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447	https://historysoa.com/items/show/447	The Author, Vol. 03 Issue 09 (February 1893)	<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.+03+Issue+09+%28February+1893%29"><em>The Author</em>, Vol. 03 Issue 09 (February 1893)</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>	1893-02-01-The-Author-3-9					305–344																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=3">3</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1893-02-01">1893-02-01</a>							9			18930201	The HMutbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> BONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> FEBRUARY 1, 1893. [Prick SIXPENCE.<br /> <br /> CONTENTS.<br /> <br /> <br /> <br /> PAGE.<br /> <br /> Warnings ae see wee Be ce ae Be ao: ws. OT The Starveling. By William Toynbee ...<br /> <br /> How to Use the Society... ae ae e vee ae .-. 308 Notes and News. By the Editor...<br /> <br /> The Authors’ Syndicate } ‘Tho Empty Purse”<br /> <br /> Notices... x = aie = ae a : = : Feuilleton—<br /> <br /> Literary Property— 1.—A Writer of Stories a<br /> 1.—Author and Editor yes peo Se oe aac coe BLO 2.—My Critic on the Hearth ...<br /> 2.—Clarke v. Mills es yas es er wwe ae ce OLD Mr. Hawley Smart. In Memoriam<br /> 3.—The First Decree under the New American Copyright Act 312 Labour&#039;s Sunday. By John Saunders ...<br /> <br /> The Output of 1892<br /> Correspondence—<br /> 1.—G. P. G. on Many Things...<br /> 2.—Wessex wae eae<br /> $.—Author and Editor...<br /> 4.—On Mr. H. Haes’ Letter<br /> 5.—Prompt Payment<br /> 6. The Lady of Title<br /> 7.—Recommended by the Court<br /> At the Sign of the Author’s Head...<br /> List of Publications, &amp;ec.<br /> <br /> 4.—Magazines and Copyright<br /> 5.—Another Pirate<br /> 6.—A Case for the Society<br /> 7.—The Hardships of Publishing<br /> Association of American Authors...<br /> { From the Daily Chronicle<br /> A Confession ... ase<br /> i Letter by Miss Mitford Es oo os eee<br /> * AnOmnium Gatherum for February. By J. M. Lely<br /> A National Name a tae<br /> Notes from Paris. By R. H. Sherard<br /> <br /> <br /> <br /> PUBLICATIONS OF THE SOCIETY.<br /> <br /> { 1, The Annual Report. That for January 1892 can be had on application to the Secretary.<br /> 9. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary<br /> Property. Issued to all Members.<br /> <br /> The Grievances of Authors. (The Leadenhall Press.) 1s. The Report of three Meetings on<br /> the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887.<br /> Literature and the Pension List. By W. Morris Coutss, Barrister-at-Law. (Henry Glaisher,<br /> <br /> 95, Strand, W.C.) 3s.<br /> <br /> 5, The History of the Sociéte des Gens de Lettres. By S. Squire Spriaen, late Secretary to<br /> the Society. Is.<br /> <br /> 6. The Cost of Production, In this work specimens are given of the most important forms of type,<br /> size of page, &amp;c., with estimates showing what it costs to produce the more common kinds of<br /> books. Henry Glaisher, 95, Strand, W.C. 2s. 6d.<br /> <br /> 7. The Various Methods of Publication. By S. Squire Spriaee. In this work, compiled from the<br /> papers in the Society’s offices, the various forms of agreements proposed by Publishers to<br /> Authors are examined, and their meaning carefully explained, with an account of the various<br /> kinds of fraud which have been made possible by the different clauses in their agreements.<br /> Henry Glaisher, 95, Strand, W.C. 3s.<br /> <br /> 8. Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia-<br /> ment. With Extracts from the Report of the Commission of 1878, and an Appendix<br /> contaming the Berne Convention and the American Copyright Bill. By J. M. Lexy. Eyre<br /> and Spottiswoode. 1s. 6d.<br /> <br /> -<br /> <br /> <br />  <br /> <br /> <br /> <br /> 306<br /> <br /> The Soctety of Authors (Sncorporated),<br /> <br /> ADVERTISEMENTS.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> PRESIDENT.<br /> <br /> GHORGH MEREDITH.<br /> <br /> COUNCIL.<br /> <br /> Str Epwin ARNo.xp, K.C.I.E., C.S.1.<br /> ALFRED AUSTIN. |<br /> J. M. Barrie.<br /> <br /> A. W.A Beckert.<br /> <br /> RoBeRT BATEMAN.<br /> <br /> Str Henry Berene, K.C.M.G.<br /> WALTER BESANT.<br /> <br /> AUGUSTINE BrRRELL, M.P.<br /> <br /> R. D. Bhackmore. |<br /> Rev. Pror. Bonney, F.R.S.<br /> Lord BRABOURNE.<br /> <br /> James Brycz, M.P.<br /> <br /> HAuu CAINE.<br /> <br /> P. W. CLAYDEN.<br /> <br /> Epwarpb CLopp.<br /> <br /> W. Morris Cougs.<br /> <br /> Hon. JoHN CoLurEer.<br /> <br /> W. Martin Conway.<br /> <br /> F. Marion CRAWFORD.<br /> <br /> Austin Dogson.<br /> A. W. Dusoure.<br /> <br /> EpmuND Gossr.<br /> <br /> <br /> <br /> THomas Harpy.<br /> <br /> J. M. Lary.<br /> <br /> <br /> <br /> OswaLp CRAWFURD, C.M.G.<br /> THE HAR oF Desarr.<br /> <br /> J. Eric Ericusen, F.R.S.<br /> Pror. MicHarn Foster, F.R.S.<br /> HERBERT GARDNER, M.P.<br /> RicHarD GARNETT, LL.D.<br /> <br /> H. Riper HaGearp.<br /> <br /> JEROME K. Jerome.<br /> Rupyarp KIpuine.<br /> Pror. E. Ray LAnKestEr, F.R.S.<br /> <br /> Rev. W. J. Lorriz, F.S.A.<br /> <br /> Pror. J. M. D. Merknesoun.<br /> HERMAN C. MERIVALE.<br /> <br /> Rev. C. H. Mippneton-WakeE F.L.S.<br /> <br /> Lewis Morgis.<br /> <br /> Pror. Max Miuuer.<br /> <br /> J. C. PARKINSON.<br /> <br /> THE Ear oF PEMBROKE AND Mont-<br /> GOMERY.<br /> <br /> Sire FREDERICK PoLtocx, Bart., LL.D.<br /> <br /> WaALter Herries PoLiock.<br /> <br /> A. G. Ross.<br /> <br /> GEoRGE AuGusTUsS SALA.<br /> <br /> W. BaprisTE Scoongs.<br /> <br /> G. R. Sms.<br /> <br /> S. SQUIRE SPRIGGE.<br /> <br /> J. J. STEVENSON.<br /> <br /> Jas. SULLY.<br /> <br /> Wiuiiam Moy Tuomas.<br /> <br /> H. D. Tears, D.C.h.<br /> <br /> Baron Henry DE Worms,<br /> F.R.S.<br /> <br /> Epmunp YAtTEs.<br /> <br /> MP.,<br /> <br /> <br /> <br /> Hon. Counsel—E. M. UNpERpown, Q.C.<br /> <br /> Solici&#039;ors-<br /> <br /> Messrs Freup, Roscor, and Co., Lincoln’s Inn Fields.<br /> <br /> Secretary—C. HurBert Turina, B.A.<br /> <br /> OFFICES.<br /> <br /> 4, PortuGau Street, Lincoun’s Inn Fiexips, W.C.<br /> <br /> <br /> <br /> Now ready, Third Edition, with Additions throughout, in demy 8vo., 700 pages, price lds.<br /> <br /> AN ANECDOTAL HISTORY oF THE BRITISH PARLIAMENT,<br /> <br /> From the Earliest Periods to the Present Time.<br /> WITH NOTICES OF EMINENT PARLIAMENTARY MEN, AND EXAMPLES OF THEIR ORATORY.<br /> CoMPILED rRoM AUTHENTIC SOURCES BY<br /> GCHORGE HENRY JBN NTN.<br /> <br /> CONTENTS.<br /> <br /> Parv I. Riseand Progress of Parliamentary Institutions.<br /> <br /> Part II.—Personal Anecdotes: Sir Thomas More to John<br /> Morley.<br /> <br /> Part HI.—Miscellaneous. 1. Elections. 2. Privilege; Ex-<br /> <br /> clusion of Strangers; Publication of Debates.<br /> 3. Parliamentary Usages, &amp;c. 4. Varieties.<br /> <br /> | AppENDIx.—(A) Lists of the Parliaments of England and<br /> <br /> of the United Kingdom.<br /> (B) Speakers of the House of Commons.<br /> <br /> | (C) Prime Ministers, Lord Chancellors, and<br /> <br /> | Secretaries of. State from 1715 to<br /> <br /> 1892.<br /> <br /> <br /> <br /> Opinions of the Press of the Present Edition.<br /> <br /> ’ The work, which has long been held in high repute as a repertory<br /> of good things, is more than ever rich in doth instruction and amuse-<br /> ment. &quot;—Scotsmar.<br /> <br /> ‘It is a treasury of useful fact and amusing anecdote, and in its<br /> atest form should have increased popularity.”—Globe,<br /> <br /> ‘Its advantage to those who are seeking seats in Parliament, or<br /> who may have occasion to assist as speakers during the electoral<br /> vempaign, is ineumparable.”’—Sa/a&#039;s Journal.<br /> <br /> “It is a work that possesses both a practical and an historical<br /> value. and is altogether unique in character.”— Kentish Observer.<br /> <br /> ‘* We can heartily recommend this work to the politician, whatever<br /> may be his party leanings.”—WNorthern Echo.<br /> <br /> ‘Here we have the whole company of Parliamentary celebrities,<br /> past and present, reduced to puppets, so to speak, and made to<br /> repeat their best and most approved rhetorical performances for our<br /> <br /> | leisurely entertainment, which is not less enjoyable from being allied<br /> <br /> with edification.”—Liverpool Courier.<br /> <br /> <br /> <br /> we<br /> <br /> Orders may now be sent to HORACE COX “Iaw Times’’ Office, Windsor House, Bream&#039;s-buildings, E.C.<br /> <br /> <br />  <br /> <br /> <br /> <br /> Che<br /> <br /> Fluthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors. Monthly.)<br /> <br /> CONDUCTED BY WALTER BESANT.<br /> <br /> <br /> <br /> For the Opinions expressed in papers that are<br /> signed or initialled the Authors alone are<br /> responsible.<br /> <br /> ————<br /> <br /> NHE Secretary begs to give notice that all<br /> remittances are acknowledged by return of<br /> post and requests that all members not<br /> <br /> recviving an answer to important communicatiops<br /> within two days will write to him without delay.<br /> During the last six months a number of letters<br /> have not been delivered at the Society’s office, and,<br /> as one robbery at least has Leen proved to have<br /> been committed, it is reasonab’e to suppose that<br /> the letters have been stopped in the hope of<br /> stealing uncrossed cheques. All remittances<br /> should be crossed Union Bank of London,<br /> Chancery-lane, or be sent by registered letter<br /> only.<br /> <br /> WARNINGS.<br /> <br /> ———- &gt;<br /> <br /> Seri1aL Ricuts.—In eselling Serial Rights<br /> stipulate that you are selling simultaneous serial<br /> right only, otherwise you may find your work<br /> <br /> serialized for years, to the detriment of your<br /> volume form.<br /> <br /> <br /> <br /> Srame your AGREEMENTS.— Readers are most<br /> URGENTLY warned not to neglect stamping their<br /> agreements immediately after signature. If this<br /> precaution is neglected for two weeks, a fine of<br /> £10 must be paid before the agreement can be<br /> used as a legal document. In almost every case<br /> biought to the secretary the agreement, or the<br /> letter which serves for one, is without the stamp.<br /> The author may be assured that the other party<br /> to the agreement never neglects this simple pre-<br /> caution, The stamp duty varies from 6d. up to<br /> 10s, or more, according to the form of agreement.<br /> The Society, to save trouble, undertakes to get<br /> <br /> VOL, III.<br /> <br /> FEBRUARY 1, 1893.<br /> <br /> [Prick SIXPENCE.<br /> <br /> all the agreements of members stamped for them<br /> at no expense to themselves except the cost of the<br /> stamp.<br /> <br /> ASCERTAIN WHAT A PROPOSED AGREEMENT<br /> GIVES TO BOTH SIDES BEFORE SIGNING IT.—<br /> Remember that an arrangement as to a joint<br /> venture in any other kind of business whatever<br /> would be instantly refused should either party<br /> refuse to show the books or to let it be known<br /> what share he reserved for himself.<br /> <br /> Sa<br /> <br /> Literary Acrents.—Be very careful. You<br /> cannot be too careful as to the person whom you<br /> appoint as your agent. Remember that you place<br /> your property alm»st unreservedly in his hands.<br /> Your only safety is in consulting the Society, or<br /> some friend who has had personal experience of<br /> the agent.<br /> <br /> ———<br /> <br /> Reapers of the Author are earnestly desired to<br /> make the following warnings as widely known as<br /> possible. They are based on the experience of<br /> eight years’ work upon the dangers to which literary<br /> property is exposed :-—<br /> <br /> (1.) Never sign any agreement of which the<br /> alleged cost of production forms an<br /> integral part, until you lave proved the<br /> figures.<br /> <br /> (2.) Nuver enter into any correspondence with<br /> publishers, especially with those who<br /> advertise for MSS., who are not recom-<br /> mended by experienced friends or by this<br /> Society.<br /> <br /> (3.) Never, on any account whatever, bind<br /> yourself down for future work to any-<br /> one.<br /> <br /> (4.) Never accept any proposal of royalty<br /> until you have asceitained what the<br /> <br /> AA 2<br /> <br /> rise scanpanieemnaii<br /> <br /> ee ees<br /> <br /> <br />  <br /> <br /> 308<br /> <br /> <br /> <br /> agreement, worked out on both a small<br /> and a large sale, will give to the author<br /> and what to the publisher.<br /> <br /> (5.) Never accept any pecuniary risk or respon-<br /> sibility whatever without advice.<br /> <br /> (6.) Never, when a MS. hes been refused by<br /> respectable houses, pay others, whatever<br /> promises they may put forward, for the<br /> production of the work.<br /> <br /> (7.) Never sign away foreign, which include<br /> American, rights. Keep them by special<br /> clause. Refuse to sign any agreement<br /> containing a clause which reserves them<br /> for the publisher, unless for a substantial<br /> consideration. If the publisher insists,<br /> take away the MS. and offer it to another.<br /> <br /> (8.) Never sign any paper, either agreement<br /> or receipt, which gives away copyright,<br /> without advice.<br /> <br /> (9.) Keep control over the advertisements, if<br /> they affect your returns, by clause in the<br /> agreement. Reserve a veto. If you are<br /> yourself ignorant of the subject, make<br /> the Society your adviser.<br /> <br /> (10.) Never forget that publishing is a busi-<br /> ness, like any other business, totally un-<br /> connected with philanthropy, charity, or<br /> pure love of literature. You have to do<br /> with business men. Be yourself a<br /> business man.<br /> <br /> Society’s Offices :-—<br /> 4, Portucat Srreet, Lincoun’s Inn Freups.<br /> <br /> De<br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> <br /> <br /> 1. Every member has a right to advice upon<br /> his agreements, his choice of a publisher, or any<br /> dispute arising in the conduct of his business or<br /> the administration of his property. If the advice<br /> sought is such as can be given best by a solicitor,<br /> the member has a right to an opinion from the<br /> Society’s solicitors. If the case is such that<br /> counsel’s opinion is desirable, the Committee will<br /> obtain for him counsel’s opinion. All this with-<br /> out any cost to the member.<br /> <br /> z. Remember that questions connected with<br /> copyright: and publishers’ agreements are not<br /> generally within the experience of ordinary<br /> solicitors. Therefore, do not scruple to use the<br /> Society first—our solicitors are continually<br /> engaged upon such questions for us.<br /> <br /> THE AUTHOR.<br /> <br /> 3. Send to the office copies of past agreements<br /> and past accounts with the loan of the books repre-<br /> sented. This is in order to ascertain what has<br /> been the nature of your agreements and the<br /> results to author and publisher respectively so<br /> far. The secretary will always be glad to have<br /> any agreements, new or old, for inspection and<br /> note. The information thus obtained may prove<br /> invaluable.<br /> <br /> 4. If the examination of your previous business<br /> transactions by the Secretary proves unfavour-<br /> able, you should take advice as to a change of<br /> publishers.<br /> <br /> 5. Before signing any agreement whatever,<br /> send the proposed form to the Society for<br /> examination.<br /> <br /> 6. The Society is acquainted with the methods,<br /> and—in the case of fraudulent houses—the tricks,<br /> of every publishing firm in the country.<br /> Remember that there are certain houses which live<br /> entirely by trickery.<br /> <br /> 7. Remember always that in belonging to the<br /> Society you are fighting the battles of other<br /> writers, even if you are reaping no benefit to<br /> yourself, and that you are advancing the best<br /> interests of literature in promoting the inde-<br /> pendence of the writer. :<br /> <br /> 8. Send to the Editor of the Author notes of<br /> everything important to literature that you may<br /> hear or meet with.<br /> <br /> THE AUTHORS’ SYNDICATE.<br /> <br /> <br /> <br /> [ B. Colles desires to inform readers of the<br /> <br /> N Author—<br /> <br /> 1. That the Authors’ Syndicate is now in a<br /> position to take charge in whole or in part<br /> of the business of members of the Society.<br /> With, when necessary, the assistance of<br /> the advisers of the Society, it will conclude<br /> agreements, collect royalties, examine and<br /> pass accounts, and, generally, relieve mem-<br /> bers of the trouble of managing business<br /> details. All accounts opened between<br /> the Syndicate and members are duly<br /> audited.<br /> <br /> 2. That the establishment expenses of the<br /> Authors’ Syndicate are defrayed entirely<br /> out of the commission charged on rights<br /> placed through its intervention. This<br /> varies, and must vary, according to the<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> nature of the services rendered, but the<br /> charges are reduced to the lowest possible<br /> amount compatible with efficiency. Mean-<br /> while members will please accept this<br /> intimation that they are not entitled to<br /> the services of the Syndicate gratis, and<br /> when desirous of seeing Mr. Colles, they<br /> must write for an appointment.<br /> <br /> 3. That he undertakes to work for none but<br /> members of the Society whose work<br /> possesses a market value.<br /> <br /> 4. That his business is not to advise members<br /> of the Society, but to manage their affairs<br /> for them if they please to entrust them<br /> to him.<br /> <br /> 5. That when he has any work in hand he<br /> must have it entirely in his own hands ;<br /> in other words, that authors must not<br /> ask him to place certain work, and then<br /> go about endeavouring to place it by<br /> themselves.<br /> <br /> 6. That when a MS. has been sent from pub-<br /> lisher to publisher, and from editor to<br /> editor, in vain, it is most likely impossible<br /> to place it.<br /> <br /> That in the face of the present competition,<br /> <br /> authors will do well to moderate their<br /> expectations.<br /> <br /> aul<br /> <br /> There is an Honorary Advisory Committee,<br /> whose services will be called upon in any case of<br /> dispute or difficulty. It is perhaps necessary to<br /> state that the members of the Advisory<br /> Committee have no pecuniary interest whatever<br /> in the Syndicate.<br /> <br /> NOTICES.<br /> <br /> <br /> <br /> HE Editor of the Author begs to remind<br /> members of the society that, although the<br /> paper is sent to them free of charge, the<br /> <br /> cost of producing it would be a very heavy<br /> charge on the resources of the society if a great<br /> many members did not forward to the secretary<br /> the modest 6s. 6d. subscription for the year.<br /> Perhaps this reminder may be cf use. With<br /> 850 members, besides the outside circulation of<br /> the paper, the Author ought to prove a source<br /> of revenue to the society.<br /> <br /> a ee<br /> <br /> a°o<br /> <br /> The Editor is always glad to receive short<br /> papers and communiations on all subjects con-<br /> nected with literature from members and others.<br /> Nothing can do more good to the society than<br /> to make the Author complete, attractive, and<br /> interesting. Will those who are willing to aid<br /> in this work send their names and the special<br /> subjects on which they are willing to write ?<br /> <br /> Communications for the Author should reach<br /> the editor not later than the 21st of ea:h month.<br /> <br /> All persons engaged in literary work of any<br /> kind, whether members of the Society or not,<br /> are invited to communicate to the Editor any<br /> points connected with their work which it would<br /> be advisable in the general interest to publish.<br /> <br /> + &gt;<br /> <br /> Members and others who wish their MSS. read<br /> are requested not to send them to the Office with-<br /> out previously communicating with the Secretary.<br /> The utmost practicable despatch is aimed at, and<br /> MSS. are read in the order in which they are<br /> received. It must also be distinctly understood<br /> that the Society does not, under any circum-<br /> stances, undertake the publication of MSS.<br /> <br /> SE oe<br /> <br /> The Authors’ Club is now opened in temporary<br /> premises, at 17, St. James’s Place, St. James’s<br /> Street. Address the Secretary for information,<br /> rules of admission, &amp;c.<br /> <br /> oo<br /> <br /> Will members take the trouble to ascertain<br /> whether they have paid their subscriptions for<br /> the year? If they will do this, and remit the<br /> amount or a banker’s order, it will greatly assist<br /> the Secretary, and save him the trouble of<br /> sending out a reminder.<br /> <br /> Members are most earnestly entreated to attend<br /> to the warning numbered (3). It is a most foolish<br /> and a most disastrous thing to bind yourself to<br /> anyone for a term of years. Let them ask them-<br /> selves if they would give a solicitor the collection<br /> of their rents for five years to come, whatever<br /> his conduct, whether he was honest or dishonest ?<br /> Of course they would not. Why then hesitate<br /> for a moment when they are asked to sign<br /> themselves into literary bondage for three or five<br /> years<br /> <br /> <br />  <br /> <br /> 310 THE<br /> <br /> <br /> <br /> Those who possess the “Cost of Production”<br /> are requested to note that the cost of binding has<br /> advanced 15 per cent. This means, for those who<br /> do not like the trouble of ‘doing sums,” the<br /> addition of three shillings in the pound on this<br /> head. In other words, if the cost of binding is<br /> set down in our book at eight pounds, to this must<br /> now be added twenty-four shillings more, so that<br /> it now stands at £9 4s. The figures in our book<br /> are as near the exact truth as can be procured:<br /> but a printer’s, or a binder’s, bill is so elastic a<br /> thing that nothing more exact can be arrived at.<br /> <br /> <br /> <br /> Some :emarks have been made upon the amount<br /> charged in the “Cost of Production” for<br /> advertising. Ofcourse, we have not included any<br /> sums which may be charged for inserting adver-<br /> tisements in the publisher’s own magazines, or in<br /> other magazines by exchange. As agreements<br /> too often go, there is nothing to prevent the<br /> publisher from sweeping the whole profits of a<br /> book into his own pocket, by inserting any<br /> number of advertisements in his own magazines,<br /> and by exchanging with others. Some there are<br /> who call this a form of fraud: it is not known<br /> what those who practise this method of swelling<br /> their own profits call it.<br /> <br /> spec<br /> <br /> LITERARY PROPERTY.<br /> <br /> <br /> <br /> LE<br /> AUTHOR AND EprTor.<br /> <br /> HERE are two question- relating to author-<br /> Ty ship which, while of considerable im portance<br /> to authors, have never yet, I believe, been<br /> the subject of judicial decision. They are, how-<br /> ever, merely questions of the ordinary law of<br /> contract, and the general principles which<br /> underlie that law will be found to afford a<br /> sufficient answer. ‘The questions are:<br /> <br /> I. What are the duties of an editor with<br /> respect to an article that has been submitted for<br /> his approval, but has been rejected as unsuitable ?