations between authors and<br />
reviews? To me, at least, this returning of<br />
my book is a matter of considerable interest,<br />
and I am keeping the copy so returned as a<br />
literary souvenir. But will the Society of<br />
Authors consider the problem ?<br />
<br />
Yours faithfully,<br />
HEDLEY V. STOREY.<br />
21, St James’ Avenue, Brighton.<br />
<br />
217<br />
<br />
~<br />
<br />
Tae UNEXPECTED.<br />
<br />
Str,—After about twenty years of—not<br />
only my own tribulations in connection with<br />
publishers (and agents), but of tribulations<br />
undertaken on behalf of others, the unexpected<br />
has happened : I have been requested, jointly<br />
by agent and publisher, to draw up my own<br />
contract ! This, after the one drawn up by<br />
themselves, had been submitted to your own<br />
valuable and judicious criticism.<br />
<br />
Not only so, but my amended contract has<br />
been accepted and signed. The result is,<br />
naturally, amicable relationships all round.<br />
<br />
I ought, perhaps, in fairness, to say that I<br />
made no demur to the pecuniary arrangements ;<br />
but in fairness, also, I ought to say that I did<br />
demur to several clauses, and that many of<br />
my objections were, without hesitation, sus-<br />
tained.<br />
<br />
I have myself so often given vent to objur-<br />
gatory remarks on the manners and methods<br />
of those pene-omnipotent gentlemen whose<br />
calling in life it is to transmute manuscripts<br />
into books, that I venture to send you this<br />
brief palinode.<br />
<br />
This letter is not a ‘“‘ free ad.’”’ But, with<br />
your permission, I would not mind giving the<br />
names of the agent and publisher I speak of<br />
to any who, for quite legitimate purposes,<br />
would like to know them.<br />
<br />
Yours faithfully,<br />
ARNOLD HAULTAIN.<br />
<br />
<br />
<br />
Dear Sir,—The Fortnightly Review of<br />
March 1 contains an article entitled, “Is<br />
Austria really the Disturber? by Count<br />
Liitzow.” It is, of course, always disagreeable<br />
to a writer that the authorship of anything<br />
that is not from his pen should be attributed<br />
to him. May I, therefore, as a member of<br />
the Society of Authors, beg you in the next<br />
number of The Author to state that I am not<br />
the author of the article in the Fortnightly<br />
Review, and to publish this letter. As I have<br />
frequently written in American and English<br />
reviews—ineluding the Fortnightly—this mis-<br />
take is all the more unpleasant to me.<br />
<br />
Believe me,<br />
Yours faithfully,<br />
(Count) Litzow.<br />
<br />
[Ep.—We print the above letter with<br />
pleasure, but understand that the article was<br />
signed in the body of the magazine “Henry<br />
Lutzow,” and the author was further identified<br />
<br />
<br />
218<br />
<br />
by the designation, “late Austria-Hungarian<br />
Ambassador in Rome.” It is a pity that there<br />
should have been an error on the cover.]<br />
<br />
ConceRNING ‘“ Cat ATHLETICS.”<br />
<br />
Dear Autuor,—Herewith I respond heartily<br />
to the views expressed by “ Progress,”’ in the<br />
February Author, in the matters of establishing<br />
a publishing union for the protection of writers<br />
on a professional basis, and an extra fortnightly<br />
supplement to The Author to facilitate inter-<br />
change of correspondence on matters of vital<br />
importance to Society members. An author<br />
can exist without publishers. But show me<br />
the publisher who exists without authors ?<br />
I should like best to know how much, to a<br />
ha’penny, writers like H. G. Wells, Arnold<br />
Bennett, or G. Bernard Shaw have put out<br />
advertising to arrive at their present stage of<br />
success ? Wouldn’t it be a good plan to have<br />
them, for the benefit of the many, divulge the<br />
lump sums they have earned minus their<br />
advertising bills ?—and their agents’ charges ?<br />
<br />
Assuredly it is high time the “ cat ” should<br />
be taught the wisdom of “jumping” the<br />
author’s way.<br />
<br />
JUSTICE.<br />
——e<br />
Tue Suort Story WRITER.<br />
<br />