<br /> <br /> i{. What right has an author to deal with an<br /> article which he has submitted to the editor of a<br /> paper or magazine, and of the acceptance or<br /> rejection of which he has not heard ?<br /> <br /> I. As to the first question, papers may perhaps<br /> be divided into three classes, their duties and<br /> liabilities varying according to the class in which<br /> they happen to fall. They are—<br /> <br /> 1. Those papers which, by the insertion of a<br /> notice, invite contributions to be submitted for the<br /> approval of the editor,<br /> <br /> AUTHOR.<br /> <br /> 2.. Those papers which neither invite nor refuse<br /> contributions.<br /> <br /> 3. Those papers which give notice that they<br /> do not desire contributions, and will not be<br /> responsible for articles sent in, nor undertake to<br /> return them.<br /> <br /> 1. As to the first class it is clear that the notice<br /> in the paper is an offer to consider all contributions<br /> submitted, and to see if they are suitable for<br /> publication. The sending of an article by a con-<br /> tributor is an acceptance of that offer. But if the<br /> editor rejects the article as unsuitable, what are<br /> his duties with regard to it? Is he at liberty to<br /> put it in his waste paper basket ? Certainly not,<br /> any more than I am at liberty, if I ask Maple to<br /> send me furniture on approval and do not approve<br /> of it, to put it outside my door to take care of<br /> itself. There is here a bailment for the mutual<br /> benefit of both parties, and the editor must take a<br /> reasonable care of the article until it is returned<br /> into the hands of the author. But provided that<br /> he has exercised such care as a reasonably prudent<br /> man would naturally exercise in his own business,<br /> he will not be liable for loss. Whether reason-<br /> able care has been exercised is a question of fact<br /> to be decided in each particular case. Of course,<br /> if an author sends in his article in answer to<br /> such a notice, and the notice contains special<br /> terms, to which he makes no objection, he will<br /> be held to have acquiesced in, and will be bound<br /> by, those terms, provided they are reasonable.<br /> By special terms, I mean, for instance, such a<br /> term as a refusal to be responsible for the return<br /> of articles. Probably, in the absence of special<br /> terms, in such a case as this, the editor would be<br /> liable to return a rejected article at his own ex-<br /> pense ; because, since the editor expects that he<br /> will obtain, at least, as much benefit from the<br /> article as will the author, and as, therefore, the<br /> contract is for the benefit of both parties, it is<br /> difficult to see why one of them should be put to<br /> more expense in carrying it out than the other.<br /> Still, an author who desires to have hig article<br /> returned in case of rejection, will, no doubt, be<br /> wise to enclose stamps to defray the cost of<br /> postage. Ifan editor were to venture to raise<br /> the defence that, at the time of sending in the<br /> article, the author had, as a matter of fact, no<br /> knowledge of the notice, I apprehend that the<br /> principle involved in the class of cases commenc-<br /> ing with Williams v. Carwardine (4 B. &amp; Ad.<br /> 621), and in the last of which, Gibbons v. Proctor<br /> (7 Times L. Rep. 462), Mr. Justice Day held that<br /> a policeman might claim a reward offered by<br /> advertisement for certain information, although<br /> at the time he gave the information he had not,<br /> and could not have had, any knowledge of the<br /> offer, would apply; and that where something is<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> done (e.g., the sending of an article) subse-<br /> quently to an offer (e.g., the offer to consider<br /> contributions) which does, im fact, form an<br /> answer to that offer, it must be taken to be an<br /> acceptance of the offer, although it is not shown<br /> that the offer was the motive for the act, and<br /> perhaps, even though at the time of doing the<br /> act, the acceptor had no knowledge of the offer.<br /> <br /> 2. In the case of papers which insert no notice,<br /> if an author of his own motion sends an article<br /> to an editor, the offer comes from the author, and<br /> the editor, if he accepts it, does so by dealing<br /> with the article in such a manner as to show that<br /> he intends to become the owner, for instance, by<br /> publishing it in his paper. Tf he rejects the<br /> article, he is not bound to put himself to the<br /> trouble and expense of returning it; though he<br /> might do so as a matter of courtesy, and would<br /> be wise to do so ev abundantia cautele.<br /> <br /> It is possible that an editor would, in this<br /> case, be under a liability to take some care of an<br /> article which had been submitted to him. If he<br /> were bound to do so, it would probably be on the<br /> ground of a presumed request preceding the<br /> sending of the article (Wilkinson v. Coverdale,<br /> 1 Esp. 76), but the offer so clearly appears here<br /> to come from the author, that it seems open to<br /> doubt whether such a presumption would be<br /> reasonable. If there is any liability to exercise<br /> this care, it can only be for areasonable time, and<br /> the author must allow no great length of time to<br /> elapse before applying for the return of his<br /> article.<br /> <br /> 3. In the third case, when an editor gives an<br /> express notice that he does not wish for contribu-<br /> tions and will not be responsible for any that are<br /> sent, it is difficult to see why he should be held<br /> liable.<br /> <br /> If a person enters, or offers to enter, into a<br /> contract with a knowledge that there is a notice<br /> containing special terms, he is considered to have<br /> assented to those terms, and will be bound by<br /> them provided they are reasonable (Watkins v.<br /> Rymill, 10 Q. B. D. 178).<br /> <br /> The liability of the editor in this case would, it<br /> seems, depend upon whether he had taken<br /> “reasonable means to give notice of the condi-<br /> tions” to contributors, and it is submitted<br /> that such a notice might be “ reasonable means.”<br /> If it occupied a sufficiently prominent place in<br /> the paper to be generally seen, the contributor<br /> would probably be held to have had knowledge<br /> of it and to have intentionally sent his article<br /> at his own risk, and the editor would not be<br /> liable. If the notice were not sufficiently promi-<br /> nent to be seen by ordinary readers the editor<br /> would be in the same position as if there were<br /> no notice, that is to say, he might be bound<br /> <br /> AUTHOR.<br /> <br /> ais<br /> <br /> to take a reasonable care of the article for a<br /> reasonable length of time. Whether the notice<br /> was sufficiently prominent or not is a question of<br /> fact which must be decided according to the<br /> circumstances of each case.<br /> <br /> If, however, an author could prove that there is<br /> a well-established custom in the trade that an<br /> editor, by publishing a paper, holds himself out as<br /> ready to receive and consider contributions, then,<br /> in case No. 2, where there is no notice, the editor<br /> would certainly be liable if he did not take a<br /> reasonable care of the article; and in case No. 3<br /> he would probably have to show that he did take<br /> all reasonable means to bring the notice to the<br /> knowledge of contributors, possibly even that the<br /> notice had actually come to their kaowledge.<br /> <br /> II. As to the right of an author to deal with<br /> an article which he has offered to a paper, but of<br /> the acceptance or rejection of which he has not<br /> heard.<br /> <br /> In each of the above cases the author appears<br /> to make an offer; but im the first case there is<br /> an acceptance on his part as well as an offer. In<br /> the first case by sending in his article he, in<br /> effect, says: ‘I accept your offer to consider my<br /> article, and I further offer to sell it to you if you<br /> think that it is suitable for your paper.” In the<br /> other two cases there is merely an offer by the<br /> author : ‘ Will you purchase my article?’’? There<br /> is, therefore, in each case an offer from the author<br /> to the editor. To complete the contract there<br /> must be an acceptance by the editor, and that<br /> acceptance, to take effect, must be com municated<br /> to the author (Felthouse v. Bindley, 11 C. B.<br /> N.S. 69).<br /> <br /> Until there has been either a direct acceptance<br /> by letter or word of mouth, or an indirect accept-<br /> ance by some act, which act has been brought to<br /> the knowledge of the author (publication would<br /> probably fulfil both these conditions) he is at<br /> liberty to withdraw his offer. If he desires to<br /> do so, however, he must bring notice of the<br /> withdrawal of the offer to the knowledge of the<br /> editor (Byrne v. Van Tienhoven, 5 C. P. Div.<br /> 344). But it appears than an offer only remains<br /> open for a reasonable time, and then lapses<br /> (Ramsgate Hotel Company V. Montefiore, L. Rep.<br /> 1 Exch. 10g), and that withdrawal of the offer<br /> is in that case unnecessary; so that it may be<br /> that an author, after a reasonable time has<br /> elapsed, may offer his article to another editor<br /> without notice to the former. But it is, of course,<br /> always safer to give a notice.<br /> <br /> What is a reasonable time is a question of fact<br /> in each case; in the case cited above four months<br /> was held to be an unreasonable time to keep an<br /> offer to take shares in a company open, and the<br /> defendant was considered justified in refusing to<br /> <br /> <br />  <br /> <br /> 312 THE<br /> <br /> <br /> <br /> acknowledge an acceptance of his offer after the<br /> lapse of such a period. B.<br /> <br /> — +<br /> <br /> II,<br /> CLARKE v. Mitts.<br /> <br /> (Before Mr. Justice Wright, sitting as an addi-<br /> tional Judge in the Chancery Division.)<br /> (From the Times.)<br /> <br /> The plaintiff in this action is vicar of Battersea,<br /> and an honorary canon of Winchester Cathedral,<br /> and for many years has been editor of the well<br /> known children’s periodical entitled Chatterbox,<br /> and other publications. He now claimed the<br /> right to a half share in that magazine as a<br /> partner, as against the clam of the legal repre-<br /> sentative and executor of the late Mr. James<br /> Johnson, who, by a codicil executed shortly<br /> before his death in 1891, had treated himself as<br /> sole proprietor of the property. For three or four<br /> years before the Chatterbox was started, Canon<br /> Clarke had had business relations with Mr. John-<br /> son, and in 1866 they proposed to publish a maga-<br /> zine for young folk, and Canon Clarke hit upon<br /> that of Chatterbox, which Mr. Johnson, in the<br /> October of that year, registered at Stationers’<br /> Hall in their joint names. The first number was<br /> not published until December, so that the regis-<br /> tration became irregular, and no steps were<br /> afterwards taken to register. Nothing but a<br /> verbal arrangement to share the profits was made,<br /> Mr. Johnson undertaking to illustrate and finance<br /> the paper, while Canon Clarke was to do all<br /> editorial work. The periodical soon became a<br /> great success here and also in America, producing<br /> as much as from £3000 to £5000 a year profit,<br /> and Canon Clarke proposed that there should be<br /> some deed of partnership prepared, but Mr. John-<br /> son, who alone managed all the business arrange-<br /> ments, took no steps in the matter. During this<br /> time they also produced a publication called<br /> Prizes, and continued to divide the profits arising<br /> from it after the deed of partnership for seven<br /> years had expired. They also shared the profits<br /> of a third publication called the Parish Magazine<br /> for which they had only a verbalagreement. A<br /> few days prior to the publication of the first<br /> number of Chatterbox, Mr. Johnson sent to<br /> Canon Clarke a slip of paper purporting to be a<br /> transfer by the latter of his rights in the Chatter-<br /> box to Mr. Johnson. It was signed by Canon<br /> Clarke, but not stamped by Mr. Johnson until<br /> five days before he executed the codicil in ques-<br /> tion. Of this memorandum Canon Clarke says<br /> he remembers nothing.<br /> <br /> Mr. Neville, Q.C., and Mr. Swinfen Eady<br /> <br /> AUTHOR.<br /> <br /> appeared for the plaintiff; Mr. Chadwyck Healy<br /> Q.C., and Mr. Jenkins for the defendant.<br /> <br /> Mr. Justice Wricut, in giving judgment,<br /> said probably Mr. Johnson doubted whether a<br /> partnership existed, as there was no deed, but he<br /> had clearly so acted as to give Canon Clarke<br /> reasonable grounds for believing a partnership<br /> did exist. No question was raised as to there<br /> being a partnership in the other properties, which<br /> were carried on in the same manner. He could<br /> not accept the contention of the defendant’s<br /> counsel that the half profits were paid to Canon<br /> Clarke solely as a salary for editing the Chatterbox,<br /> and, in spite of the codicil, he should decide in<br /> favour of the plaiutiff’s claim. He, however,<br /> would defer giving formal judgment until next<br /> Saturday, in order to give counsel an opportunity<br /> of couferring as to what would be a fair arrange-<br /> ment to make in regard to the title of which Mr.<br /> Johnson&#039;s representatives had admitted their legal<br /> ownership.<br /> <br /> eee<br /> <br /> III.<br /> <br /> THe First Decrer Unprer tHe New AMERICAN<br /> Coprrieut Act.<br /> <br /> The first decrees entered under the new Copy-<br /> right Act, by which English publishers are<br /> enabled to obtain copyrights in the United<br /> States, have just been entered in the United<br /> States Circuit Court for the district of New<br /> Jersey. The suits in which these decrees<br /> were made were instituted by Messrs. Eyre and<br /> Spottiswoode, Her Majesty’s printers, against the<br /> New York Recorder Company and the American<br /> Lithographic Company, and had relation to a<br /> copyright in an engraving entitled “ Little Lord<br /> Fauntleroy.” Messrs. Eyre and Spottiswoode,<br /> who, as proprietors of the ‘“ Woodbury Com-<br /> pany,” publish engravings and works of art of all<br /> descriptions, employed Mr. Charles J. Tompkins,<br /> an English engraver, to reproduce, in pure<br /> mezzotint, the painting by James Sant, R.A.,<br /> entitled “ Little Lord Fauntleroy.’’ This engrav-<br /> ing was duly copyrighted in the United States.<br /> Shortly after the first artist’s proofs appeared in<br /> the American market the engraving was copied<br /> by the defendants, where:pon the plaintiffs<br /> immediately instructed their representatives,<br /> Messrs. E. and J. B. Young and Co., of Cooper<br /> Union, N.Y., to institute suits.<br /> <br /> Mr. Rowland Cox, an eminent member of the<br /> legal profession in New York, was retained to<br /> conduct the case, and Mr. W. Hugh Spottiswoode<br /> went over to represent the firm of Eyre and<br /> Spottiswoode. The statement of complaint was<br /> based upon the allegation that the engraving had<br /> <br /> <br />  <br /> <br /> <br /> <br /> |<br /> |<br /> .<br /> |<br /> &#039;<br /> ]<br /> i<br /> }<br /> 1<br /> |<br /> <br /> <br /> <br /> THE<br /> <br /> been used in the manufacture of the chromo-<br /> lithograph made and sold by the defendants,<br /> which fact was supported by numerous coinci-<br /> dences which were pointed out. A preliminary<br /> injunction was granted by his Honour Judge<br /> Lacombe, based upon an inspection of the engrav-<br /> ing and the chromos and expert testimony. The<br /> final decrees now entered recognise the rights of<br /> the complainants, and provide for perpetual<br /> injunctions restraining the sale of the chromo-<br /> lithographs.<br /> <br /> The painting after which this engraving was<br /> made was in the Royal Academy Exhibition of<br /> 18g1. The infringement complained of consisted<br /> of a lithographic reproduction issued as an ‘art<br /> supplement” to the New York Recorder of<br /> Feb. 28, 1892, under the title of “A Noble<br /> Friend.”<br /> <br /> The result of this litigation will be satisfactory<br /> to all who are interested in British art.— 7vmes,<br /> Dee. 30, 1892.<br /> <br /> IV.<br /> MAGAZINES AND COPYRIGHT.<br /> <br /> It is not unnatural, perhaps, that a difference<br /> of opinion should exist as to the interpretation of<br /> a statute so inartificially framed as the Copyright<br /> Act of 1842. With this excuse I venture to<br /> dissent from the view expressed in your article<br /> on page 190, as to the effect of sect. 18; and<br /> T notice that some of your readers are appa-<br /> rently still in doubt as to the meaning of that<br /> section.<br /> <br /> You say “if the proprietor has paid for the<br /> article, and unless the author by express or<br /> implied contract reserves to himself the copyright,<br /> then the copyright for a period of twenty-eight<br /> years resides with the proprietor . . . after<br /> that period the copyright for the remainder of<br /> the term reverts back to the author.”<br /> <br /> This view is in accordance with the statement<br /> contained in Mr. Shortt’s ‘‘ Law relating to Works<br /> of Literature and Art” (2nd edit. p. 101). But<br /> the section of the Act says that the proprietor<br /> “shall enjoy the same rights as if he were the<br /> actual author thereof, and shall have such term<br /> of copyright therein as is given to the authors of<br /> books by this Act.”<br /> <br /> Now, the author of a book under the Act has a<br /> copyright for life and seven years more, or forty-<br /> two years; and this I submit to be the period of<br /> copyright which the proprietor enjoys if he is<br /> entitled under sect. 18 to any copyright in the<br /> article at all.<br /> <br /> In order that the proprietor should be so<br /> <br /> VOL. III.<br /> <br /> AUTHOR.<br /> <br /> 343<br /> <br /> entitled it seems that three conditions must be<br /> fulfilled :<br /> <br /> (1) Employment.—The writer must have been<br /> employed to write the article.<br /> <br /> (2) Terms.—The article must be written on<br /> the terms that the copyright therein shall belong<br /> to the proprietor.<br /> <br /> (3) Payment.—The writer of the article must<br /> be paid.<br /> <br /> Tn the absence of any of these three essentials,<br /> would the proprietor be entitled to any copyright<br /> in the article at all? I would submit that if he<br /> wished to procure the copyright he must do so by<br /> an assignment in writing (Layland v. Stewart,<br /> 4 Ch. Div. 419).<br /> <br /> Some confusion apparently arises from the<br /> limitation contained in sect. 18, by which the<br /> proprietor is precluded from publishing the<br /> article in a separate form, and the use of the word<br /> “revert”? as applied to the right of the author to<br /> publish the article in a separate form at the<br /> expiration of twenty-eight years. Inasmuch as<br /> the proprietor never has the right to publish the<br /> article in a separate form, and the autbor cannot<br /> have such right until the expiration of twenty-<br /> eight years, except by agreement, express or<br /> implied, the word “revert” appears to be<br /> inappropriate. Haroup Harpy.<br /> <br /> V.<br /> From THE Zvmes.<br /> <br /> Sir,—The letters that have appeared in the<br /> Times on the subject of American copyright<br /> prompt me to give you an account of the treat-<br /> ment I have received in the United States.<br /> <br /> In April last I. published, in England, a book<br /> on a medical subject. In November T noticed an<br /> advertisement of an American mineral water, in<br /> which occurred a quotation strongly recom-<br /> mending it. The quotation was stated to be taken<br /> from a book with the same title as mine, by me,<br /> and edited by R. W. Wilcox, M.D., an American.<br /> This was the first I had ever heard either of the<br /> mineral water, or the American edition of my<br /> book, I got a copy of it from the United States,<br /> and found that the English edition of my book<br /> had been reprinted there, with the insertion in<br /> various places of statements I never made, and<br /> that there was no indication whatever that they<br /> were the work of the American editor. The exact<br /> title of my book was retained, and this American<br /> edition was stated, on the title-page, to be by<br /> me and to be edited by Dr. Wilcox ; consequently<br /> I was made to appear responsible for statements<br /> T never made, and even to puff mineral waters of<br /> which I never heard, and all this without my<br /> <br /> BB<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 314<br /> <br /> sanction or a single line from the American<br /> publisher or editor to say what they were doing.<br /> Iam your obedient servant,<br /> <br /> W. Hare Wuirs, M.D.<br /> 65, Harley-street, W., Jan. 9.<br /> <br /> V1,<br /> A Case For THE Socrery.<br /> <br /> A certain journal recently advertised for stories.<br /> Among those sent in was a good one, for which<br /> the author asked at the rate of two guineas for<br /> every thousand words. The editor offered ten<br /> shillmgs. While the correspondence was. still<br /> going on, the editor published it as the winner of<br /> a guinea prize, profferine that sum in full<br /> payment.<br /> <br /> A claim was made, at the instance of the<br /> Society, for the balance due.<br /> <br /> The case came before a metropolitan small<br /> debts court. The judge expressed himself in<br /> very strong terms about the proceedings of the<br /> magazine.<br /> <br /> The defendants then asked for an adjournment<br /> in order to produce a certain letter which, it was<br /> sworn, would be inconsistent with the plaintiff&#039;s<br /> evidence,<br /> <br /> The action was adjourned, the defendants<br /> paying the costs of the day.<br /> <br /> With some difficulty an exact note of the<br /> matter, so far, was taken, and on the adjourn-<br /> ment the case was taken up exactly at the point<br /> where it had stopped, with a reminder as to the<br /> meaning of this note, and that the court took a<br /> strong view of the case if the letter were not<br /> produced.<br /> <br /> The letter was not forthcoming,<br /> <br /> The defendants were defeated, and the author<br /> obtained his claim in full, together with all his<br /> costs.<br /> <br /> <br /> <br /> VII.<br /> THe Harpsuirs or PusiisHina,<br /> <br /> Mr. Heinemann, in the Atheneum of Dee. 3;<br /> contributed a paper on the above title. What<br /> follows—the reply of the week following—shows<br /> what he said about the Society.<br /> <br /> He expresses his surprise that the Authors’ Society should<br /> “take upon itself ”—‘ take upon itself” !—“to judge the<br /> proper remuneration the author should receive.” Here is a<br /> confusion of thought into which many have fallen. Literary<br /> work, one must remind Mr. Heinemann, is the property of<br /> the author—of him who produces, creates, invents, and<br /> writes it—not of him who sells it. The author retains that<br /> property until he parts with it for a consideration. The<br /> <br /> AUTHOR.<br /> <br /> book does not—cannot—belong to the publisher at all until<br /> he buys it. This may seem elementary, but it is really the<br /> root of the whole matter. The Society of Authors, as the<br /> defender of literary property, must consider the proportion<br /> of profit—not remuneration—that is to be the author’s and<br /> his agent’s respectively. An author who entrusts his<br /> property to a middleman to manage must, if he is a wise<br /> man, negotiate in his own interests on the same basis as<br /> underlies all other business, viz., the value of the property<br /> and the proportion that should be paid to the middleman<br /> for his services. The Society has in the past endeavoured<br /> strenuously to place authors, for the first time in the<br /> history of literature, in a position which will enable them to<br /> understand the meaning of their property, and I hope it will<br /> always continue to do so. ‘<br /> <br /> Mr. Heinemann speaks of “a number of very inaccurate<br /> and very unreliable handbooks” which we have pub-<br /> lished. Indeed! What are these? We have issued<br /> a book called “Methods of Publishing,’ in which a<br /> great number of actual agreements which have been<br /> brought to our notice have been analysed. Is this book<br /> inaccurate? If so, in what way? We have also issued a<br /> book, called, ‘ The Cost of Production,” in which the cost<br /> of producing books of the ordinary and common kinds is<br /> considered. This book was most carefully got up with the<br /> assistance and estimates of three or four firms of printers.<br /> Now I will tell Mr. Heinemann a little story about the book.<br /> A certain publisher, with this work in his hand, began to<br /> complain of its gross inaccuracies,” to a man, who, unfor-<br /> tunately for him, knew the business. He laughed. ‘“ Well,”<br /> he said, “I will make yon an offer, Mr. So-and-so. Give<br /> me all your printing on these terms, and I will get it done<br /> for you ata good profit to myself.’ He did not get that<br /> printing, however. I can also tell Mr. Heinemann that I<br /> have seen many accounts in which the cost of production, as<br /> rendered by the publisher, was actually less than that<br /> estimated in our book. Further, on the recent advance of<br /> composition, a new edition, then about to appear, contained<br /> the necessary alterations ; and on the recent advance of<br /> binding our .members were advised that there would be<br /> another small change under this head. I do not know what<br /> Mr. Heinemann means by congratulating himself that this<br /> book, and the “ mischief’? produced by it have not gone<br /> very far. ‘“ The Cost of Production” has, I believe, nearly<br /> completed its third edition. There are certainly not 3000<br /> authors of all branches in this country whose productions<br /> can be considered as literary property. It is therefore to be<br /> presumed that nearly all those authors worth considering<br /> have got the book.<br /> <br /> As regards royalties, I do not know what individual<br /> members of our Council may say—itis not evidence as to the<br /> work of the Society—but there are one or two questions<br /> which naturally occur, as, for instance, what proportion of<br /> profit, i.e., difference between sales and cost of production,<br /> should a publisher claim for his services ? And why? And<br /> what royalty, in the case of a popular book, represents Mr.<br /> Heinemann’s views? And on what figure, is his opinion<br /> based? We have given our figures in our book, and, until<br /> good reason otherwise is produced, we shall stick to them.<br /> But it may help us to have Mr. Heinemann’s figures,<br /> especially if he will allow anyone to make some such offer<br /> as was quoted above.<br /> <br /> Mr. Heinemann suggests a publishers’ union. Excellent!<br /> Nothing could be more desirable. Honourable men can only<br /> combine for honourable purposes, and will exclude dis-<br /> honourable men from their association.<br /> <br /> This letter has been followed by one from Mr.<br /> Arthur D, Innes, which would call for no com-<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> ment but for the stale old charges which are<br /> blindly copied.<br /> <br /> Thus—Mr. Innes says (1) that publishers<br /> “have a natural objection to being spoken of in<br /> a lump as little better than thieves.” Quite so.<br /> When did the society so speak of them ?<br /> <br /> (2) “That the authors do not include office<br /> expenses in the ‘ Cost of Production.” How far<br /> publishers’ office expenses ought to be considered<br /> in an agreement is open to argument: so is the<br /> question of authors’ expenses.<br /> <br /> (3) That the authors say that no publisher<br /> ever loses on a book. The authors have never<br /> said any such thing.<br /> <br /> (4) The Society “ differs from publishers ” as<br /> to the cost of producing a book. One did not<br /> know this. We produce figures based on the<br /> estimates of most respectable printers who cannot<br /> be accused of sweating.<br /> <br /> These four statements have been made over<br /> and over again. They willcontinue to be made,<br /> I supp se, so long as it is thought they will<br /> serve any purpose. WB.<br /> <br /> <br /> <br /> oc<br /> <br /> ASSOCIATION OF AMERICAN AUTHORS.<br /> <br /> <br /> <br /> HE stated monthly meeting was held on<br /> Dec. 7, at the Hotel Brunswick in<br /> Boston at 3 p.m., and was a large and<br /> <br /> representative gathering. Colonel T. W. Hig-<br /> ginson presided. The minutes of the last mect-<br /> ing were read and accepted.<br /> <br /> The stamp plan of publication, which had been<br /> discussed and laid over at the last meeting, was<br /> then taken up and elicited an animated debate,<br /> nearly every member present speaking pro or<br /> con. The majority of the speakers favoured the<br /> adoption of the plan or of some other that would<br /> prove as effective.<br /> <br /> Mrs. Julia Ward Howe remarked that she had<br /> not been present at former meetings, and asked<br /> as to the object of the proposed stamp plan.<br /> The Secretary explained, that it aimed to afford<br /> the author sume knowledge as to the number of<br /> books sold; that under the present system a<br /> publisher might sell an edition of 5000 copies<br /> and report but 3000, and the author could only<br /> accept his statement, having uo means of veri-<br /> fying it. It was proposed by this plan to apply<br /> business methods to what was purely a matter<br /> of business. In reply to the Chair, the Secretary<br /> said that he had received from Mr. Coolidge, our<br /> Minister to France, a letter enclosing one from<br /> the Secretary of La Société des Gens de Lettres,<br /> <br /> VOL. Ill.<br /> <br /> BUTHOR.<br /> <br /> 315<br /> <br /> which he<br /> <br /> follows &lt;<br /> <br /> would read. The translation was as<br /> <br /> SIR,—<br /> <br /> It is to be desired indeed that publishers should be<br /> obliged to affix upon each copy sold a seal furnished by the<br /> author, in order to assure control of the number of volumes ;<br /> but there exists no law upon this subject. The Committee<br /> is. now occupied with this question, but it is as yet only<br /> being studied.<br /> <br /> From this it appeared that the plan had not<br /> yet been adopted, but was being agitated.<br /> <br /> Mrs. Louise Chandler Moulton and Mrs.<br /> Elizabeth Phelps Ward spoke in favour of the<br /> general uprightness of publishers; they ferred<br /> the stamp plan might be con-idered an imputa-<br /> tion on their honesty Prof. N. 8. Shaler was<br /> opposed to the plan; he favoured the accountant<br /> system; if he believed his publish r was cheat-<br /> ing him he would seek another publisher.<br /> stamp could be counterfeited. If authors<br /> lieved that they were being cheated they could<br /> demand that an expert accountant should examine<br /> the publisher’s books.<br /> <br /> Prof. W. M. Griswold replied. He thought<br /> the stamp system perfectly feasible. If it<br /> made uniform no publisher could object to it as<br /> an imputation on his honesty. As to counterfeit-<br /> ing the stamp, that would be forgery, and forgery<br /> was a serious crime.<br /> <br /> Mr. W. Blackburn Harte favoured the stamp<br /> plan if it could be made general. No young<br /> author would dare demand an accounting from<br /> his publisher; it would ruin him. Miss Cynthia<br /> Cleveland, Mr. James Jeffrey Roche, and Mr.<br /> Hunter McCulloch spoke in favour of the plan.<br /> <br /> President Higginson said that to object to the<br /> stamp plan because many publishers were honest<br /> was like objecting to divorce laws because most<br /> husbands and wives were happy.<br /> <br /> Laws were made for exceptional cases: because<br /> successful authors were on pleasant terms with<br /> their publishers was no proof that young and in-<br /> experienced authors were not ill-treated and de-<br /> frauded. He gave several examples of this fact.<br /> The case of a lady author had been brought to<br /> the attention of the Society. Her publisher had<br /> issued two editions of her book, one legitimate,<br /> the other of 20,000 copies without her name as<br /> author, without her knowledge, and without<br /> giving her a penny of royalty. She only dis-<br /> covered it by accident.<br /> <br /> What was a woman without money or friends<br /> to do in such a case? Many other similar<br /> examples might be cited. It was the object of<br /> the law and of this Society to protect the weak<br /> from the strong. Continuing, he said that it<br /> would be ruin for an author to enter into an indi-<br /> vidual contest with his publisher; it was not wise<br /> BB 2<br /> <br /> pas<br /> The<br /> <br /> 1<br /> ve-<br /> <br /> Was<br /> <br /> <br />  <br /> <br /> 316<br /> <br /> for him to have a difference of opinion with him.<br /> There was good reason for adopting the stamp<br /> system if only to help others who could not help<br /> themselves.<br /> <br /> Mr. Robert Grant thought the effect of the<br /> stamp plan might be to widen still further the<br /> chasm between author and publisher. He<br /> favoured the accountant system, and the making<br /> of a list of reputable publishers for the use of<br /> members. Mr. Todd, for the committee, said<br /> that the plan was reported for discussion, not for<br /> adoption at that time and that it might be well to<br /> postpone the matter until more light could be had.<br /> <br /> It was resolved to accept the report of the com-<br /> mittee, and to indefinitely postpone further con-<br /> sideration of the report.<br /> <br /> Mr. Todd, being about to visit France, was then<br /> instructed to make a special investigation of the<br /> French stamp plan, and learn what efforts were<br /> being made to secure its legal adoption.<br /> <br /> It was resolved that the President appoint a<br /> committee of three to prepare a circular giving,<br /> first —the different methods of publication ;<br /> second—the cost of publication ; third—a form<br /> of a model contract between author and pub-<br /> lisher, and that such circular be printed and<br /> mailed to our members. Passed, with an amend-<br /> ment offered by Mr. Grant, that a list of reputable<br /> publishers be made out and added.<br /> <br /> Secretary Todd, of New York, Professor W. M.<br /> Griswold, of Cambridge, and Dr. Titus M. Coan,<br /> of New York, were appointed as said committee.<br /> The Secretary proposed the name of Freling H.<br /> Smith, of 115, Broadway, N. Y., as legal counsel<br /> of the association, and that he be recommended<br /> to such of our members as may desire legal<br /> advice; referred to a committee of three. Mr.<br /> Robert Grant, Miss Cynthia Cleveland, and<br /> Mr. James Jeffery Roche were appointed such<br /> comunittee.<br /> <br /> CuarLes Burr Topp, Secretary.<br /> <br /> <br /> <br /> <br /> <br /> ees.<br /> <br /> FROM THE DAILY CHRONICLE.<br /> <br /> <br /> <br /> L<br /> <br /> _\NE or two letters have recently appeared in<br /> () the Daily Chronicle. One of those, signed<br /> ‘““A Member,” was indignant because the<br /> members do not elect the Chairman of Committee,<br /> and because more is not done for the assistance of<br /> the struggling aspirants. As regards the first<br /> grievance, every committee has the privilege of<br /> electing its own committee, except when the<br /> Chairman or President of the Society is in, when<br /> he is, ea officio, the chairman of that committee<br /> <br /> THE AUTHOR.<br /> <br /> as well. The constitution of this Society, it is<br /> repeated, is contained in the articles of associa-<br /> tion, The government of the Society is like that<br /> of the Law Institute, the College of Surgeons,<br /> the Society of Arts, the Palestine Exploration<br /> Fund, and so many others. That is to say, the<br /> administration rests with the Council, or the<br /> Fellows, not with the members ; and the Council<br /> elects its own members.<br /> <br /> The complaining member has since communi-<br /> cated with the Editor. He reduces his claims, or<br /> propositions, to six. We gladly give publicity to<br /> these:<br /> <br /> 1. He would havea Free Register of all persons<br /> engaged in literature—Such a list, or register,<br /> has been proposed and seriously considered But<br /> there are difficulties. What is literature? Is it<br /> journalism? If so, journalism including the<br /> penny-a-liner? How far down is literature to go?<br /> And who is to draw the line? Even if we include<br /> only those who have written books, the question<br /> of expense is very serious. We could hardly<br /> charge authors so much for putting in their<br /> names, and the question arises how far such a<br /> volume—which must be no more than a dictionary<br /> —would pay its way?<br /> <br /> 2. Public advertisement of the pay of maga-<br /> zines and journals.—This has also been asked<br /> for in the Author before now. The difficulty is<br /> this: The better-class English magazines, unless<br /> special terms are made—which is generally the<br /> case with well-known names—pay a guinea a page.<br /> The inferior sort pay just exactly what they<br /> think the author will take. If it is a very<br /> miserable sum they fall back on the excuse that<br /> it is their “ scale pay,” their “regular” pay, their<br /> “tariff” pay.<br /> <br /> 3. The granting of certificates to literary<br /> agents.—Humph! Suppose the agents do not<br /> want certificates. There would be some sense in<br /> this if authors were agreed to employ no agent<br /> without such a certificate. First let us make our<br /> members fall into line and agree together. We<br /> have not yet got so far.<br /> <br /> 4, Monthly meetings of members.—Certainly.<br /> But what will they do when they meet ?<br /> <br /> 5. A bi-monthly Author at 3d.—A weekly<br /> Author would be better. But it cannot yet be<br /> afforded. Shall we ever afford it? Such a<br /> paper would cost a good many thousands a<br /> year, and would require a circulation of 6000 at<br /> least to pay expenses, not reckoning the possible<br /> advertisements.<br /> <br /> 6. “A Union Branch.’ — Well, we are a<br /> union, so far as authors, have ever yet been<br /> united. What any further union can effect<br /> outside the lines on which we are steadily<br /> advancing is not intelligible.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> i<br /> <br /> The second letter, signed ‘ Resignation,” is<br /> appended as a very pretty specimen of deliberate<br /> malignity. It appeared in the Daily Chronicle<br /> of Jan. 6, 1893:<br /> <br /> S1r,—The letter of “A Member” on the management of<br /> the “ Incorporated Society of Authors” is, in my view, very<br /> much to the point. It appears from the January number of<br /> the Author that the society “is distinctly and frankly oli-<br /> garchic,” and that ordinary members have no more rights or<br /> privileges than are covered by the monthly receipt of the<br /> journal, which can be purchased in the open market for 6d.<br /> a month. To ask poor devils of authors to pay one guinea<br /> annually for the honour of sitting at the feet of the fifty odd<br /> Gamaliels who compose the council, without ever seeing<br /> them or sharing in the benefit of their united wisdom, is too<br /> much of a joke. Like others, I joined the society in the<br /> belief that it was organised, like any other association, for<br /> the union of certain interests or persons; and it is, there-<br /> fore, staggering to be told that membership carries with it<br /> no earthly advantage save advice gratis on publishing agree-<br /> ments, which, however, can be had anywhere for less than<br /> half the subscription. There are no published rules in con-<br /> nection with this society, no special annual report, no list of<br /> members, no publications at all save the Author (and this<br /> members are asked to subscribe for in addition as much as<br /> they can). Ihave never seen a financial statement. There<br /> are no meetings for the transaction of business, and, to<br /> crown all, it appears from recent statements that no voice<br /> whatever is allowed in the management of the society to<br /> any ordinary subscriber. In these circumstances it seems<br /> that resignation (not in the sense of enduring) is the best<br /> course for those dwellers in Grub-street who cannot spare<br /> guineas like members of the “ oligarchy.’”—I am, Sir, yours<br /> truly, RESIGNATION.<br /> <br /> This letter was written, it is clear, with the<br /> deliberate intention of injuring the Society by the<br /> use of absolute falsehoods.<br /> <br /> 1. “ No published rules.”’—It is a public com-<br /> pany with Articles of Association which it is<br /> bound to produce on application.<br /> <br /> 2. “No special annual report.’”—Not a single<br /> year has passed without a special annual report.<br /> <br /> 3. “ No list of members.”—There is a list at<br /> the office. It is not published, and is not likely<br /> to be published, for very good reasons.<br /> <br /> 4. “No publications except the - futhor.’—<br /> There are six volumes which are advertised in<br /> every number of the Author.<br /> <br /> 5. “Members are asked to subscribe for the<br /> Author as much as they can.”—Members are told<br /> that, if they choose not to pay for the Author, they<br /> will go on having it; but they are told that those<br /> who send up their 6s. 6d. a year help the com-<br /> mittee inthe expense of the paper (see p. 309).<br /> <br /> 6. “He has never seen a financial statement.”<br /> —One duly audited by professional auditors<br /> appears with every annual report.<br /> <br /> 7. “There are no meetings for the transaction<br /> of business.”—There is at least one every year at<br /> which members are invited to comment on the<br /> Report.<br /> <br /> AUTHOR.<br /> <br /> ot7<br /> <br /> 8. “Members have no voice in the conduct of<br /> the Society.” The Council, through the Com-<br /> mittee, manages the Society, but no member has<br /> ever yet sent in a suggestion which has not been.<br /> properly considered.<br /> <br /> g. “ Members get nothing but advice gratis on<br /> an agreement, which can be had anywhere for<br /> less than half the subscription.”—Can it? One<br /> would like to know where. Moreover, this is not<br /> all that the member gets. He has the right to<br /> free legal opinion in any difficulty that arises in<br /> his business. He has his agreements examined<br /> for him. He has his agreements stamped for<br /> him. He can consult the secretary in any<br /> arrangement, proposal, or trouble that he may<br /> happen to be engaged in.<br /> <br /> The letter was answered by Mr. Thring. It is<br /> only quoted here to show the desperate straits to<br /> which the enemies of the Society are reduced<br /> when such a string of falsehoods can be devised<br /> and thrown into the form of a letter with intent<br /> to deceive the readers of a paper and to injure<br /> the society.<br /> <br /> <br /> <br /> pect<br /> <br /> <br /> <br /> A CONFESSION.<br /> \ PENITENT Publisher” sends a paper he<br /> <br /> has contributed to the Western Daily<br /> <br /> Mercury on the general subject of pub-<br /> lishing. It is a remarkable paper, and deserves to<br /> find a more lasting place than in the columns of<br /> a daily paper. Here are some extracts and<br /> compressions :<br /> <br /> 1. Why, he asks, do publishers publish ?<br /> <br /> “In order,’ he replies, ‘to make money.”<br /> That was known before, but it is useful to repeat<br /> it if only to put an end to the ‘ Patron of Litera-<br /> ture” impersonation which is so favourite a réle<br /> with some publishers.<br /> <br /> 2. “The prizes are few and the risks are ereat.”<br /> <br /> It is evident that the writer of the paper uses<br /> the word “risk ” ina sense different from that to<br /> which we are accustomed. By ‘risk’? we mean<br /> the danger of not covering the small outlay of<br /> production with a certain amount above. By<br /> “risk” this writer clearly means uncertainty of a<br /> large and remunerative sale. Now, most pub-<br /> lishers will refuse a work unless they see their<br /> way quite clearly to covering their outlay, and<br /> many, unless they see their way to a remunerative<br /> sale.<br /> <br /> a. “the MSS. came in at the rate of 1500 a<br /> ear.” Those which were selected were laid<br /> before the partners assembled,<br /> <br /> 4. Proposals were made to the authors of these<br /> MSS. These proposals varied, but they will all<br /> <br /> <br /> <br /> <br />  <br /> <br /> 318<br /> <br /> <br /> <br /> <br /> be found in the Society’s book—the “ Methods of<br /> Publishing.”<br /> <br /> 5. “Authors sometimes behave badly.”” Some<br /> will sell a book and then go away and write another<br /> on the same subject for another house. One man<br /> assured this firm that his last novel had run<br /> through seven editions. So it had: but they<br /> were editions of fifty each. Another—a clergyman<br /> —said that the last work had sold 25,000 copies.<br /> Perhaps; but the work he brought this firm<br /> did not reach 200. Authors sometimes plagiarise.<br /> Authors sometimes obtain money in advance for<br /> works they take five or six years to complete.<br /> <br /> 6. On estimates.<br /> <br /> An author cannot be too cautious in accepting an esti-<br /> mate. He is usually tempted to ask for one in order that<br /> he may know the expense to which he is likely to be put.<br /> But the better plan is to get a general idea of the cost, and<br /> to bargain that he shall be charged the actual amounts<br /> which the publishers pay. He should never attempt to get<br /> his book printed for himself. A publisher can always get<br /> it done more cheaply. There are few printers who can<br /> resist the temptation of making a handsome profit out of<br /> an inexperienced hand. Why, indeed, should they? But<br /> the author must see that he gets the advantage of the<br /> cheap production, and not the publisher. A keen look out<br /> should be kept for possible discounts. Advertisements<br /> should be paid for at “actuals,” and not at list or scale<br /> prices. A publisher receives in some cases a discount of as<br /> much as one-third of the price. The cost of “ corrections ”<br /> is a fruitful source of dispute. These are charged for by<br /> the time they take to make, and cost from tod. to 1s. an<br /> hour. It is difficult for a publisher to check this item in<br /> the printer’s bill; for an author it is almost impossible.