Dear Srr,—I cannot help expressing my<br />
appreciation of the article entitled “ The<br />
‘Short Story’ Writer,’? which appeared in<br />
the March issue of The Author. Its strong<br />
common sense is very refreshing.<br />
<br />
In regard to the latter part of the article,<br />
may I be allowed to quote a few words from<br />
Rudyard Kipling’s speech at the 118th<br />
Anniversary Banquet of The Royal Literary<br />
Fund? They are these: “We might dis-<br />
cover cases where the blessed canons of art<br />
would seem to have recoiled upon them-<br />
selves—puzzling cases where the apparently<br />
flagrant pot-boiler had turned a man from<br />
destruction, quite as effectually as an angel<br />
-with a flaming sword; cases where a piece<br />
of unthinking buffoonery had steadied a man<br />
through the ten vital minutes of a life’s crisis,<br />
where cheap sentiment and rank melodrama<br />
had helped to lift some poor soul to humility,<br />
or sacrifice, or strength, that he knew not he<br />
possessed.”’<br />
<br />
I have no doubt that if the hidden springs<br />
of all actions could be revealed, thousands of<br />
such cases would be recognised. But, in<br />
addition, I think an unbiassed judge would<br />
admit that hundreds of cheap stories are well<br />
written, true to life, and likely to have a far<br />
<br />
THE AUTHOR.<br />
<br />
better influence: over the minds of their<br />
readers than a considerable percentage of the<br />
ordinary 6s. novel.<br />
I am proud to admit that, in addition to<br />
being a magazine contributor, I am<br />
A WRITER OF PENNY STORIES.<br />
<br />
ae<br />
<br />
Sir,—The monthly record of elections to<br />
the Society, which appears in your columns,<br />
shows that its work is becoming increasingly<br />
appreciated by writers, dramatists and com-<br />
posers. But the progress made by the Society<br />
in this direction during recent years, satis-<br />
factory as far as it goes, is far short of what<br />
it might be. New authors, new dramatists<br />
and new composers are constantly appearing.<br />
But how to reach them? The various<br />
literary, dramatic and musical annuals are, no<br />
doubt, of some help; but, in the nature of<br />
things, they can be of little use in tracing, as<br />
he appears, the new writer, dramatist or<br />
composer. And it is the new members of our<br />
<br />
profession, inexperienced in the methods of<br />
publishers, managers and agents, who stand<br />
most in need of the Society’s assistance.<br />
<br />
To appeal to them, care of their publishers,<br />
even assuming appeals are forwarded, is to<br />
<br />
run the risk of your appeals reaching the<br />
waste paper basket more often than not.<br />
Re-addressed letters are handicapped from the<br />
start, and when they obviously contain, as<br />
they must if the Society’s aims and objects<br />
are to be placed before the potential member,<br />
printed matter, the result is almost necessarily<br />
a waste of time, postage and labour.<br />
<br />
What then can be done ?<br />
<br />
Surely, the solution of the problem lies with<br />
the existing members. Donations to the<br />
Society’s funds in return for work done for<br />
members are constantly being acknowledged<br />
by the committee in your columns. That<br />
they are so often received affords ample<br />
testimony to the members’ appreciation of<br />
the Socicty’s efforts. But we are not all able<br />
to make this return, however anxious we may<br />
be to show our gratitude for the Society's<br />
assistance. What, however, we can do, and,<br />
I suggest, we should do, is to take every,<br />
opportunity which comes to us of recom-<br />
mending the Society’s work to our friends.<br />
There is scarcely any need to specify the<br />
occasions for the ‘word in season.” “ At-<br />
Homes,’”’ lunches, dinners, club theatrical<br />
performances, creditors’ meetings of bankrupt<br />
publishers—to name only a few. Others will<br />
readily occur to the enthusiastic recruiter.<br />
<br />
Yours, etc., Z. A. B. | https://historysoa.com/files/original/5/527/1913-04-01-The-Author-23-7.pdf | publications, The Author |