<br /> <br /> It will perhaps be useful if I give a few examples of the<br /> cost of books. These figures may be relied on, as they are<br /> drawn from my own actual experience. I have selected the<br /> classes of books more usually published by the author at<br /> his own, or partly at his own, expense.<br /> <br /> 1. A crown octavo three volume novel, making in all<br /> about 850 pages. This was considerably longer than the<br /> average. The edition was one of 500 copies. It may be<br /> mentioned that printing (or “machining,” as it is techni-<br /> cally termed) is usually estimated for by the double sheet of<br /> 32pp., while crown paper is often bought in reams of quad<br /> sheets, each of which gives 64pp.<br /> <br /> <br /> <br /> &amp; &amp; a.<br /> Composition (i.e., setting the type).................. 68 0 0<br /> Corrections (made by author in proof) ............ LS 12 6<br /> Binding at 36s. 6d. per 100 vols................ 000505 a2 2 {e 6<br /> Paper, 12} reams quad crown of 120Ib. per ream<br /> at SO Per ll, ue 19° 26<br /> Machining 26} reams at 12s. 6d. .......0....0000.. Ws 3<br /> Total (not including advertising) ...... 143 9 9<br /> 2. Novel. One crown 8yo. volume. 1000 copies. 340 pages.<br /> s. d.<br /> Coniporition (0 34.9 9<br /> COrechions 406 13 15 0<br /> Binding at 86. per 100° 3 8<br /> Binder’s letterings ................, £2050<br /> Paper, 22 reams double crown .....,...... 3 EL 16.56<br /> Machining at 6s. 6d. perream ......................7 3 0<br /> <br /> THE AUTHOR.<br /> <br /> 3. Shilling Shocker, 1000 copies. 192 pages.<br /> <br /> <br /> <br /> <br /> 2 sd<br /> <br /> Composition ..0.s. ce<br /> Corrections: 9 ...50 205.3 2 4°16<br /> Binding 210 0<br /> Printing 1000 wrappers .. 2 6 0<br /> Pape? oat 7 4 0<br /> Machining ...... eau sie y ibis eels ae<br /> Moulditig. ee 210 6<br /> Potala 30 2 7<br /> <br /> To this, at least, £10 must be added for advertising. The<br /> sale of the whole edition would realise about £30, and there<br /> would, therefore, be a loss on the book of about £10, which<br /> would have to be made up in subsequent editions. In order<br /> that these may be cheaply produced, “ moulds” are taken of<br /> the type in papier maché. From these a stereotype cast is<br /> taken when required. The cost of this would be about £5.<br /> A second edition of 1000 copies would then cost £20 18s.<br /> Bringing forward the £10 lost on the first edition, and<br /> adding £5 for further advertising, the loss on the book<br /> would, after the second 1000 were sold, be reduced to<br /> £5. Athird edition would cost £15 18s. After the sale of<br /> 3000 there would therefore be a profit of £10 to be divided<br /> between author and publisher. Roughly speaking, no<br /> shilling book is worth producing unless at least 3000 copies<br /> can be sold.<br /> <br /> 4. Volume of verse. Foolscap. 500 copies. 280 pages..<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> ae<br /> <br /> Composition ..055... 22 10 10<br /> Corrections 4.(, 3.05. 2) 312 6<br /> Binding | 32 we LO<br /> Binders’s letterings ......4.060..00 0 8 3<br /> Paper 7.45.50 3814 4<br /> Machining ......... ee ay See<br /> Moulding 00 a 316 8<br /> Potala ee 50 8 7<br /> <br /> 5. Volume of Essays. 250 copies. 256 pages.<br /> <br /> sd.<br /> <br /> Paper oe a ee 210 0<br /> Binding 32.3 4 Los<br /> Composition and machining .. 18-8: 0<br /> Corrections: &lt;30). i 119 6<br /> Voted oe 2618 9<br /> <br /> The above examples will serve, to some extent, as a guide<br /> to my readers as to the cost of production. The figures<br /> given may be taken as a fair price for country printers.<br /> London work is more expensive.<br /> <br /> It is interesting to compare the “ Publisher’s ”<br /> figures with our own.<br /> <br /> Turning to the ‘Cost of Production” (Third<br /> Edition), p. 15, we there find the estimate for a<br /> novel of about the same number of pages. It<br /> comes out, though it is I think longer, at £12 less<br /> for composition ; alittle more for machining ; our<br /> binding is a great deal less, viz, 28s. instead of<br /> 36s. 6d. per 100 vols.; but binding has gone up<br /> 15 per cent. The only real difference is in the<br /> item composition, which perhaps shows that the<br /> work was done in London. Then he allows £18<br /> odd for corrections, which is a very large sum.<br /> Perhaps the type was smaller than that for<br /> which we estimated. This would make the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> difference in composition. As regards the one vol.<br /> novel, we are not given the type or the length<br /> of the page, but, roughly speaking, the cost 1s<br /> about the same as our own.<br /> <br /> The shilling shocker, according to us, costs<br /> £29 12s. gd for 1000 copies; according to the<br /> “ Publisher” £30 2s. 7d., which is near enough.<br /> <br /> 7. Royalties :<br /> <br /> In the case of books of little or no risk the most satis-<br /> factory arrangement is to have a royalty on every copy<br /> sold. The author is not troubled with accounts. All he<br /> has to see is that he does receive his royalty on all copies<br /> sold, as instances have been known of several thousand<br /> copies being disposed of secretly without the author’s know-<br /> ledge. Publishers usually insert a clause in the agreement<br /> to the effect that in the case of sales at special prices the<br /> author shall only receive 5 per cent. on the amount so<br /> realised. It is often necessary to dispose of books in this<br /> way, and no wrong is done the author so long as the clause<br /> is legitimately used. It does, however, afford a loophole<br /> for sharp practice, and the author should, therefore, keep an<br /> eye on its working, more especially with regard to sales for<br /> America, &amp;c.<br /> <br /> 8. Agents:<br /> <br /> On the whole, I should advise young authors to have<br /> nothing to do with agents. These intermediaries are quite<br /> unnecessary, and their honesty is not invariably cast-iron.<br /> I have known cases in which the agent was paid by both<br /> sides, and more heavily by the puhlisher than by the author.<br /> An author should learn to make his own terms. He should<br /> take every opportunity of investigating the cost of produc-<br /> tion and the methods of the trade. He should keep an eye<br /> on the literary papers and notice what publishers produce<br /> particular classes of books. And he should not neglect the<br /> simple and ordinary precautions of business, such as getting<br /> his agreements stamped, &amp;c.<br /> <br /> g. Solicitors<br /> <br /> If the author’s agent is undesirable, the solicitor is use-<br /> less. I never knew a solicitor yet who undertood the tech-<br /> nicalities of the trade, who could distinguish sheets from<br /> quires, or pearl from pica. Some of the worst agreements I<br /> have known were those drawn by the help of solicitors.<br /> They are always suspecting the wrong thing, and guarding<br /> against trickeries which no publisher outside of an asylum<br /> would think of perpetrating.<br /> <br /> The Author’s Society :<br /> <br /> This society has done good work, and authors would do<br /> well to provide themselves with its publications. Pub-<br /> lishers have no quarrel whatever with the work of the<br /> society.<br /> <br /> <br /> <br /> <br /> <br /> en 9<br /> <br /> MISS MITFORD;<br /> OR,<br /> <br /> &quot;TIS SIXTY YEARS SINCE.<br /> <br /> &gt;<br /> <br /> HE following letter was written by Miss<br /> Mitford, from her house near Reading, to<br /> <br /> Mrs. Trollope. It was just after the<br /> appearance of Mrs. Trollope’s ‘‘ Domestic Manners<br /> <br /> AUTHOR.<br /> <br /> 3&#039;2<br /> <br /> of the Americans,” and before her first novel ‘‘ The<br /> Refugee in America.” It was also just before<br /> the appearance of Miss Mitford’s fifth and con-<br /> cluding volume of ‘‘ Our Village.” The difficulties<br /> of an author with editors were far greater, it<br /> will be perceived, thenthan now. The editor who<br /> refuses to pay, does not answer letters, and pre-<br /> tends not to have received letters sent, is now a<br /> creature who presides over obscure and struggling<br /> papers, not the representative of great houses.<br /> It is a glimpse of a bad anda bygone time.<br /> <br /> “Three Mile Cross,<br /> “ My dear Friend, « April 30, 1832.<br /> <br /> “T am going to write you a very long and<br /> strictly confidential letter; for, as a dramatic<br /> author, I am so much in the power of these<br /> magazine and annual editors, who are all, more<br /> or less, connected with the weekly or daily<br /> press, that nothing short of my strong affection<br /> for you and my warm sympathy with the<br /> cause of your writing would induce me to<br /> unveil my opinion of them. The fact is that, for<br /> the most part, they are so dishonest that I should<br /> entirely Lives you to abstain from writing for<br /> them. Two magazines, and two only, paid me<br /> last year, though of cne other it is confessed<br /> by their own bookseller that my article, and mine<br /> only, sold the book!!! If the »y serve me so, it<br /> is like ly that they would be e &gt;qually remiss, even<br /> with you, though I have no doubt that they would<br /> grasp at your papers eagerly. I will gladly oive<br /> <br /> you notes to two of the editors if you lke,<br /> warning you that for certain reasons, of which<br /> T will ie you se your papers are<br /> <br /> likely to be declined. With the other persons<br /> IT have made up my mind to have nothing to<br /> de. itis too bad to have been for years<br /> the main prop of their publications, and then<br /> to be cheated (as I have been during the<br /> last two years) out of nearly £100 amongst<br /> them; and all this, not merely because their<br /> works are going out of fashion, but because<br /> they live at an expense and give parties, and vie<br /> with each other in dress, furniture, and finery<br /> to a degree actually incredible. My price is ten<br /> guine as an article—higher, I believe, than they<br /> give anyone else. It answered to me, because,<br /> also reserving the copyright, I thus get, as, it<br /> were, doubly paid for the volumes of ‘Our<br /> Village,” in which the papers were subsequently<br /> collected. But, besides the pecuniary disappoint-<br /> ment, it provokes one not to be paid one’s<br /> honest earnings. So that I really thought it only<br /> right to give you fair warning. What makes it<br /> that these people pretend to be my<br /> <br /> <br /> <br /> worse is,<br /> friends!!!<br /> “The magazines will, I fear,<br /> <br /> suit you as little.<br /> <br /> <br />  <br /> <br /> THE<br /> <br /> 320<br /> <br /> <br /> <br /> The inferior oves pay little, and often not at all.<br /> Colburn’s, the New Monthly (which would be sure<br /> pay, but is altogether Radical), the Metropolitan,<br /> I know (for I have just had a demélé with the<br /> editor), is as tricky as if it were an annual, and<br /> Fraser&#039;s, besides that the pay is very small—only<br /> £10 a sheet of sixteen pages, double columns—<br /> is hardly such as a Jady likes to write for. On<br /> the whole, I think Whittaker’s Magazine would<br /> suit you best, though the pay is only £10a<br /> sheet. To him you can, of course, speak without<br /> scruple. But, in my mind, my dear Mrs.<br /> , I really think that you will find it<br /> better to write novels—I mean, better for money.<br /> There is no doubt of your finding a ready pur-<br /> chaser, since this work has done its office of<br /> making a reputation most speedily and effec-<br /> tually, and have not a doubt but that it is by<br /> far the most profitable branch of the literary<br /> profession. I shall be most anxious to see<br /> your novel. May I ask of what sort it<br /> is? English or foreign? modern or ancient ?<br /> If ever I be bold enough to tr; that arduous path,<br /> I shall endeavour to come as near as I can to Miss<br /> Austen, my idol. I do not think that Whitaker<br /> has done badly by you. The work was well<br /> advertised, as it deserved to be, though Captain<br /> Hall’s review was the best advertisement. I<br /> suppose that he has made a good deal of me—<br /> but so they do all—and I don’t know that one<br /> gains much by changing. You are very good<br /> about my opera. I am sorry to tell you, and you<br /> will be kindly sorry to hear, that the composer<br /> has disappointed me, that the music is not now<br /> yet ready, and that the piece is therefore neces-<br /> sarily delayed till next season, I am very sorry<br /> for this on account of the money, and because I<br /> have many friends in and near town (yourself<br /> amongst the rest) whom I was desirous to see ;<br /> but I suppose that it will be for the good of the<br /> opera to wait till the beginning of a season, It<br /> is to be produced with extraordinary splendour,<br /> and will, I think, be a tremendous hit. I hope<br /> also to have a tragedy out at nearly the same<br /> time in the autumn, and then I trust we shall<br /> meet, and I shall see your dear girls and Mr.<br /> Henry. Your elder and younger sons I already<br /> know. How glad I am to find that you partake of<br /> my great aversion to the sort of puffery belonging<br /> to literature. I hate it, and always did, and love<br /> you all the better for partaking in my feeling<br /> on the subject. I believe that in me it is pride<br /> that revolts at the puff, and then it is so false—<br /> the people are so clearly flattering to be flattered.<br /> Oh! T hate it!!! Mrs. Wilson is better, but she<br /> breaks fast. I scarcely evér see Mr. B , and<br /> <br /> <br /> <br /> <br /> <br /> fear for her much, The man is spending three<br /> times her income, and she will be a very wretched<br /> <br /> AUTHOR.<br /> <br /> oor woman. Moreover, he’s a fool.<br /> &gt;<br /> <br /> T hope<br /> that dear Marianne will be benefited by her<br /> tour. I had an illegible crossed letter from her.<br /> from which I contrived to make out that she<br /> was very happy—the best piece of information to<br /> <br /> those who love her. Adieu, my dear frien,<br /> Pray keep my secret, and forgive this hasty<br /> scrawl, Make my kindest regards, and accept<br /> my father’s.—Ever most faithfully and affection-<br /> ately yours, ““M. R. Mrrrorp,<br /> <br /> “I suppose my book will be out in about a<br /> month, I shall desire Whitaker to send youa<br /> copy. It is the fifth and last volume.”<br /> <br /> Sees<br /> <br /> <br /> <br /> AN OMNIUM GATHERUM FOR FEBRUARY.<br /> <br /> <br /> <br /> AY I once more propound a few discon-<br /> nected suggestions ?<br /> <br /> Subjects for Books or Articles—A list of<br /> pseudonyms, including (with their consent) those<br /> of living writers; Political Nomenclature; A<br /> paged index to the Bible; An annotated edition of<br /> Mill on Liberty; A short (with all acknowledg-<br /> ments to Mr, Moncure Conway) life of Thomas<br /> Paine (with extracts from the “ Age of Reason ”<br /> and the “ Rights of Man,” and special reference to<br /> Paine’s scheme for pensioning the aged poor) ; The<br /> Evils of Early Marriages ; Fifty Years of Life : an<br /> Inquiry whether the possession of political and<br /> other power should not be confined between the<br /> ages of 25 and 75; The Curtailment of the Testa-<br /> mentary Power, with special reference to the<br /> morality of Charitable Bequests.<br /> <br /> Copyright.—Is not the time arrived for the<br /> Society to put forward an amending Bill on the<br /> subject of copyright — say, about ten clauses,<br /> dealing with the term of copyright, the dramatisa-<br /> tion of novels, newspaper copyright, the absur-<br /> dity of existing artistic copyright, and other<br /> pressing matters? Our consolidating Bill, so<br /> grotesquely dealt with by the late Government,<br /> must wait till it is taken up by the Government<br /> of the day.<br /> <br /> The Magazines—Not long ago, the Author<br /> contained a few particulars of the terms on which<br /> the magazines receive MSS., whether they engage<br /> to return them with or without stamps, &amp;c. Could<br /> not a complete list be printed in the Author of<br /> these terms, with the addresses of all the maga-<br /> zines P<br /> <br /> <br /> <br /> Handwriting.—Is not the chance of an article<br /> being accepted the less, and is not the cost of<br /> printing it the more, if the handwriting of the<br /> <br /> <br /> <br /> le<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE. AUTHOR.<br /> <br /> author be bad P<br /> should be so ?<br /> <br /> Is it not quite right that this<br /> <br /> American Spelling.— Could not a conference at<br /> the Chicago Exhibition come to some reasonable<br /> and amicable arrangement as to the extent to<br /> which the books of English authors may be<br /> printed with American spelling. Could not a list<br /> of the discrepancies (not, I believe, very many) be<br /> published in the Author forthwith ?<br /> <br /> The Laureateship.—Could not the Laureateship<br /> be made tenable for five years only (as the office<br /> of Commander-in-Chief in India is), so as to give<br /> more than one of our contemporary p ets a chance<br /> of wearing the laurel ?<br /> <br /> A Tontine for Authors—The Société des Gens<br /> de Lettres has an admirable plan whereby each<br /> member subscribes up to a certain age, on arriv-<br /> ing at which he may either \ake a pension or de-<br /> cline it as his means may allow (see Mr. Besant’s<br /> address in the Author of last month). Could not<br /> our Society imitate this plan with or without the<br /> help of one of our great insurance companies,<br /> and possibly with help from the Royal Literary<br /> <br /> <br /> <br /> Fund? J. M. Leny.<br /> A NATIONAL NAME.<br /> ANTED, a single name for “The<br /> <br /> United Kingdom of Great Britain and<br /> Treland.”<br /> Estne bonum nobis “ Anglobriceltia ’’ nomen<br /> An melius, queso, “ Briscoterinna ” sonat ?<br /> Nil refert, titulis dum fortis Hibernia nostris<br /> Accedat, patrie nomine lata novo.<br /> Scilicet hase multos vixdum appellata per annos<br /> Non minima augusti pars fuit imperii.<br /> ORNITHORHINCUS PARADOXUS.<br /> <br /> eee<br /> <br /> <br /> <br /> NOTES FROM PARIS.<br /> <br /> iL<br /> (These Notes arrived just too late for the last Number.)<br /> TYNHE dinners known as “ Les Diners de la<br /> Plume” are rapidly becoming the<br /> pleasantest of the many monthly dinners<br /> wn Paris, La Plume is a literary society founded<br /> by M. Léon Deschamps, who publishes a magazine<br /> of that name. In connection with this magazine<br /> weekly réunions of litterateurs are held at one of<br /> the transpontine cafés, whilst every month a<br /> dinner, known as “le Diner de La Plume,” brings<br /> together the best known and the least known of<br /> VOL. ILI.<br /> <br /> sak<br /> <br /> Parisian men of letters. La Plume is the<br /> magazine of the new schools of French literature,<br /> and is contributed to by the Decadents, Symbo-<br /> listes, Romanes, and so forth. The bulk of its<br /> contents are poetry, but prose and criticism have<br /> a large place in its pages also. The contributors<br /> meet together once a week at some café, and there<br /> read their poems and discuss their art, and are as<br /> serious about it as a board of railway directors<br /> discussing their balance-sheet. The “ dinners of<br /> La Plume” are less formal. The price is five<br /> francs, including wine, and the banquet is usually<br /> held in some small café on the other side of the<br /> <br /> water. Some well-known man usually takes the<br /> chair. Zola was president a month or two ago,<br /> <br /> Coppée and Lecomte de Lisle have also presided.<br /> Tt is an excellent institution and does much to<br /> keep up that solidarity which in our métver, more<br /> than in any other, should be the desideratum of<br /> one and all, but which it really seems hopeless to<br /> look for in England.<br /> <br /> There was rather a dismal letter printed in the<br /> Daily Chronicle a few days ago in which a<br /> “member” of the Authors’ Society rather<br /> bitterly asked what the Society did for its un-<br /> successful members. ‘The question struck me as<br /> very unreasonable, but, before writing on that<br /> point, I should like to repeat, as to the passage in<br /> his letter in which I am personally touched up,<br /> that I consider it very bad form for any journa-<br /> list, who is a member of the society and who may<br /> have complaints to make about the literary con-<br /> tents of the Author, to make this complaint the<br /> subject of a paragraph in another paper. Every<br /> house is, I suppose, more or less divided against<br /> itself, but there is no reason for letting the<br /> general public know that our particular house is<br /> in that state. There are only too many people<br /> who would be delighted to see us fall, and such<br /> remarks must be unction to their souls. Let us<br /> grumble about the Society as much as we like<br /> entre nous, but still, to the outside world, present<br /> a beaming and cheerful front, as if ever since we<br /> syndicated ourselves we have a fowl in the pot<br /> every Sunday and change for a five-pound note in<br /> every one of our pockets.<br /> <br /> Se -<br /> <br /> As to what the Society ought to do for its<br /> unsuccessful members, beyond what it does in<br /> the way of advice, I for one am puzzled to<br /> answer. Still I think much good might be done<br /> by the issuing to each member who may consider<br /> himself unsuccessful a card, which he could hang<br /> up inhis room, on which should be painted in fair<br /> letters that text of Thomas a’Kempis, “ Limit thy<br /> <br /> cc<br /> <br /> <br /> i<br /> i<br /> i<br /> <br /> <br /> <br /> 322<br /> <br /> <br /> <br /> <br /> desires and thou shalt know peace.” A man<br /> enters the literary profession either as a trades-<br /> man or as an artist. If as a tradesman, and he<br /> find that his wares don’t sell, let him sell any-<br /> thing else for which he can find a market,<br /> matches or slippers, or pastilles du serail. Tf<br /> as an artist, his success or nonsuccess financially<br /> must be matters of perfect indifference to him.<br /> All that he requires is the means of living, his<br /> enjoyment in life will come from his art. As an<br /> artist he will despise money, remembering that<br /> while Edgar Allen Poe died without a penny to<br /> his name, a certain Jay Gould has recently<br /> bequeathed seventeen millions sterling to his<br /> heirs ; and that quite recently that great man<br /> Ernest Renan died without leaving anything to<br /> his children beyond his books and manuscripts,<br /> whilst the Baron de Reinach’s heirs are dividing<br /> three million sterling between them. Of course,<br /> if a man wants to live in a perfect feu de joie of<br /> champagne corks, he never should take to litera-<br /> ture at all; on the other hand, the man who is<br /> satisfied with a very simple life, can find none<br /> more desirable than a literary life. I would<br /> personally rather live on a pound a week as an<br /> independent homme de lettres than on fifty times<br /> that amount at the sacrifice of my tastes and<br /> principles. One can get a lot of comfort for want<br /> of success out of the very genuine contempt for<br /> money which those who study the question of how<br /> wealth is acquired cannot but feel, and at the<br /> same time the pleasures which money purchases<br /> are, compared to the pleasures which we can get<br /> out of our métier, whether successful or not, so<br /> mean and miserable that one wonders at the zeal<br /> with which other men pursue them. I was never<br /> happier in my life than, when, a few years ago, I<br /> was rowing a ferry-boat between the quay of<br /> St. Lucia at Naples and the Ischia and Capriz<br /> steamers. My duty was to convey old market<br /> women backwards and forwards between the<br /> quay and the steamer, and I got a penny for each<br /> passenger, with a halfpenny for every basket<br /> carried, After deducting the rent of the boat<br /> and the pay of a scoundrelly assistant, who<br /> played the mandoline and was always drunk, my<br /> income amounted to an average of twenty-three<br /> francs a week, It was very tirmg work, but I<br /> had my evenings to myself, and I never did<br /> better literary work, nor ever shall, than at that<br /> time. I have also had pound-a-week spells in<br /> London, and was quite happy all the while.<br /> Anybody, however unsuccessful, can earn a pound<br /> a week with a few hours’ toil, and have all the<br /> rest of his time for the work which he feels it is<br /> in him to produce, And if he is a genuine<br /> artist and the kind of man of letters who is<br /> more interesting than the cheesemonger, it will<br /> <br /> THE AUTHOR.<br /> <br /> be a matter of complete indifference to him<br /> whether his books sell or don’t sell, are published<br /> or not published.<br /> <br /> <br /> <br /> The Soci¢té des Gens de Lettres have recently<br /> published the tariff at which reproductions of<br /> works by authors belonging to the society are<br /> permitted. This tariff varies from one penny a<br /> line to twopence halfpenny, according to the<br /> circulations of the papers. The tariff for serial<br /> stories, moreover, is rather less than for short<br /> stories.<br /> <br /> <br /> <br /> The longer I live the more I see that a course<br /> of journalism is the very best training that the<br /> writer of fiction can undergo. I don’t say this<br /> nastily, although in journalism as in company-<br /> promoting, a certain amount of imagination is an<br /> indispensable qualification. I mean that jourua-<br /> lism will do much to teach a man what life really<br /> is, and give him an insight into human nature<br /> which he could acquire nowhere else. I should<br /> say that a couple of years of interviewing for<br /> instance, would teach a man more about his fellow<br /> beings than years of reading, or of such society as<br /> he might have time and occasion to frequent<br /> otherwise. The interviewer is brought into con-<br /> tact with all sorts and conditions of men, and if<br /> he knows how to keep his eyes and ears open,<br /> and is endowed with a certain power of analysis,<br /> can learn aa immense amount in the course of his<br /> visits. It is, moreover, with the big men and<br /> women of the world that he is brought into con-<br /> tact, and I suppose there is more to be learnt<br /> from one big man or woman than from a thousand<br /> nonentities. Iam afraid, however, that such a<br /> course would destroy in him to a large extent,<br /> that healthy optimism, that admiration for his<br /> pastors and masters, which seems an essential<br /> characteristic of the British novelist. He will be<br /> considerably dissappointed with the great of this<br /> world, and often find himself wondering how they<br /> came to be great at all) Guy de Maupassant, in<br /> his admirable novel “ Bel-Ami,” describes th!s<br /> disillusioning piovess on the character of his hero<br /> Georges Duroy with his usual power and truth.<br /> All French authors of any value, commenced their<br /> areer as journalists, if not as interviewers.<br /> <br /> So<br /> <br /> In the leisure of writing his new work, M.<br /> Emile Zola will contribute to Ze Journal, the<br /> new paper, which is being financed by Mr. Menier,<br /> the chocolate manufacturer, a series of studies on<br /> “ How people get married.” It will be remem-<br /> bered that many years ago he published a series<br /> of sketches on “How People die.” I presume<br /> the new series will be somewhat of the same nature.<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> I am sorry not to be able to answer the query<br /> addressed to me in the last number of the<br /> Author by a gentleman, apropos of Stendhal’s<br /> « Amour.’ I have not got my books by me<br /> where I am writing, and of late have been think-<br /> ing of things very different from ]’Amour,<br /> Stendbal’s or anybody else’s. But I will look<br /> the matter up, and answer my correspondent<br /> next month. R. H. SHERARD.<br /> <br /> Christmas Day, 1892.<br /> <br /> ET,<br /> <br /> Alphonse Daudet has asked me to deny the<br /> statement, which was published some time ago,<br /> in the English papers, that he has any intention<br /> of visiting London this year. He said that<br /> possibly one of the many false Alphonse Daudets,<br /> who are de par le monde, may have proposed to<br /> go to London, and to masquerade there in bor-<br /> rowed plumes. He added that it has long been<br /> his wish, and always his hope, to visit England,<br /> but that at present the state of his health makes<br /> travelling quite impossible. I was sorry to find<br /> him looking aged, and obliged to use a crutch-<br /> handled stick to help him about his room.<br /> He is, however, still able to work, and is at<br /> present engaged upon a novel which is on the<br /> subject of youth, and which he proposes to eall<br /> “ Soutien de Famille.’ He says that it is giving<br /> him a great deal of trouble.<br /> <br /> <br /> <br /> <br /> <br /> +&gt;<br /> <br /> Jules Verne writes to me that his health is far<br /> from satisfactory, and that he suffers especially<br /> with his eyes, which are so bad that he is often<br /> obliged to interrupt his daily task. At the same<br /> time he says that he is encouraged to hope that the<br /> trouble will only be temporary. I have always<br /> fancied that Verne makes a mistake in living in<br /> Amiens, a damp, misty, and most dismal of the<br /> cities of the plain. I should fancy it to be one<br /> of the least healthy of French towns, as it cer-<br /> tainly is one of the most depressing.<br /> <br /> SS<br /> <br /> The wife of a New York millionaire, who<br /> recently rented the country house of one of our<br /> literary lords, has, I hear, taken to authorship.<br /> Her first novel will be published in New York in<br /> the spring, and will, I fancy, create a sensation in<br /> society circles in England. It is a satire on the<br /> ways of the London world, and a keen one.<br /> <br /> <br /> <br /> T hear that Miss Marie Belloc, who is one of<br /> the cleverest of the young ladies in London who<br /> <br /> 323<br /> <br /> make a living by their pens, has been commis-<br /> sioned by a firm of London publishers to write a<br /> biography of the De Goncourt Brothers, She<br /> was recently in Paris to collect material for this<br /> purpose, and was most amiably received by<br /> M. de Goncourt, who placed himself entirely at<br /> her disposition.<br /> <br /> A few days ago I made the acquaintance of an<br /> American at the counter of one of the American<br /> bars here. He was a most respectable-looking<br /> old gentleman, and I was much impressed both<br /> by his manners and his conversation until J<br /> learned that this benevolent and dignified person<br /> was nothing more nor less than a pirate publisher<br /> of New York City, and one of the worst of them.<br /> It was amusing to hear him speak of his various<br /> business coups, and I can’t deny that I was rather<br /> flattered when, in answer to my question as to<br /> what he had “done” with a certain volume of<br /> my own which he had “handled,” he mentioned<br /> a figure, or number of copies, which made me<br /> feel quite popular. I did not even attempt to<br /> discuss the morality of his transactions, so firmly<br /> convinced did he seem of their perfect legality<br /> and straightforwardness, but I did venture a<br /> timid objection to his having changed the title of<br /> my book, and “ edited” it up or down to the<br /> tastes of his clientele. To this he answered<br /> that he knew best what fetched his public, and<br /> no doubt he did. After a whiskey or two he<br /> invited his “author” to dinner, and took him to<br /> a Bouillon Duval, where he regaled me to the<br /> extent of four francs, and seemed to think that he<br /> was acting very handsomely by me. Had he<br /> only given me a 5 per cent. royalty on the copies<br /> he had sold of my book—but he didn’t.<br /> <br /> <br /> <br /> Apropos of American pirates. I don’t know<br /> why this name should be specially applied to a<br /> certain class of publisher in the States. I<br /> remember offering an MS, of special interest to<br /> the American reading public to one of the best<br /> and most reputable of New York publishing<br /> firms. Their answer was that, as I was doubtless<br /> aware, “I was liable to be republished in<br /> America,” and that they should prefer to wait—<br /> i.e., until they could get my book for nothing.<br /> <br /> a<br /> <br /> Albert Delpit, who died since my last letter<br /> appeared in the Author, was one of the most<br /> popular hommes de lettres amongst his confreres.<br /> Although his talents were not such as arouse the<br /> enthusiasm of the fraternity—although he was<br /> very popular with the reading public—he was so<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> 324 THE AUTHOR.<br /> <br /> good-hearted, gallant, and generous, that every-<br /> body liked him. He was always willing to give a<br /> young author a helpiog hand, and there are many<br /> writers in Paris to-day who owe their start to him.<br /> Delpit was a great duellist, as ready with his<br /> rapier as with his pen. His most famous duel<br /> was with Alphonse Daudet, and only shortly<br /> before his death he very nearly “ went out” with<br /> Brunetitre, the critic, for reviling his dead friend,<br /> the poet Baudelaire. Ropert SHERarp.<br /> <br /> THE STARVELING.<br /> <br /> <br /> <br /> Her little hands to wraiths were worn,<br /> Her face was weirdly wan ;<br /> <br /> She lifted up one look forlorn<br /> Then feebly faltered on ;<br /> <br /> The flowers she in her basket bore,<br /> Poor, sad, forsaken elf,<br /> <br /> As afternoon to evening wore,<br /> Seemed spectres, like herself.<br /> <br /> High o&#039;er the turmoil of the town,<br /> Above the traffic’s beat,<br /> <br /> A bright-eyed star beamed softly down<br /> Upon the squalid street ;<br /> <br /> But as it watched that wastrel there,<br /> So desolate, and drear,<br /> <br /> Shining no more serenely fair,<br /> It clouded with a tear!<br /> <br /> * * * *<br /> <br /> Dawn glimmers from the calm cold sky<br /> Across a garret-bed,<br /> <br /> Where, ah, how strangely placid, lie<br /> Two little hands outspread—<br /> <br /> Into the room a star smiles clear,<br /> As tho’ with gladness fraught<br /> <br /> That Death, in answer to its tear,<br /> At last had rescue wrought !<br /> <br /> WILLIAM TOYNBEE.<br /> <br /> ee<br /> <br /> NOTES AND NEWS.<br /> <br /> <br /> <br /> ROFESSOR Brander Matthews very kindly<br /> P sends me a little book of his called<br /> “ Americanisms and Briticisms.”’ The first<br /> <br /> two chapters are devoted to the national differences<br /> of speech and spelling. These do not, after all,<br /> amount to very much. I hope that we shall not<br /> be forced into the adoption of American spelling,<br /> which seems to me even worse than our own,<br /> what nobody can defend and yet we must retain.<br /> On the other hand, we cannot expect to convince<br /> Americans that our way is better than their own,<br /> and we may just as well leave off considering the<br /> subject, or at all events, writing essays and<br /> <br /> articles about it. The author hardly touches on<br /> the question of pronunciation, which is a much<br /> more interesting one, because some of the older-<br /> ways of pronouncing words are kept up in the<br /> States. Then Mr. Matthews says that he was<br /> brought up to pronounce again and been as if<br /> they were written agen and bin, which is Eliza-<br /> bethan. All the essays are more or less marred<br /> by a singular spirit of jealousy towards our<br /> writers, and by a needless persistence in com-<br /> paring American writers with our writers, always<br /> to the advantage of the former. Every man does<br /> well to be jealous for his own country: but it<br /> surely shows some suspieion of weakness to be<br /> always comparing. It is as if one was not sure<br /> of one’s ground.<br /> <br /> <br /> <br /> The best essay in the book is that on the Art of<br /> Criticism. Here we must all be heartily on the side<br /> of this American writer. More, we must acknow-<br /> ledge that he has put his case clearly and forcibly,<br /> as well as pleasantly. What we call “slating ”—a<br /> Briticism—is, for the most part, a brutal, useless,<br /> degrading, and degraded kind of criticism. The<br /> true critic—to quote from the book—“ is no more<br /> an executioner than he is an assassin; he is<br /> rather a seer sent out to spy out the land, and<br /> most useful when he comes back bringing a good<br /> report and bearing a full muster of grapes.” The<br /> great critics do not go out of their way to deride<br /> and expose an impostor. Nor is it. worth the<br /> while of a critic to slate an unfortunate man<br /> merely because he is popular and has a wide<br /> circulation. Must, then, humbugs and vulgar<br /> writers thrive? Certainly, for their little day.<br /> Must we not expose the impostor and point out<br /> vulgarity and keep up the standard of literature ?<br /> Certainly, but accordmg to the laws of good<br /> manners and with courtliness — not with a<br /> bludgeon, or a flail, or a quarter-staff. M.<br /> Edouard Scherer, Mr. Matthews says, once handled<br /> M. Emile Zola without the gloves—with what<br /> result? ‘ Since Scherer fell foul of him, M. Zola<br /> has written the strongest novel, Germinal (one of<br /> the most popular tales of this century) ; and his<br /> rankest story La Terre, one of the most offensive<br /> fictions in all the history of literature.” The<br /> author speaks of certain praises bestowed upon<br /> certain writers in c-rtain papers as hopelessly un-<br /> critical. Very true; but every paper must have<br /> its reviews, and how many critics have we? The<br /> difficulty of getting a book well reviewed is too<br /> great for any editor to encounter quite success-<br /> fully. I would suggest that Mr. George Suints-<br /> bury’s suggestion be adopted, and that the young<br /> critic should pass an examination, and obtain a<br /> certificate or a degree. Q.C. might thus mean<br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Qualified Critic as well as Queen’s Counsel; or<br /> C.C.—Competent Critic—as well as County<br /> Councillor. Mr. Matthews gives ‘“ Twelve Good<br /> Rules for Reviews,” and these are so good and so<br /> simple that I wish every editor in this realm or<br /> empire would have them printed and given to<br /> every critic with every book he hands him for<br /> review.<br /> <br /> I. Form an honest opinion.<br /> <br /> Il. Express it honestly.<br /> <br /> IfI. Don’t review a book which you cannot take seriously.<br /> <br /> IV. Don’t review a book with which you are out of sym-<br /> pathy. That is to say, put yourself in the author’s place,<br /> and try to see his work from his point of view, which is sure<br /> to be a coign of vantage.<br /> <br /> V. Stick to the text. Review the book before you, and<br /> not the book some other author might have written ; obiter<br /> dicta are as valueless from the critic as from the judge.<br /> Don’t go off on a tangent. And also don’t go round in a<br /> circle. Say what you have to say, and stop. Don’t go on<br /> writing about and about the subject, and merely weaving<br /> garlands of flowers of rhetoric.<br /> <br /> VI. Beware of the Sham Sample, as Charles Reade called<br /> it. Make sure that the specimen bricks you select for<br /> quotation do not give a false impression of the facade, and<br /> not only of the elevation merely, but of the perspective<br /> also, and of the ground-plan.<br /> <br /> VII. In reviewing a biography or a history, criticise the<br /> book before you, and don’t write a parallel essay, for which<br /> the volume you have in hand serves only as a peg.<br /> <br /> VIII. In reviewing a work of fiction, don’t give away the<br /> plot. In the eyes of the novelist this is the unpardonable<br /> sin. And,as it discounts the pleasure of the reader also,<br /> it is almost equally unkind to him.<br /> <br /> IX. Don’t try to prove every successful author a plagiarist.<br /> It may be that many a successful author has been a pla-<br /> giarist, but no author ever succeeded because of his<br /> plagiary.<br /> <br /> X. Don’t break a butterfly on a wheel.<br /> worth much, it is not worth reviewing.<br /> <br /> XI. Don’t review a book as an east wind would review an<br /> apple-tree—so it was once said Douglas Jerrold was wont<br /> todo. Of what profit to anyone is mere bitterness and<br /> vexation of spirit ?<br /> <br /> XII. Remember that the critic’s duty is to the reader<br /> mainly, and that it is to guide him not only to what is good,<br /> but to what is best. Three parts of what is contemporary<br /> must be temporary only.<br /> <br /> If a book is not<br /> <br /> <br /> <br /> In another part of this paper will be found<br /> a poem written by Mr. John Saunders. The<br /> names of certain powerful and dramatic novels<br /> —such as “ Abel Drake’s Wife,’—and others,<br /> will be remembered by everyone in connec-<br /> tion with ths name. But there are not<br /> many surviving writers, or readers, who remem-<br /> ber Mr. John Saunders’s work in the Forties.<br /> Mr, Saunders has published a new story written<br /> for the Leisure Hour last year, and has now<br /> another completed. He came up to London<br /> more than sixty years ago. After a_ brief<br /> experience of the boards, he settled down to a<br /> lite of letters, which he has ever since continued.<br /> He has been dramatist, essayist, historian, and<br /> <br /> 375<br /> <br /> novelist by turns. He has done everything well,<br /> and he is still vigorous and ready for new and<br /> strong work. Many of us possess Charles<br /> Knight’s book on “ London.” It was in six<br /> volumes, and contained 150 chapters, each chapter<br /> ona different subject. Mr. Saunders contributed<br /> a half—75 chapters—to that work. Let us wish<br /> him many more years of life and good work.<br /> <br /> SS<br /> <br /> The use of the word “ middleman” or “ agent’”’<br /> <br /> applied to a publisher seems to have been received<br /> with scant favour. Let us therefore distinguish.<br /> When the publisher buys the work of the author,<br /> he is certainly not a middleman—he is the pur-<br /> chaser of an estate. When he engages the services<br /> of an author to perform a certain piece of work, he<br /> is not a middleman—-he is an employer. When<br /> he accepts articles for his magazine he is not a<br /> middleman—he is again the purchaser of a pro-<br /> perty, or the limited use of a property. When<br /> he publish: sa book on commission he is distinctly<br /> an agent or middleman. When he publishes a<br /> book on some kind of royalty, either to himself<br /> or to the author: or on some share of the profits;<br /> he may be regarded either as a partner or part<br /> venturer ; or as an agent.<br /> <br /> poe<br /> <br /> I strongly recommend our readers to study the<br /> document called “ A Confession,” which has been<br /> quoted from a country paper. They will find<br /> curious and ample corroboration of what we have<br /> maintained so strongly in the teeth of every kind<br /> of denial. Our ‘“ Cost of Production” is indi-<br /> rectly confirmed, and the hints and suggestions<br /> are precisely those which we have advised for<br /> the last four years. Note, especially, what is<br /> said about advertisements and agents. Note also<br /> what is said about solicitors. Ordinary solicitors<br /> —indeed all solicitors except a very few—know<br /> nothing whatever about literary property. Like<br /> the rest of the world—like authors themselves—<br /> they have to learn what it means.<br /> <br /> aa<br /> <br /> A society has been started called the ‘‘ Brother-<br /> hood of Poets.’”” The prospectus now before me<br /> speaks with some bitterness of the contempt with<br /> which the minor poet is too often regarded.<br /> This is quite true, and it is a very remark-<br /> able thing—one not quite easily explained. Why<br /> should a minor poet be spoken of with contempt ¢<br /> We do not despise the minor preacher; the<br /> minoc traveller holds up his head; the minor<br /> essayist looks about him cheerfully and even<br /> proudly ; the minor novelist is trampled upon,<br /> but, on the whole, does not feel himself an object<br /> <br /> <br />  <br /> <br /> 4<br /> 4<br /> i<br /> |<br /> ie<br /> <br /> of contempt; for the minor poet especially is<br /> reserved ridicule and contempt. Why? Is it be-<br /> cause only the best poetry is tolerable to the most<br /> cultivated class ? But this is a very small class.<br /> The great mass of mankind are not cultivated.<br /> But they also despise the small poet. Perhaps<br /> there is a feeling of incongruity between their<br /> endeavours and their performance which seems<br /> ridiculous. The comic man who fails to make us<br /> laugh is ridiculous ; so is the tragic man who can-<br /> not compel tears ; so is the poet who would fain, as<br /> this prospectus says, make men better and nobler,<br /> and cannot influence them one whit. Granting<br /> the fact, and denying the justice of the fact, the<br /> “ Brotherhood ” is organised with the general<br /> intention of cultivating the muse. Why not?<br /> A poet cannot be made, but he may be encouraged,<br /> taught, put in the way of good models; in fact,<br /> there may be a school of poetry. Whether any<br /> great poet will ever come out of such a school, I<br /> know not. Perhaps not. But its students will<br /> most certainly learn what the best poetry should<br /> be; the taste for, and reverence of, good poetry<br /> will most certainly be imereased and stimulated,<br /> and a great many people will be encouraged to<br /> pursue the most delightful recreation in the<br /> world—the writing of verse—the compelling of<br /> thought to fall imto the order of metre and<br /> rhyme—the fitting of noble words to what should<br /> be noble thought—this certainly will be a great<br /> gain.<br /> <br /> If the world chooses to laugh at the spectacle<br /> of this Brotherhood of young poets, let them.<br /> The laugh will not continue long, and the<br /> Brotherhood may. Perhaps, too, some of the<br /> recognised living poets will join the Brotherhood<br /> as an encouragement.<br /> <br /> a<br /> <br /> A new business has been started, that of a<br /> “Literary Revision” Office. This office undertakes<br /> to revise MSS, with a view to correcting gram-<br /> matical error; to find out accuracies, anachro-<br /> nisms, wrong references, &amp;c., in MSS.; or to<br /> rewrite a MS. from beginning to end. Nothing<br /> is said about terms, except that they are<br /> “ moderate.” One might ask certain questions<br /> as (1) How if a MS. on being read, is proved to<br /> be free from any grammatical errors? (2) How<br /> do we know the competence of the readers? It<br /> is hardly enough to tell the world that the work<br /> is to be done by “Anglophil” and “ qualified<br /> experts.” To begin with, an expert is an expert,<br /> but what is a “ qualified’? expert? Here at the<br /> very threshold we stumble grammatically. A<br /> ‘qualified ” expert? A “ qualified” professional<br /> man generally means one who has passed examina-<br /> tions and taken degrees. But how is an English<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> grammarian ‘ qualified?’’ Then in the matter<br /> of anachronisms and inaccuracies. Why are we<br /> to trust the “ qualified” experts? How do we<br /> know that they are historical students of such<br /> experience as to make them quick to detect such<br /> things as, say, a fork in the reign of Henry VII ?<br /> Again, as to the rewriting of books. Who is to<br /> assure the author (?) that his MS. will be<br /> improved by the process? How can we be sure<br /> that the “ qualified expert,” who will be put on<br /> to the job is a master of style? If he is, one<br /> would ask, cruelly, why be has not made his own<br /> mark in literature for himself? However, there<br /> is the Office and these are the things it proposes.<br /> We give the Institution a free advertisement.<br /> And if any reader feels that his grammar is a<br /> weak point, or that his style creeps, or that his<br /> history is rusty, let him apply to the Society, and<br /> ask further particulars, especially with regard to<br /> the “ qualification” of the experts.<br /> <br /> <br /> <br /> The following alphabet of the Disappointed<br /> Author is sent by one who says that if it may<br /> help in dissuading only one from entering on<br /> literature as a means of livelihood, he will gladly<br /> see it in the Anthor. So here it is—the O and<br /> the X a little shaky :—<br /> <br /> A was the Author, who-turned down his collars ;<br /> B was the Bookman, who trousered the dollars.<br /> C was the Critic, impartial and ealm ;<br /> <br /> D were his Drops of omniscient balm.<br /> <br /> E Expectation of early reviews :<br /> <br /> F for their Flutter who slily peruse.<br /> <br /> G for the Guerdon of agony past ;<br /> <br /> H for the Hope that is sinking at last.<br /> <br /> J for the Joke of the careless condoler ;<br /> <br /> K for the Kiss of the only consoler.<br /> <br /> L for the Limbo of copies unsold ;<br /> <br /> M for the Mystery—Who took the gold ?<br /> N for the Number assigned to the Press ;<br /> O the returns—and they could not be less.<br /> P Periodical balance of cash ;<br /> <br /> Q for its Quaint unmethodical hash.<br /> <br /> R for the Ruin that neighbourly stared ;<br /> <br /> S for Suspicion the critics were squared.<br /> <br /> T for Tranquillity, banished of late ;<br /> <br /> U for Unrest—in the crown of the pate.<br /> <br /> V for the Venom distilled in the mind ;<br /> <br /> X for the infinite fancies unkind.<br /> <br /> Y for the Yesterdays wasted and run;<br /> <br /> Z for the Zenith— but that is all done.<br /> <br /> <br /> <br /> A correspondent writes :—<br /> <br /> “ Apropos of the present controversy in the<br /> Athenxum, it has occurred to me that there is a<br /> point of view from which Messrs. Heinemann,<br /> Tnnes, and Co., might be ruled out of order.<br /> <br /> “The Authors’ Society came into existence to<br /> make known to its members various things, ignor- —<br /> ance of which means loss to them. In effect<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> there were practices of trade which flourished on<br /> this ignorance ; practices then known to a few,<br /> now known widely, which need not be charac-<br /> terised. In opposition, it is now proposed to<br /> form a Publishers’ Union. But why? There<br /> are no malpractices on the part of authors to be<br /> made known, to be resisted, to form a razson<br /> @étre. Itis not suggested that there are such.<br /> Then why the proposed league? Unless it is to<br /> devise new methods of . . .!”<br /> <br /> What has been said in the Athenwum may be<br /> repeated here. Since a body of men cannot<br /> unite for openly avowed dishonourable purposes,<br /> such a union would comprise only the honourable<br /> <br /> houses. Since, too, we have never advocated or<br /> demanded anything more than honesty and<br /> justice—these simple and elementary things—<br /> <br /> we should only rejoice at such an union. A secret<br /> union is one which honourable men would not<br /> join, and which would have to be fought with<br /> such weapons as are at our command.<br /> <br /> <br /> <br /> The Atheneum has abandoned the practice of<br /> reviewing novels ina batch. Hach novel is now<br /> presented with a separate notice. This conces-<br /> sion will give great satisfaction to many readers<br /> as well as writers.<br /> <br /> Water BEsant.<br /> <br /> THE EMPTY PURSE.<br /> <br /> By Greorcxe Merepirnx. Macmillan and Co. 1892.<br /> <br /> FFN\HOUGH, within the last few years Mr.<br /> | George Meredith’s achievements in fiction<br /> <br /> have been so widely recognised, it is only a<br /> very short time ago that many or his most ardent<br /> admirers began to know him as a poet of rare<br /> power and distinctive originality. It was, of<br /> course, a long time before the far-seeing reviewer<br /> discovered Mr. Meredith as a novelist at all.<br /> But there was always a certain number of people<br /> who appreciated the author of ‘‘ Richard Feverel”<br /> —delightful, selfish, esoteric, esthetic people, ever<br /> wishing to keep the good things of this world to<br /> themselves; and, just as these, were the few who<br /> recognised that one day he would take his true<br /> place among the first novelists of England. There<br /> were also a few (smaller, perhaps, in number)<br /> who had the good fortune to know ‘Modern<br /> Love,” and acknowledged the author’s high<br /> poetic gifts. The first critical and appropriate<br /> tribute to his genius—the first, that is to say,<br /> from anyone qualified to speak on such matters—<br /> came, we believe, from Mr. Swinburne, just as the<br /> <br /> a7<br /> <br /> same magnificent capacity for appreciation with<br /> which Rossetti was endowed, enabled him to<br /> delight inthe ‘‘ Shaving of Shagpat ” now one of<br /> Mr. Meredith’s most popular works. A mar-<br /> vellous House of Poetry it must have been when<br /> the three poets lived under the same roof. Since<br /> then ‘“‘ Modern Love” has been happily reprinted ;<br /> and the name of George Meredith, with that of<br /> William Blake, Michael Angelo Dante Rossetti,<br /> and Victor Hugo, stands as a splendid contradic-<br /> tion to that well-nigh exploded canon “ that a<br /> man cannot excel in two arts;” for the art of<br /> poetry is as distinct from fiction as it is from<br /> painting.<br /> <br /> In this short notice it is impossible to give any<br /> adequate idea of even so small a volume as Mr.<br /> Meredith’s latest poems. There is far too much<br /> thought behind the language to be discussed in<br /> half a column, and dismissed with a few adjec-<br /> tives. Besides, two of the longerand perhaps the<br /> finest poems, the “ Empty Purse” and “ Youth<br /> in Memory,” do not bear quotation. They are<br /> too concentrated and too synthetic to allow of<br /> detachment. One can only say that they are<br /> steeped in that thought pec ‘uliar to this author,<br /> and are of Meredith Meredithian.<br /> <br /> Many modern poets, indifferent to matter, pay,<br /> it is thought, undue attention to form, and very<br /> elaborate form indeed; it will therefore rejoice<br /> the more old fashioned to learn that Mr. Meredith<br /> is still on the side of the angels. It requires the<br /> ethical genius of Browning or Mr. Meredith to<br /> bring a Salvation lass within the limited capacities<br /> of poetic art In “Jump to Glory Jane,” this<br /> has certainly been done, and the poem is perhaps<br /> the literary feat-of the volume.<br /> <br /> Though Mr. Meredith possesses that essentially<br /> modern quality, the feeling for Nature (the<br /> absence of which is regarded almost as a crime),<br /> he has made us realise that in modern poetry we<br /> have had more thanenough and are well-nigh nause-<br /> ated with commonplace observations and atmo-<br /> spheric phenomena, the physical condition of the<br /> earth’s surface, and the attractions of young ladies<br /> whose names are disguised like unto a classical or<br /> music hall nomenclature. For such practically<br /> forms the substance subject-matter of three-<br /> fourths of our modern poetry. ‘The Empty<br /> Purse,” not differing from Mr. Meredith’s other<br /> works, comes, therefore, not only as an intel-<br /> lectual pleasure, but as a mental relief.<br /> <br /> F.<br /> <br /> <br />  <br /> <br /> a eee<br /> <br /> POs<br /> <br /> SELES NT<br /> <br /> FEUILLETON.<br /> <br /> I.<br /> A Writer or STORIES.<br /> F ND Vm sure I wouldn’t say go, Miss, I<br /> <br /> A wouldn’t, indeed ; but, with my husband<br /> <br /> ill and five children to keep, if I could<br /> get someone to take the room as could pay regular,<br /> it would make a deal of difference to me.”<br /> <br /> “Yes, I know, Mrs. Smith; you have been<br /> very patient. I—TI will move out this evening.”’<br /> <br /> “Oh, no, Miss; I don’t mean as sudden-like<br /> as that—just if you could make your arrange-<br /> ments to go when I hear of anyone else.”<br /> <br /> “Thank you,’ Mary Allen said; “I think I<br /> can make my arrangements to-day.”<br /> <br /> Sbe closed the door of her room when her<br /> landlady had passed out, and, sitting down, she<br /> reviewed the story of her life.<br /> <br /> When she had begun to write she had been<br /> ambitious, and she had intended to succeed.<br /> Poor girl! Nay, her ambition had soared higher<br /> still, for she had intended to deserve success.<br /> Again, let us say: Poor girl! This would-be<br /> successful writer of stories had had before her as<br /> beacon-lights the words: Local Colour, Atmo-<br /> sphere, and—Heaven help her!—Style. Doubt-<br /> less, they are good words all; but this girl was<br /> not the possessor of a competence. She dreamt<br /> of writing for Art’s sake, and she had to write to<br /> live.<br /> <br /> She began, of course, as young beginners do;<br /> she sent her stories—crammed with those good<br /> intentions concerning Local Colour, Atmosphere,<br /> and Style, and, also with youthful ignorance of<br /> the technique of her art—to the best magazines<br /> open to receive fiction. One’s pity for their<br /> editors would be supreme, but that superlative<br /> emotion must be reserved for some of those who<br /> persecute them. The manuscripts were rejected<br /> and rejected again; until they were dog’s eared<br /> and soiled; until they were rewritten and again<br /> despatched ; until others were written to take<br /> their places, and went forth in their stead. And,<br /> alas! they, too, came back.<br /> <br /> ‘hen she declined to the magazines of the<br /> second rank; and, subsequently, to those still<br /> lower down the scale; until, at last, she reached<br /> the weekly publication issued at the price of one<br /> penny, and then sometimes her tales were ac-<br /> cepted — sometimes at long intervals—and paid<br /> for. Nay, not always; it was the Family Cup-<br /> board, 1 believe, which accepted one of her<br /> stories, published it without attaching her name<br /> thereto, and paid her not at all. Happy the day<br /> when the Weekly Want, with its fixed scale of<br /> half-a-guinea a column, and its honourable habit<br /> <br /> THE AUTHOR.<br /> <br /> of payment on publication, gave shelter to one<br /> of her offspring. It happened but seldom,<br /> <br /> And of other papers, wherein her work some-<br /> times appeared, what shall I say ? and what of<br /> their sliding scale of payment?’ Possibly better<br /> nothing. Let us hope the scale had descended<br /> to its zero when a woman who was writing to live<br /> —still more, when a woman who was writing for<br /> art’s sake, was offered, and was driven to accept,<br /> five shillings for two thousand words, carefull<br /> wrought over, laboriously planned, delicately<br /> polished, till the whole satisfied her fastidions<br /> sense of style. Better had she sat stitching from<br /> morn ull night with other women, oppressed of<br /> the sweater. Better, far better, had she bought a<br /> broom and swept a crossing.<br /> <br /> “Tt’s simply a matt r of supply and demand,<br /> Miss Allen,” said the editor who proffered the<br /> five shillings, when she ventured to remonstrate.<br /> “We can get plenty of this sort of thing, and we<br /> can’t afford to pay you any more.”<br /> <br /> “Youcan afford to pay Mr. X. for the serial<br /> you are running just now,” Mary was bold enough<br /> to suggest ; she knew it was unwise to annoy an<br /> editor who would pay anything, but she doubted<br /> if her boots would hold together another week if<br /> they remained unmended.<br /> <br /> The editor smiled at her pityingly. “That sells<br /> the paper,” he responded, curtly. ‘Do you<br /> imagine this does P” with a contemptuous flick at<br /> her manuscript.<br /> <br /> “There is more careful work in that,” said<br /> Mary, driven to desperation by the thought of<br /> boots, “ than Mr. X. has put into his story, big<br /> man as he is. His is written anyhow; every<br /> paragraph contains a violation of style.”<br /> <br /> “ Oh, style be hanged,” said the editor. “‘ What<br /> do the public care about style? Take my advice<br /> and chuck over all that tommyrot.” There was<br /> not much style in his conversation ; but there is<br /> little in that of the average modern, and he was<br /> an excellent husband and father, besides being<br /> a capital man of business, “ Chuck it over; pile<br /> up your incident, start with a mystery, and be<br /> dramatic ; I don’t say- but you might make your<br /> way then. We can offer no more than five<br /> shillings for this, Miss Allen; you can take it or<br /> leave it.”<br /> <br /> And Mary took it. His advice she could not<br /> take ; she must live for Art. There are some men<br /> who must do this, and there are a few—a very few<br /> —women, of whom Mary was one. She must<br /> live for Art, or if she might not, then for Art she<br /> must die.<br /> <br /> By this time—I know not, but it may be—<br /> had she gone back to those editors whose lives<br /> <br /> she had erstwhile helped to burden, she might<br /> have met with recognition and encouragement;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> for hard practice had been perfecting her in the<br /> details of her craft. It might have been so, but<br /> she had tried so often she had grown to think it<br /> hopeless. Everything was hopeless; the penny<br /> papers could not afford to take her highly<br /> finished pictures; and to fling together crude<br /> reds and blues and yellows, such as their public<br /> loves to have dashed in its face, was to her an<br /> impossibility.<br /> <br /> The end had come, and she sat in her room and<br /> faced it. She could not pay for a roof to shelter<br /> her; she no longer possessed even what would<br /> purchase a loaf of bread to keep life in her. For<br /> Art she might not live, therefore for Art she<br /> must die.<br /> <br /> When dusk began to gather she went down-<br /> stairs, and knocked at her landlady’s door.<br /> <br /> “T am going now, Mrs. Smith,” she said.<br /> “Goodbye, and thank you. I have left my<br /> things ; they will not bring much—not as much<br /> as I owe you, I’m afraid.”<br /> <br /> “ Oh, Miss,” broke in the landlady, “I didn’t<br /> mean that! and you&#039;ll want them wherever you<br /> go.”<br /> <br /> “T shall not want them where I am going,”<br /> said Mary, calmly. ‘“ 4nd if a letter should come<br /> for me, will you open it? Perhaps there might<br /> be a postal order—will you take it ?”<br /> <br /> “Oh, Miss,” the landlady began again, and<br /> paused, as the postman’s knock was heard.<br /> <br /> A small bundle by book-post for Miss Allen.<br /> Mary held it in her hand and looked at it, as she<br /> stood by the fire.<br /> <br /> “There will be no letter or postal order,” she<br /> said. “I am sorry.’ And she dropped the<br /> bundle into the flames. ‘‘ Goodbye,” she added<br /> quickly ; then, turning, walked to the door, and<br /> out into the closing darkness.<br /> <br /> The landlady looked after her uneasily. “I<br /> don’t like it,” she said. ‘I don’t like it. But<br /> there, with Joe and the children, what was I to<br /> do? I did it for the best. Please God, I haven’t<br /> turned a decent girl on the streets.”<br /> <br /> There was a mist in the air, not thick enough<br /> to be designated fog by a Londoner ; but damp,<br /> clinging, chilling to the bone. The sireets had<br /> not reached the period of slush; they were still<br /> only slimy,and on the wood pavement the horses<br /> slipped and sometimes fell.<br /> <br /> Mary walked on; not hurriedly, there was no<br /> reason for haste: her goal would await her.<br /> She looked about as she went, vaguely and quite<br /> calmly; there was no more reason for anxiety<br /> than haste: she had got to the end. She would<br /> never write again; but, as she went along, she was<br /> noting and describing her surroundings ; she was<br /> even studying her own emotion, or lack of it;<br /> and once she drew her brows with slight annoy-<br /> <br /> AUTHOR.<br /> <br /> 349<br /> <br /> ance when she found she had embarked on an<br /> awkward and ill-balanced sentence. Why not?<br /> If aweman, whose motive power has been her-<br /> self, her own fair exterior, can spend her last<br /> moments “laying herself out’ in pale blue<br /> draperies, or whatever she may ¢ nsider her most<br /> becoming setting—as has teen done, why wonder<br /> if a woman, whose soul has been given to Art,<br /> should go quietly to death, her thoughts still<br /> penetrated and consumed by what has been the<br /> passion of her life? If the history of last<br /> thoughts could be written, how might not a con-<br /> ventional world, believing in the salvation of<br /> ‘“‘an editying end,” be amazed and shocked.<br /> <br /> Mary wandered on, always moving towards her<br /> goal, though not by the most direct ways. She<br /> was half-unconsciously putting in the Local<br /> Colour and the Atmosphere around that central<br /> figure of her story, the girl who was going to her<br /> death, and she turned along the Strand; she<br /> would paint in the noisy traffic, the surging<br /> humanity to be found here. She went not im<br /> any haste, and looked about her. Possibly for this<br /> reason there happened what had never happened<br /> to her before—for a girl who looks quietly<br /> respectable, and keeps her eyes in front of her,<br /> as though she knew her business and were going<br /> about it, can, strangely often go unmolested, in<br /> London—a man touched her on the arm, and<br /> offered her—life.<br /> <br /> Can you wonder if a girl who wants to live, if<br /> a girl who has the strong animal joy in life, the<br /> stronger animal fear of death—and the river is<br /> so cold, so black, so terrible a last refuge down<br /> there in the dark--can you wonder if she some-<br /> times lives P<br /> <br /> But this girl did not want to live ; life had<br /> no more to offer her; life without art was<br /> death.<br /> <br /> I suppose it is strange for a man—even if of<br /> the common vermin—to have eyes that have said<br /> farewell to life, that have looked full at death,<br /> and are going to meet it, turned on his. This<br /> man moved in recoil even before there fell from<br /> the girl’s lips tne words quietly spoken: “ You<br /> have made a mistake.” And it required the<br /> restorative tonic of raw brandy to make him<br /> again feel attractions in his nightly haunts.<br /> <br /> The incident roused Mary ; she left the Strand,<br /> and turned down towards the embankment. She<br /> had been startled out of her abstraction, and the<br /> half-mechanical working of her mind. But, as<br /> she came in sight of the river, the old habit<br /> re-asserted itself, and the word-painting began<br /> anew. The dark span of a bridge, faintly out-<br /> lined with spots of lamplight, the flickering<br /> yellow gleams upon the dusky water flowing<br /> between misty banks, with here and there a dim<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> ao°<br /> <br /> suggestion of barge and boat upon it, were noted<br /> with the careful manner of long use.<br /> <br /> Nearer the scattered sickly light fell upon the<br /> broad, slimily glistening embankment she was<br /> approaching. It had to be crossed to reach the<br /> end. She paused on the kerb to let a waggon<br /> roll by, and then, her eyes still dreamily fixed on<br /> what lay beyond, and her mind moulding a<br /> sentence to its perfect form, she stepped into the<br /> road.<br /> <br /> A carriage, with rapidly driven horses, was<br /> drawing near; the girl went on unheeding, then<br /> stumbled on the slippery road and fell. The<br /> coachman shouted and made a futile effort to<br /> bring the horses to a sudden stand; but the<br /> carriage had passed on full ten yards before he<br /> pulled them on their haunches; and looked back<br /> at a motionless figure, which had never uttered a<br /> cry, lying in the road.<br /> <br /> A small crowd took form in the dusk, evolving<br /> itself out of what a moment before had seemed<br /> almost deserted space, rapidly as London crowds<br /> can. That it should contain the ubiquitous<br /> doctor and policeman was a matter of course.<br /> <br /> “Dead,” said the doctor, as he rose from<br /> bending over the woman.<br /> <br /> “No clue to identity,” added the policeman,<br /> examining a handkerchief marked “M. A.” he<br /> had taken from the pocket, which did not even<br /> contain “twopence halfpenny in bronze,” to be<br /> described by the also ubiquitous reporter.<br /> <br /> “A shop girl,” suggested the doctor.<br /> <br /> ‘‘ Not smart enough,” said the policeman.<br /> <br /> ‘Perhaps a servant,” hazarded an onlooker.<br /> <br /> “Too shabby,” responded the policeman.<br /> <br /> And it did not occur to anyone that she was a<br /> writer of stories.<br /> <br /> E. N. Leteu Fry.<br /> <br /> <br /> <br /> EL<br /> My Criric on toe HeEArrs.<br /> <br /> When I first heard of the Society of Authors,<br /> whose object is clearly to blend the “ wisdom of<br /> the serpent’? with the “harmlessness of the<br /> dove,” it reminded me of a certain happy incident,<br /> which occurred in my literary life, a few years ago.<br /> <br /> In a cosy little house, situated in that cheerful<br /> country on the outskirts of social Bohemia, we<br /> sat round the fire, one winter evening, a homely<br /> party of three.<br /> <br /> My critic filled his pipe.<br /> <br /> (He was not my<br /> critic then.<br /> <br /> That was the night on which he<br /> <br /> first entered upon his duties in that capacity.)<br /> He filled his pipe, and proposed that I should<br /> tell a story, while he smoked, and his wife, with<br /> fairy fingers, conjured into existence wonderful<br /> little garments for the sleeping babies upstairs.<br /> <br /> <br /> <br /> AUTHOR.<br /> <br /> I had been disheartened lately. My fairy<br /> tales had been returned to me. They were too<br /> fanciful, too imaginative—always too something !<br /> I did not respond immediately to the request,<br /> but my knitting needles flew a little faster, for a<br /> minute or so, then subsided into my lap, while I<br /> told my story :<br /> <br /> “Once upon a time there was an old fairy<br /> called Fancy, and she had a hundred million<br /> grandchildren, She christened them all after her<br /> name, and sent them out into the wide world to<br /> seek their fortunes; but they could not find<br /> them.”<br /> <br /> I paused and resumed my knitting There<br /> was silence for a few minutes, not broken, but<br /> enhanced by the snoring of the Bohemian dog,<br /> the purring of the Bohemian cat, the click of<br /> knitting needles, and the flickering of the fire,<br /> <br /> Then my critic spoke:<br /> <br /> ‘Once upon a time there was an old wizard<br /> called Fact, and he had a great many grandsons,<br /> He christened them all after his own name, and<br /> sent them out into the wide world to seek their<br /> fortunes. Now certain of these, in the course of<br /> their wanderings, met some very pretty but for-<br /> lorn little princesses of the name of Fancy. So<br /> they married them, and they all made their<br /> fortunes immediately.”<br /> <br /> It was thus that the valuable institution of a<br /> Critic on the Hearth first came into existence,<br /> He undertook to criticise and verify my Facts,<br /> leaving me to perform the wedding ceremony<br /> with the poor little wandering Fancies, if I would<br /> submit my stories to his criticism.<br /> <br /> So I put on a moral skin, which I happened to<br /> have by me, as thick as that of any rhinoceros,<br /> and I read and showed him story after story,<br /> while he patiently considered and _ criticised,<br /> always to my very great benefit. The help which<br /> this has been, and still is, for critic continues to<br /> chirp occasionally, is beyond my calculation.<br /> <br /> I still have in my pos-ession an old cracked<br /> post-card, in my critic’s handwriting, containing<br /> the following satire on an expression he found in<br /> one of my stories, describing a man with “ sorrow-<br /> ful eyebrows.”<br /> <br /> ‘Yes, quite so,” runs the post-card, “and<br /> thus we find in ‘ Verity’s Characteristics of the<br /> British Monarchs’ that not only was Charles<br /> I. noted for his sorrowful eyebrows, but William<br /> I. for his patient nose. Richard II. for his<br /> singularly truthful neck. Elizabeth for her<br /> haughty teeth. Anne for her ill-tempered knees,<br /> &amp;e.”” .<br /> In this way I know I have been preserved from<br /> thrusting many an absurd expression, many a<br /> half-fledged fact before the public, and I cannot<br /> help thinking that authors would often be spared<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. a<br /> <br /> a smarting blow from that envenomed weapon<br /> the critic’s pen, if they would only keep a Critic<br /> on the Hearth to “smite them friendly and<br /> reprove them.” Such criticism is, as somebody<br /> once observed all criticism should be, not an<br /> “extinguisher’’ to put out the struggling spark,<br /> but a “pair of snuffers,” freemg it from all<br /> extraneous matter to make it burn and shine<br /> more brightly. SETT.<br /> <br /> MR. HAWLEY SMART.<br /> <br /> FTNHE late Mr. Bale Smart, Like many<br /> another prolific novelist, was not always at<br /> his best. But whereas it is usual for the<br /> <br /> public to disagree about the comparative merits<br /> <br /> of an author’s different works—not only to dis-<br /> <br /> agree among themselves, but to disagree very<br /> directly with critical opinion—in Mr. Hawley<br /> Smart’s case his best novel, according to his<br /> <br /> ceritics—the one, that is, to which he had obviously<br /> devoted the most care in structure and present-<br /> ment—has attained to by far the greatest<br /> popularity. ‘‘ Breezie Langton ” is a more finely<br /> conceived story than many of Whyte Melville’s<br /> —the author’s model—and in our opinion will<br /> hold its own with a goodly proportion of modern<br /> novels of the simpler and more popular style. It<br /> is, however, as an exclusively sporting novelist<br /> that Mr. Hawley Smart is best known, and in<br /> this limited field he has produced the best novel<br /> of its sort that has ever been written. ‘‘ Bound<br /> to Win” is an excellent story, and deals with<br /> the technicalities of racing and the mysterious<br /> intricacies of betting in a manner that makes<br /> these rather sordid subjects not only highly<br /> interesting (mystery might have done that for<br /> them), but perfectly intelligible. This book has<br /> received two very high compliments. Mr.<br /> Burnand re-wrote it for Punch, and ‘* What’s the<br /> Odds? or, the Dumb Jockey of Teddington,” is<br /> one of Mr. Burnand’s best parodies, and many<br /> people have since imitated it seriously, and have<br /> all failed to achieve any success. Of Mr. Hawley<br /> Smart’s other novels, ‘‘ Broken Bonds” is a very<br /> good example of the straightforward, rattling,<br /> sensational story, and contains an example of an<br /> escape from Portland Prison, that may he placed<br /> alongside of the remarkable evasions of MM. Le<br /> <br /> Duc de Beaufort and Le Comte de Monte<br /> Cristo. Without claiming for Mr. Hawley Smart<br /> <br /> any very exalted position in contemporary letters,<br /> we see that we have lost in him the author of at<br /> least one good book, the inventor of a not un-<br /> popular school of novel, and the teller of very<br /> many wholesome readable stories. :<br /> <br /> LABOUR&#039;S SUNDAY.<br /> <br /> Come toil-bowed Artisan, walk forth with me,<br /> And taste the blessings thou may’st still enjoy,<br /> It is the Sabbath—hallow it—be free !<br /> Let not thy labours all thy soul destroy.<br /> There’s something yet to live for: the fresh breeze<br /> That makes the dull blood rush along the veins ;<br /> The countless tiny spirits of the trees<br /> Hymning their gladness in more gladdening strains :<br /> Th’ eternal changes of the glorious sky,<br /> All glorious! Whether floating now in gold,<br /> Where thousand islets on its bosom lie,<br /> Each like a dream of Paradise of old.<br /> Or when hot-headed Lightning darting by<br /> Its slow-winged Herald Thunder flashes round<br /> Its sheets of flame upon the murky sky,<br /> Its blazing glimpses of the depths profound!<br /> Are these not blessings even unto thee ?<br /> Untaxed too, thank God, untaxable!<br /> Then forth, and let thy better parent see<br /> Thou art not thankless, thou dost love them well.<br /> For Nature is a parent. She can teach<br /> If thou with guileless heart will strive to learn<br /> Diviner duties than most churches preach ;<br /> She will not make thee but a living Urn<br /> To hold the ashes of the purest aims;<br /> Th’ impassioned yearnings for unworldly bliss ;<br /> The God-like faith that partial good disclaims ;<br /> The Love that greets the wide world with its kiss.<br /> Behold now Nature’s Church—yon airy downs !<br /> With murmurous sea, at giddy depths below ;<br /> Scenes of sublimity, that God’s hand crowns,<br /> And gently guides us, whither we should go.<br /> <br /> <br /> <br /> No verger’s itching palm appeareth here ;<br /> Vho, back to Choir, and open-handed greets<br /> The well dressed stranger. Then with brazen leer<br /> Directs the half-clad to the Pauper seats.<br /> Thing with a soul scarce breeches pocket high!<br /> Thou sayest right, we have no business there.<br /> Our lives have other aims than Vanity,<br /> Enough for us to sweat to make it’s gear.<br /> Patience! We bide our time. So come along.<br /> Lo, how our spirits mount, just like these hills !<br /> We gaze toward the future, and our song<br /> Glowing with rapture every hope fulfils.<br /> Take warning Despots, shades of mental night !<br /> See, daylight ‘ake man’s fast awaking mind ;<br /> Eternal day to know no future blight ;<br /> Nor leave of all your realms a wreck behind.<br /> Then shall man’s soul feel truly a New Birth:<br /> Nor longer grope all darkling through his life ;<br /> But walk erect, a demi-god of Earth,<br /> And claim his parentage from Love not Strife.<br /> No longer then shall man’s presumptuous speech<br /> Make God the creature of his idle dreams ;<br /> Or guiltier far, most impiously preach<br /> As ’twere from God, his selfish, wicked schemes.<br /> No longer then shall man dare say to man<br /> ‘I must be rich, and thou be ever poor;<br /> The idle lord, the hungry Artizan<br /> Are God’s decrees, so thou must still endure.”<br /> Saith Christ, Come unto me all ye that labour,<br /> All heavy laden, I will give you rest—<br /> Immortal blessings of Divinest savour<br /> To draw the poor, maimed, blind, unto My breast.<br /> <br /> <br />  <br /> <br /> 332 THE<br /> <br /> And Christians then shall understand Christ’s creed,<br /> Not one of names, or sects, or colour—clime ;<br /> Not one to hang men, or to make them bleed,<br /> For being famished—nurtured into crime.<br /> <br /> Oh, for a second holier Holy War,<br /> To drive these Christian Pagans from the shrine!<br /> These *‘ godly” men, who most God’s sweet world mar;<br /> Who, soulless, prate to Souls of things Divine.<br /> <br /> But Hope laughs out. The wilderness looks green.<br /> The seeds of human weal are budding fast ;<br /> By Martyrs sown, blood watered, they have been,<br /> And lo—the gladdening harvest waits at last.<br /> JOHN SAUNDERS.<br /> <br /> THE OUTPUT OF 1892.<br /> <br /> TJ NXE following is a classified ‘‘ Return of books<br /> for 1892,” furnished by the Publishers’<br /> Circular. It is a little thing to look at,<br /> <br /> but it involves an enormous amount of work. We<br /> owe a great debt of gratitude to this journal for<br /> this annual return. While we acknowledge the<br /> debt, might we suggest a little change in the classi-<br /> fication? It is to put together all the scientific<br /> books, not to place them with the books on Art,<br /> to take away Year Books altogether, and to<br /> sub-divide the Miscellaneous, separating the<br /> pamphlets.<br /> <br /> <br /> <br /> <br /> <br /> 1891. 1892.<br /> Divisions. Rae New New New<br /> Books. | Editions.! Books. Editions.<br /> <br /> Theology, Sermons, |<br /> <br /> <br /> <br /> Biblical, &amp;6).2.,... 3. o20 | 107) 528 145<br /> Educational, Classical, |<br /> and Philological ...... o8% 1-107 | 579 | lo<br /> Juvenile Works and | |<br /> Vales 2 348 | 99 292 | 53<br /> Novels, Tales, and other |<br /> Fiction................. | 896 | 320 | 1147 | 390<br /> Law, Jurisprudence, &amp;e. 61 | 48 36 29<br /> Political and Social | |<br /> Econonomy, Trade | |<br /> and Commerce......... | 105 | 3i 151 24<br /> Arts, Sciences, and | | |<br /> Illustrated Works ..| 85 | 31 | 147 62<br /> Voyages, Travels, Geo- | | |<br /> graphical Research... | 203 | 68 | 250 |} 86<br /> History, Biography, &amp;c. | 328 | 85 | 293 75<br /> Poetry and the Drama | 146 | 55 | 185 42<br /> Year-Books and Serials | | |<br /> in Volumes ............ |, 810 | 6 | 360 13<br /> Medicine, Surgery, &amp;.| 120 | 55 | 127 50<br /> Belles-Lettres, Essays, |<br /> Monographs, &amp;c....... | 131 | 123 107 | 32<br /> Miscellaneous, includ- | | | |<br /> ing Pamphlets, not | | |<br /> Sermons... 589 | 142 713 223<br /> 4429 | 1277 4915 1339<br /> | 4429 | | 4915<br /> | 5706 6254<br /> <br /> 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 /> Let us consider this return. Figures may be<br /> made to mean anything. As they stand they<br /> seem to show an enormous activity in one or two<br /> directions. We, therefore, will inquire what this<br /> activity means. There is a grand total of 6254<br /> ‘books ” published during the year. But we note,<br /> first, that 373 of these are Year Books, which are, as<br /> Charles Lamb says, not books at all. Deducting<br /> these there are 5881 books. Again, there are<br /> 936 miscellaneous, including pamphlets, “ not<br /> sermons,” These, again, are not books. Deduc-<br /> ting these, we have 4945 books. There are 694<br /> educational books which concern colleges and<br /> schools. Remain 4251 books. There are 345<br /> books for children. Deduct these, remain 3906<br /> books. Law, Jurisprudence, Political Economy,<br /> Trade, Medicine, &amp;¢.—in fact, scientific and<br /> technical books 416. Deducting these, again,<br /> there remain 3496 books for the general reader,<br /> including Novels, Arts, Illustrated Works,<br /> Voyages and ‘Travels, History, Biography,<br /> Poetry, Belles Lettres, Monographs, and the<br /> Drama. Some of these, say 200, are by<br /> Americans. Remain 3290 books as the total in<br /> general literature, including all the above general<br /> divisions in a year. Since 601 are new editions,<br /> we have 2689 new books in general literature for<br /> the year 1891. Is that a very great amount for<br /> an Empire numbering sixty millions who read<br /> English under the British flag? Why, in ten<br /> year’s time—so fast does the habit of reading<br /> grow, so widely does it extend—we shall have an<br /> output of five times that amount. Let us not<br /> take the parochial view of literature generated by Mines<br /> a too exclusive contemplation of London. The ~<br /> empire is not all London. Literature goes beyond —<br /> Wimbledon. There are readers outside the clubs.<br /> But there are 1147 new novels. Terrible!<br /> Terrible! And how many have most of us<br /> us read during the year? Twenty at the most.<br /> For my own part I certainly did not read twenty<br /> new novels in the year 1892. Who reads, then,<br /> all the rest ? Well, there are a good many which<br /> are never read by any mortal man. Published at<br /> their authors’ expense, they fall flat and die<br /> before they are born. Mostly they cannot be<br /> said to be published at all, being vilely printed on<br /> villainous paper, about a hundred copies printed,<br /> which even the remainder-man refuses to buy.<br /> Others, again, well printed, at the author&#039;s”<br /> expense, in an edition of 350, have a few copies”<br /> taken by Mudie, and the rest sold to the<br /> remainder-man. They go to seaside circulatin<br /> libraries, where they are gradually read to pieces<br /> [tis a pity that such trash should go to the sea-<br /> side? True! But, after all, does it greatl<br /> matter what is read by idle girls at the seasid<br /> between talks about dress and flirtations? Wha<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE<br /> <br /> We must turn to the new<br /> In 1891 there<br /> were 320 new editions of novels; in 1892, 390,<br /> an ay er rage of 355 a year, of new editions. This<br /> includes what remains of all the fiction in<br /> English, or translated into English, since fiction<br /> began in this nation. Suppose we deduct roo for<br /> dead authors. There remain 255 living novelists<br /> whose works are good enough for a new edition.<br /> And that very nearly corre esponds with what we<br /> made out in a previous number of the Author.<br /> Surely there is room in this vast empire for 255<br /> novelists of some repute! We do not claim for<br /> them that all the world shall wish to read them all.<br /> They deal with different worlds—the world of<br /> sport, the world of fashion, the world of war, the<br /> world of letters, the world of sc ive he<br /> novelist gets the clientele which suits himself<br /> and his own special knowledge. There need be<br /> no outcries of horror over this immense and dread-<br /> fuloutput. Nor need we be in the least disturbed<br /> because a great many thousand people tried last<br /> year to capture the pub vic with works of fiction.<br /> ‘And why? Because it is understood that money<br /> may be made iv that way. In these times there is<br /> a frantic rush in ever y direction where money is to<br /> be made. Out of those who tried, 1147 succeeded<br /> <br /> far as to get printed, either at their own<br /> expense or not. How many succeeded in getting<br /> a single penny by their venture? Perhaps 400,<br /> counting the smaller works of fiction issued by<br /> the religious societies, for which they pay such<br /> tiny sums, and make such mighty profits, and set<br /> so Christian an example in mercy, charity, and<br /> justice to their lay brethren.<br /> <br /> about the rest?<br /> editions to answer that question.<br /> <br /> &gt;&lt;<br /> <br /> CORRESPONDENCE.<br /> <br /> SS<br /> <br /> i<br /> On Many Tunes.<br /> ETURNING to England, after an absence<br /> extending over several months, I found<br /> a pile of Authors awaiting me. I read<br /> the whole number through at a sitting, and send<br /> you a few brief reflections caused by them.<br /> <br /> The first impression I derived was that the<br /> writers in our journal seem, in nine cases out of<br /> ten, or ninety-nine, perhaps, out of a hundred, to<br /> be directing their attention only or mainly to<br /> novels. I should like to know what proportion<br /> novels, long or short, bear to the total literary<br /> output of the day.<br /> <br /> Secondly, I noticed the continual presence of<br /> the following idea, or something like it. Litera-<br /> <br /> AUTHOR.<br /> <br /> 335<br /> <br /> ture is a matter of supply and demand, like any<br /> other commodity. The reading public consists<br /> largely of people of a mean sort who like trash.<br /> There are a number of estimable people very<br /> capable of producing trash, and this product of<br /> theirs has a value more or less high. It is a chief<br /> part of the work of the Society of Authors to<br /> help them to get the true value for this commo-<br /> dity. I confess that this portion of the Society’s<br /> activities seems to me of little importance.<br /> <br /> The question of reviewing has aroused a good<br /> <br /> deal of discussion in our pages; it has been<br /> treated almost wh olly f ‘rom the novelist’s and espe-<br /> cially trash-writer’s point of view. To “slate” one<br /> <br /> piece of trash when the bulk of the stuffis passed<br /> over in silence must seem hard to the writer who<br /> depends for his living on that kind of product.<br /> But to writers of any other kind of book except<br /> novels the knowledge that there are rods in pickle<br /> is most helpful. Bad history, bad science, mac-<br /> curate observation, slip-shod description of little-<br /> visited countries, and other the like failures and<br /> shortcomings, are not negative faults—they are<br /> active poisons. A reviewer of a bad book of that<br /> kind has to try and stop the sale of the book, and<br /> if possible, to make it difficult for the writer to<br /> find a publisher to disseminate his future poisons<br /> through the world.<br /> <br /> I find that a good review in a prominent<br /> journal is considered a great help to the selling<br /> <br /> of a book. I find also that gratitude to a<br /> publisher is considered to indicate meanness in<br /> <br /> an author. I am the author of about a dozen<br /> volumes, whose history is briefly as follows. It<br /> affects my attitude towards the points in question.<br /> <br /> I wrote the first volume at college. It was a<br /> kind of a guide-book of a rather scientific sort.<br /> I paid a cheque on account of cost of produc-<br /> tion, and sales paid the rest. I got some of my<br /> money back, but, by an oversight, the book was<br /> sold just at cost price.<br /> <br /> A few years later, the half-crown volume was<br /> selling for a guinea second-hand (I afterwards<br /> found out that there were still ninety copies of the<br /> book in the hands of a French bookseller), so I<br /> published the thing again at ten shillings, and<br /> lett the monstrous price to do all the advertising<br /> the volume ever got. I sent it out freely for<br /> review, and all the reviewers held up holy hands<br /> of horror at the price, as I hoped—lI printed the<br /> price on the title-page for that reason—and the<br /> book sold excellently. ‘<br /> <br /> I wrote two books in succession on historical<br /> matters. They were full of research, and each<br /> involved some months’ travel on the Continent.<br /> They were printed at a publisher’s expense. The<br /> first, printed ten years ago, has sold about ten<br /> copies a year ever since; I was paid £25 for it.<br /> <br /> <br />  <br /> <br /> 334 THE<br /> <br /> The second, kindly taken by the same publisher,<br /> went off a little better, and still goes on selling<br /> at the annual rate of a dozen copies. I got £25<br /> for that book, too. Both books were reviewed at<br /> great length inthe Zimes, Saturday (whole page) :<br /> Atheneim (two long articles in consecutive<br /> weeks), Academy, Spectator, New York Nation,<br /> and the rest. If reviewing would sell unpopular,<br /> though not uninteresting, and not unreadable<br /> books, these would have sold. In both cases the<br /> publisher thought he was issuing a volume that<br /> would attain a fair popularity. In both cases he<br /> lost heavily.<br /> <br /> One popular book I did once attempt to write,<br /> and found no difficultv in selling the copyright<br /> of it toa publisher. He issued it with plenty of<br /> charming illustrations; it was praised beyond its<br /> merits in all manner of papers. It was a dead<br /> failure.<br /> <br /> The same publishers issued another book of<br /> mine about six years ago on the _half-profits<br /> system, they paying all costs. It also was excel-<br /> lently reviewed in France and Germany, as well<br /> as England and America. Ruskin, | remember,<br /> bought a noticeable fraction of the edition, had<br /> the books bound in a costly fashion, and gave<br /> them away right and left. The book continues<br /> to sell slowly, but not more than 600 copies have<br /> gone off yet.<br /> <br /> My other volumes tell the same story. On<br /> most of them publishers have lost money. The<br /> only profitable ones are those that deal with the<br /> same subject as the first mentioned, and I have<br /> always kept them in my own hands,<br /> <br /> I ask, then, are favourable reviews so powerful,<br /> and is gratitude towards a publisher so mean a<br /> sentiment ? In conclusion, let me add that for<br /> years I had to live by my pen, and I hope I<br /> should have preterred to starve rather than to<br /> supply any demand for ‘trash.’ I was hungry<br /> often enough, and those hungry hours of strug-<br /> gling youth are amongst my pleasantést remi-<br /> niscences. Cc. P. G,<br /> <br /> <br /> <br /> Answers to the Above.<br /> <br /> 1. Novels form nearly one-fourth of the<br /> literary output—see our paper (p. 332) on “The<br /> Output of 1892.” But “C. P. G.” need not be<br /> alarmed at their figures. He will not have to<br /> read them all.<br /> <br /> 2. Literature has its business side. “CO. P. G.”<br /> mixes up, as usual, the business side with the<br /> literary side. They are quite distinct. On the<br /> business side is the demand, the popularity, there-<br /> fore the commercial value of a book; on the<br /> other side is its literary or artistic value. The<br /> two are incommensurable ;<br /> <br /> when they exist<br /> <br /> AUTHOR.<br /> <br /> together, as sometimes they do, it speaks well for<br /> the national taste.<br /> <br /> 3. It is the first duty of the Society to define<br /> and maintain the property created by the book,<br /> it “C. P. G.” has no feeling of the importance of<br /> this duty he had better present his next book to<br /> his publisher. Then both sides will be happy.<br /> If he is not superior to the common desire to have<br /> his own property for himself, he would do well not<br /> to sneer at those who are working to protect hig<br /> preperty for him.<br /> <br /> 4. Gratitude to a publisher is nowhere in the<br /> Author taught to be meanness. One might ag<br /> well say that the Author teaches that gratitude to<br /> friends is meanness. What is mean, and degrad-<br /> ing, and deplorable, is the attitude of the literary<br /> man, hat in hand, humbly begging for another<br /> guinea, and crying out with admiration when<br /> another comes. Again, if ‘‘C. P. G.” prefers the<br /> attitude,let him by all means assume it. But we<br /> shall continue to think it mean.<br /> <br /> 5. The personal experiences are too vague to be<br /> of any use. For instance, take the two books on<br /> historical matters. They had, presumably, a first<br /> run of some hundreds—perhaps not miny—with<br /> ten years more at a dozen copies each year. One<br /> <br /> knows not the price or the size of the volame—_<br /> <br /> but this does not look like a “ heavy loss” Did<br /> “C. P. G.” audit the accounts ?<br /> <br /> We are, then, to understand that a publisher, for<br /> year after year, brought out books by ‘‘C. P. G.”—<br /> on which he lost every year. This isnot takinga<br /> <br /> risk; itis incurring a certain loss. If the thing<br /> is a fact, there must have been some special reason<br /> —a business reason—for the continued loss :<br /> there must have been something in the subject,<br /> or in the name and position of the author.<br /> wise the thing cannot be. One has only to con-<br /> sider the point from the common-sense point 0<br /> view. A few such continued losses and where<br /> will the income of the man of business be ?<br /> <br /> As to reviewing, no one in the Author has<br /> suggested that there should be no reviewing.<br /> What is maintained is, that the old bludgeon<br /> style of. ‘ slating”’ a writer is degrading to criti-<br /> cism and to the men who practise it. But we<br /> refer “C. P. G.” to Mr. Brander Matthews on<br /> this subject (see ‘‘ Notes and News,” p. 324).<br /> <br /> The time will come, one supposes, when such<br /> letters as the above will no longer be possible,<br /> But it has not yet arrived. There are evidently<br /> some writers still left to whom a publisher isa<br /> god of capricious mind, who sits on his money-<br /> bags, doles out his gold, produces all the books<br /> that nobody wants, and gets rich on his losses.<br /> <br /> <br /> <br /> <br /> <br /> Other- —<br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> districts of Mercia,<br /> <br /> <br /> <br /> THE<br /> <br /> EE:<br /> WESSEX.<br /> <br /> Can your correspondent possibly imagine that<br /> the word Wessex has been invented by, and<br /> reserved to the sole use of, Mr. Thomas Hardy?<br /> Any educated dweller in the district would tell<br /> your correspondent that the word is in common<br /> vogue among us. We talk of Wessex ways,<br /> Wessex speech, Wessex manners. Those of us<br /> who are humble students of Anglo-Saxon have<br /> taken care to learn the language from books<br /> which deal avowedly with the Wessex variant of<br /> the tongue; those who delight in tracing great<br /> similarities and small distinctions between peoples<br /> of different, yet neighbouring, races take a keen<br /> interest in the points of contact between the<br /> inhabitants of Wessex and those of the boundary<br /> Cornwall, &amp;. Are we never<br /> again to cill ourselves West Saxons because an<br /> author of great renown and power has taken a<br /> fancy to the word? Are we to be content with<br /> the smaller name-divisions of Berkshire, Dorset-<br /> shire, Wiltshire, when the comprehensive word<br /> Wessex indicates our imtimate relations, our<br /> mutual brotherhood? Perhaps your correspon-<br /> dent is living in ignorance of the great race-<br /> differences which exist between our peasant<br /> populations in the south of England. If this is<br /> the case, let him encourage in himself a study<br /> which will give him keener joy than almost any<br /> other, and will, moreover, enable him to perceive<br /> that the name “ Wessex ” is the property of no<br /> one man, but is the heritage of the happy people<br /> who can trace in themselves the ancient blood of<br /> those colonising West Saxons whose traditions<br /> still linger in some of our country districts—a<br /> race in a large degree unmixed, and uncontami-<br /> <br /> nated by foreign alliances from Mercia, East<br /> Anglia, or any other country.<br /> <br /> Tuer AutHor oF “ Dark.”<br /> <br /> [Yes. But the point is not that the author of<br /> Dark” used the word Wessex. Anybody can<br /> speak of Wessex. Our correspondent knew as<br /> well as the author of ‘“‘ Dark” all that 1s meant<br /> <br /> by Wessex. But can the author of “ Dark”<br /> show that anybody, except Thomas Hardy, calls<br /> Dorsetshire, South Wessex x; Berkshire, North<br /> <br /> Wessex; and Hants, Upper Wessex? And this<br /> point is not met by the author of “ Dark” at all.<br /> The thing is a case of minor morals. But<br /> certainly, if, as is suggested, Thomas Hardy<br /> invented these sub-divisions, it would be well to<br /> acknowledge their origin in adopting them.—Ep. |<br /> <br /> AUTHOR. So<br /> <br /> ou<br /> <br /> Lg.<br /> AUTHOR AND EpirTor.<br /> <br /> The following editorial letter, addressed to me<br /> in reply to a remonstrance respecting undue delay<br /> in pub lication of a contribution, may be of<br /> interest to your readers. I may mention that 1<br /> had eon »d out that in any case there could be<br /> no possible reason for postponement of payment<br /> pending production :<br /> <br /> ‘Dear Sir,—Herewith I beg leave to hand you<br /> a cheque for your contribution, with the edi tor’s<br /> compliments and regrets for the unfortunate<br /> delay in the appearance of the poem. He hopes<br /> to imsert if im an early number. I should<br /> explain that there are, to the editor’s regret,<br /> many authors who, lke yourself, have been<br /> waiting (and writing) for a period of years for<br /> the insertion of their respective articles and<br /> stories, but the exigencies of making up each<br /> monthly number of the magazine are greater than<br /> anyone outside the editor’s office can guess at.<br /> To deal with the old materials on hand; to yet<br /> keep up to date with new; to select the right<br /> variety for each number; to get all (including<br /> serials) into the circumscribed number of pages ;<br /> to pacify the (justly) impatient authors ; to please<br /> the general public taste, &amp;c., are all matters to be<br /> considered at one and the same time. Hence the<br /> difficulty with the great mass of material already<br /> accepted. Slam, we.<br /> <br /> To this, at all events courteous, explanation I<br /> rejoined with a suggestion that if an author were<br /> distinctly informed, on the acceptance of a con-<br /> tribution, that there might be considerable delay<br /> in publication, but that in any case he would be<br /> paid within, say, the next six months, the editor’s<br /> “ nacifying ” functions would be very considerably<br /> <br /> lightened. W.<br /> <br /> iV.<br /> Mr. Husert Hass’ Lerrer.<br /> <br /> He would have the Society undertake to help<br /> the unknown author. I fear if they held out the<br /> least inducement in that direction they would be<br /> swamped with oo And yet, as a<br /> would-be novelist, I fee fancy I do—what<br /> a boon it would be. But let us think a moment.<br /> The Society undertakes to read any work sub-<br /> mitted to them; and it seems likely to me that<br /> if a work of real excellence in matter and con-<br /> struction came before them, the writer would be<br /> put in the way of getting it published. Could<br /> the Society, judiciously, go farther than it now<br /> does? That seems to me an open question. As<br /> a writer [am gradually, I hope, getting over the<br /> crudeness of first attempts, and slowly learning<br /> <br /> <br /> <br /> <br />  <br /> <br /> 336<br /> <br /> by repeated failures. I have received the greatest<br /> assistance and encouragement from one of the<br /> society’s readers, who has seen two of these<br /> faulty attempts, and am beginning to see that it<br /> is as necessary to serve an apprenticeship to the<br /> art of fiction as to any other of the arts. And I<br /> believe that if ever I produce anything really<br /> good I shall not find it impossible to obtain a<br /> publisher. I may, however, not be the fortunate<br /> one out of ninety-nine failures, which, I take it,<br /> is about the percentage of success in these days<br /> of fierce competition. ALAN Oscar.<br /> <br /> <br /> <br /> Ve<br /> Prompt PAYMENT.<br /> <br /> Some little time ago one of your correspon-<br /> dents drew attention to the hardships incurred<br /> by young and struggling authors whose MSS. are<br /> only published (and consequently paid for)<br /> several months after they have been accepted.<br /> Thisis bad enough, but in my opinion still more<br /> suffering is caused to journalists by the incon-<br /> siderate system pursued by a large number of<br /> editors, of paying contributors at irregular inter-<br /> vals. Ihave the blessed privilege of writing for<br /> some three or four papers, only one of which<br /> appears to have any punctual system of payment.<br /> Surely contributions ought to be paid for within a<br /> month of their appearance, or at any rate upon<br /> some fixed date during the followmg month.<br /> A man naturally hesitates about dunning his<br /> editor, and yet, how, in the name of reason, is he<br /> to keep on pacific terms with his butcher and<br /> tailor, if his own cheques are constantly overdue ?<br /> Why should not all papers follow the example of<br /> the St. James’s Gazette, a model of prompt<br /> punctual payment, and pay their contributors on<br /> the first of each month D. J.<br /> <br /> <br /> <br /> VE<br /> Tue Lapy or Tire.<br /> <br /> I wish to break a lance in defence of the<br /> scribbling “lady of title,’ upon whom vials of<br /> wrath were outpoured in your last number. The<br /> aggrieved person, “ E. H.,”’ tells us that he does<br /> “ not wish to say a word against titled or wealthy<br /> ladies writing upon special subjects with which<br /> they are specially acquainted, and being paid<br /> for it if they choose; “but,” he asks, “why<br /> should they trade upon their name and title<br /> to do work which scores of women who<br /> write for a living would do equally well,<br /> <br /> if not better, for half the money they de-<br /> Why, indeed, Iecho? but the ques-<br /> The particular case cited by<br /> <br /> Pp?<br /> <br /> mand<br /> tion is, do they ?<br /> <br /> THE AUTHOR.<br /> <br /> “E. H.” in favour of his own argument is, I<br /> venture to think, very like the proverbial rara<br /> avis, and that its blackness, instead of being a<br /> merit, is quite the reverse. And it may be noted<br /> that the shabby endeavour was not successful,<br /> which so far goes to show that “ladies of title” are<br /> not pounced upon for the sake of their prefix quite<br /> so eagerly as “E. H.” seems to imagine. “ One<br /> swallow does not make a summer,’ neither can<br /> one black swan turn all the white ones its own<br /> colour, and I ask justice for the latter. Does<br /> “HE. H.” suppose for one moment that a handle<br /> to the name and money in the purse go of neces-<br /> sity together? If he does he is vastly mistaken,<br /> Speaking upon a “ subject with which I am<br /> specially acquainted” I can assure him that to<br /> many a “lady of title” the sum offered for and<br /> got by honest work is a matter of considerable<br /> importance, and that the “sums earned” by her<br /> brain and pen are not expended in “ robbing Peter<br /> to pay Paul,” but in settlmg such unavoidable<br /> items in daily life as butchers’ and bakers’ bills.<br /> Farr Pray.<br /> <br /> &lt;&lt;<br /> <br /> VIL.<br /> A RECOMMENDATION FROM THE SocrIeEry.<br /> <br /> Permit me tothoroughly and heartily indorse<br /> the valuable suggestion of Mr. Hubert Haes in<br /> the January issue: “That the Society form a<br /> medium of introduction between author and pub-<br /> lisher.” He has ably voiced what has long been<br /> my own desire, and, I am sure. that of many<br /> struggling authors. E. H.<br /> <br /> [Has the writer heard of the Authors’<br /> Syndicate ? What else could the Society do, if it<br /> were to take up this kind of work? Will “ E. H.”<br /> suggest any thing practical ?—Ep.]<br /> <br /> <br /> <br /> De<br /> <br /> “AT THE SIGN OF THE AUTHOR&#039;S HEAD.”<br /> <br /> \<br /> <br /> <br /> <br /> R. JAMES BAKER, who is a journalist<br /> as well as author, has been acting at<br /> Sigmaringen as special correspondent<br /> <br /> for a syndicate of provincial papers, and<br /> <br /> also with Mr. F. Villiers for Black and<br /> <br /> White, and an article from his pen on the<br /> <br /> wedding will also appear in Fashions of<br /> <br /> To-day for February. Whilst at Sigmaringen<br /> <br /> the Duke of Edinburgh was pleased to accept<br /> <br /> from the author, as a wedding gift to<br /> <br /> Princess Marie, copies of first editions of two of<br /> <br /> his novels, “ Mark Tillotson ” and “ John<br /> <br /> Westacott.” The description of the Danube<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> » scenery in the latter has been so much praised<br /> | that it is by no means an inappropriate gift to the<br /> 9 Princess, whose future home will be so near the<br /> banks of the Danube, and whose wedding was<br /> solemnized on its banks. The author had conversa-<br /> | tions at Sigmaringen with the Prince of Hohen-<br /> » zollern, the Duke of Edinburgh, Tewfik Pasha, &amp;c.<br /> <br /> <br /> <br /> In a lecture on “ Novels and Novelists ” during<br /> {1 the last month, before the New Court Literary<br /> and Debating Society, at the Congregational<br /> Chapel, Tollmgton Park, Mr. Joseph Hatton<br /> enlightened North Londoners on the ar of novel-<br /> # writing, and gave some interesting reminiscences<br /> © of Charles Reade and Wilkie Collins, as well as<br /> @ many personal items touching the works of<br /> i Kipling, Barrie, Black, Besant, and other well-<br /> J known authors. Mr. Hatton’s lecture was rather<br /> * in the nature of a gossip than a discourse, and it<br /> * was interspersed with some capital _ stories.<br /> f Touching the oft-recurring question in fiction and<br /> / in real life as to what a poor man suddenly<br /> 7 becoming rich would do with his mon-y, Mr.<br /> 1 Hatton said that recently at a political meeting<br /> * near Chatsworth, the princely seat of the Duke<br /> 6 of Devonshire, he heard the other side of this<br /> = momentous question. Said one poor Derbyshire<br /> + fellow to another poorer than himself, *‘ What<br /> * would thou do if thou hadst Duke of Devon-<br /> shire’s income?” “Nay,” was the reply, we<br /> dinnat knoa; but what would Duke o’ Devon-<br /> shire do if he’d my income ?”’<br /> <br /> Notwithstanding the dicta of Mr. Clement<br /> Scott, the novelists appear to be coming to the<br /> front as dramatists. ‘lhis is a point gained for<br /> Mr. Archer, whose suggestion that novel writers<br /> should naturally possess the dramatic faculty was<br /> scoffed at, curiously enough, by certain critics<br /> who are out of sympathy with Mr. Archer almost<br /> as a matter of principle. Mr. Joseph Hatton’s<br /> two plays, ‘ John Needham’s Double” and “ The<br /> Scarlet Letter” (founded upon the sublime romance<br /> of that name), are both running successfully in<br /> the United States, the first with Mr. E. 8. Willard,<br /> the second with Mr. Richard Mansfield. Mr. J.<br /> M. Barrie has only written three pieces for the<br /> stage, all three successful, the third beg “The<br /> Professors’ Love Story,’ which seems to have<br /> made what the American chioniclers call “a<br /> phenomenal hit” for both author and actor. Mr.<br /> Willard appears to have astunished the critics<br /> with the subtlety of his comedy acting in Mr,<br /> Barrie’s play. ‘‘ Walker, London,” by Barrie, at<br /> Toole’s, is t» have a companion in “ Homburg,”<br /> a one act sketch by his contemporary novelist<br /> Hatton, who, report says, is likely to be heard of<br /> again next season in New York ina dramatisation<br /> of his ‘‘ Queen of Bohemia.”<br /> <br /> <br /> <br /> a<br /> <br /> x<br /> <br /> et IR OD ge At<br /> <br /> ST Ee: Fe Re<br /> <br /> SRE OR CL<br /> <br /> ee<br /> <br /> Fre<br /> <br /> ff<br /> <br /> *<br /> ra<br /> <br /> <br /> <br /> 337<br /> <br /> Two books, by My. R. H. Sherard, will be<br /> published in New York early in the sprmg. The<br /> tirst of these is entitled “‘Shearers and Shorn,”<br /> and deals with American society in the French<br /> capital. The second, for which the author has<br /> not yet selected a title, is a psychological study.<br /> The scene of it is also laid m Paris. Another<br /> story, by the same author, entitled “The Disap-<br /> pearance of Reginald Westcott,” is at present in<br /> course of publication in a serial form in New<br /> York.<br /> <br /> A “Songbook of the Soul,” by Marjory<br /> Kinloch (Kegan Paul, Triibner and Co.), stands<br /> out from the general run of collected verses by<br /> unknown poets. The book consists almost<br /> entirely of religious meditations, which seem to<br /> us to reach a very high level. They must not, at<br /> least, be classed with what we generally expect<br /> in religious verses. The writer is a Catholic.<br /> Our space does not allow us to quote the verses,<br /> but the book is full of promise, and there should<br /> be a future for the writer.<br /> <br /> The “History of a Church Mouse’’ is told by<br /> Mrs. Edmunds, and published by Laurence and.<br /> Bullen. The church is a Greek Church. The<br /> mouse, too, belongs to the Greek Church. It is<br /> quite a little book, and a pretty, witty, little book,<br /> with surprises in it. The story ought to be<br /> popular.<br /> <br /> “ Out of the Depths,’ by H. Dutton Durrard<br /> (Kegan Paul, Trench, and Co.), is a thoughtful<br /> little volume of verse which may be commended<br /> more for its attempt to express thought than for<br /> the music of its lines. But it is a book to be<br /> looked into.<br /> <br /> There should be an English edition of the<br /> charming volume of verse called ‘The Winter<br /> Hour, and other Poems,’ by Robert Underwood<br /> Johnson, the late secretary to the International<br /> Copyright League. Certainly the contention of<br /> many Americans that their minor poets are<br /> superior to our own, seems to be not without<br /> ground.<br /> <br /> “The Queen’s English (?) Up to Date,” by<br /> “ Anglophil” (Literary Revision Office, 342.<br /> Strand, price 2s.), has reached its second edition.<br /> As an exposition of prevailing errors in language<br /> and literature, it has attracted considerable atten-<br /> tion, and it may be safely consulted.<br /> <br /> ‘“‘Love’s Minstrel,” by H. C. Daniel (W. W.<br /> Morgan and Son, Hermes-hill, Pentonville Road).<br /> From the appearance of this book, it would seem<br /> to be intended for private circulation. The poems<br /> are young and immature. It would be a pity to<br /> subject them to public criticism; but there is<br /> distinct promise in them.<br /> <br /> <br />  <br /> <br /> <br /> <br /> 338<br /> <br /> <br /> <br /> “ Pearla,” by Harrie Whyte, and other Tales.<br /> Published by J. W. Arrowsmith, of Bristol.<br /> Written for girls, by a girl, apparently. The<br /> stories are too slight to warrant any conclusion<br /> as to the author’s possible powers.<br /> <br /> “Basil the Iconoclast,’ by Mrs. Frederick<br /> Prideaux, author of ‘ Claudia,” ‘The Nine Days’<br /> Queen,” “ Philip Molesworth,” &amp;c. (David Nutt).<br /> This is a drama of modern Russia, that country<br /> where all the new dramas and stories seem to be<br /> laid. It is in three acts: the first in St. Peters-<br /> burg, the second in South Russia, and the third<br /> in a District Town. There is great power in this<br /> tragedy. It could not be acted without cutting<br /> out immense portions of the dialogue. It is<br /> therefore essentially a chamber drama.<br /> <br /> A new novel, entitled “A Born Player,’ by<br /> May West, is being published by Messrs. Mac-<br /> millan and Co. in England and America. It will<br /> also be taken for Messrs. Macmillan’s Colonial<br /> Library, which circulates in India and the British<br /> Colonies.<br /> <br /> A novel by Mr. Archer P. Crouch, author of<br /> “On a Surf-bound Coast,’ and ‘“ Glimpses of<br /> Feverland,” will shortly be published by Messrs.<br /> W. H. Allen and Co. It is called “ Captain<br /> Enderis, First West African Regiment.”<br /> <br /> “Weeds,” a story in seven chapters, by K.<br /> McK., recently published by J. W. Arrowsmith,<br /> of Bristol, is by Mr. Jerome K. Jerome.<br /> <br /> Miss Beatrice Whitby has recently issued<br /> <br /> (Hurst and Blackett) the followmg:—‘‘ One<br /> Reason Why,” new edition, 3s. 6d.; “ Part of<br /> the Property,” new edition, 3s. 6d.; “In the<br /> <br /> Suntime of Her Youth,” three vols.<br /> <br /> Mr. George Allen announces for Feb. 1 a new<br /> and cheap edition of Mr. Augustus Hare’s “Walks<br /> in Rome,” in handy form, similar to Baedeker’s<br /> Guides. The “Life of Lady Waterford,” by Mr.<br /> Hare, now in preparation, will contain, amongst<br /> other illustrations four steel engravings, two of<br /> them from the portraits of Lady Waterford, by<br /> Mr. G. F. Watts and Sir John Leslie. Mr.<br /> Allen is at present unable to say whether the<br /> book will contain any of Lady Waterford’s own<br /> drawings.<br /> <br /> A new edition of Miss Mary Rowsell’s “ Petro-<br /> nella’ has been issued. (Skeffington and Co.)<br /> This is the story which has been dramatised<br /> under the title of ‘‘ White Roses.” There will<br /> be presented at the Globe Theatre in February<br /> a copyright reading of a new and original five<br /> act drama written (in collaboration) by the same<br /> author.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> In the last number of the Author reference was<br /> made to the new edition of Mr. Alfred Hayes’<br /> volume of poems entitled “The March of Man<br /> and other Poems.” By a printer’s error this<br /> appeared as the March of Shem.<br /> <br /> Among the new books are ‘ Amethyst: the<br /> Story of a Beauty,’ by Christabel R. Coleridge, ©<br /> 2nd edit., 1 vol. (A. D. Times and Co.), 3s. 6d.; 7°<br /> “Max, Fritz, and Hob,’ by Christabell R © ~<br /> Coleridge (National Society), 35.; “A Pair of<br /> Old Shoes,’ by Christabel R. 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