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| 520 | https://historysoa.com/items/show/520 | Index to The Author, Vol. 23 (1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index+to+%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+%281913%29">Index to <em>The Author</em>, Vol. 23 (1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index">Index</a> | 1913-The-Author-23-index | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew & Co.</a>; <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Society+of+Authors">The Society of Authors</a> | | | | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913">1913</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a> | | | | https://historysoa.com/files/original/4/520/1913-The-Author-23-index.pdf | publications, The Author |
| 521 | https://historysoa.com/items/show/521 | The Author, Vol. 23 Issue 01 (October 1912) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+01+%28October+1912%29"><em>The Author</em>, Vol. 23 Issue 01 (October 1912)</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> | 1912-10-01-The-Author-23-1 | | | | | 1–32 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1912-10-01">1912-10-01</a> | | | | | | | 1 | | | 19121001 | Che Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. X XITII.—No. 1.<br />
<br />
OcToBER 1, 1912.<br />
<br />
[Prick SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
—— sg eg<br />
NOTICES,<br />
<br />
eg<br />
<br />
Y OR the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 39, Old<br />
Queen Street, Storey’s Gate, §.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Von, XXII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS. °<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
<a<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
oe<br />
<br />
ROM time to time members of the Society<br />
K desire to make donations to its funds in<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund; This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
*2<br />
THE PENSION FUND.<br />
<br />
1<br />
<br />
before the trustees of the Pension Fund<br />
<br />
the accounts for the year 1911, as settled<br />
bv the accountants, with a full statement of<br />
the result of the appeal made on behalf of<br />
the fund. After giving the matter full con-<br />
sideration, the trustees instructed the secretary<br />
to invest the sum of £500 in the purchase of<br />
Antofagasta and Bolivian Railway 5% Pre-<br />
ferred Ordinary Stock and Central Argentine<br />
Railway Ordinary Stock. The amounts pur-<br />
chased at the current prices were £237 in the<br />
former and £232 in the latter stock.<br />
<br />
The trustees desire to thank the members of<br />
the society for the generous support which they<br />
have given to the Pension Fund. The money<br />
now invested amounts to £4,454 6s.<br />
<br />
Later in the year, at a meeting of the Com-<br />
mittee of Management, a question concerning<br />
the funds of the society was brought up for dis-<br />
cussion, and it was suggested that it would be<br />
a good thing for the Pension Fund trustees, if<br />
they had power, to sell out the Fund’s holding of<br />
Consols and to invest in some more satisfactory<br />
security. The suggestion was placed before the<br />
trustees of the Pension Fund, and a meeting<br />
was called, when the chairman of the Committee<br />
of Management, the trustees, and Mr. Aylmer<br />
Maude, the member of the Committee of<br />
Management who had made the suggestion,<br />
were present. The figures were very closely<br />
considered, and it appeared clear that altera-<br />
tions in the investment of the funds could be<br />
carried out with advantage to the Fund’s<br />
income. It was decided by the trustees, with<br />
the approval of the Committee of Management,<br />
to sell out the holding of Consols. With the<br />
amount realised, were purchased—<br />
<br />
$2,000 (£400) Consolidated Gas and Elec-<br />
tric Company of Baltimore 44% Gold<br />
Bonds ;<br />
<br />
30 Buenos Ayres Great Southern Railway<br />
4°, Extension Shares, (1914) £8 paid ;<br />
£250 Edward Lloyd, Ltd., £1 5% Prefer-<br />
<br />
ence Shares.<br />
<br />
These amounts are fully set out and added<br />
in the nominal value to the Pension Fund<br />
investments, below.<br />
<br />
The trustees have also, in view of the option<br />
extended to them as holders of £232 Central<br />
Argentine Railway Ordinary Stock, subscribed<br />
for 3 Central Argentine Railway £10 Preference<br />
Shares, New Issue.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
<br />
i January, the secretary of the society laid<br />
<br />
THE AUTHOR.<br />
<br />
to £4,454 6s., details of which are fully set out<br />
in the following schedule :—<br />
Nominal Value.<br />
<br />
8. ot.<br />
Local oans 2.2.5.3 .-.555,.- 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock -............ 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
<br />
Stock 2. 5755 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock .... 228 0 0<br />
New Zealand 34% Stock........ 247 9 6<br />
Irish Land 22% Guaranteed Stock 258 0 0<br />
Corporation of London 24%<br />
<br />
Stock, 1927—57.............. 4388 2 4<br />
Jamaica 83% Stock, 1919-49 132 18 6<br />
Mauritius 4% 1937 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 34%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5%, Preferred Stock .......... 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock .....:2....:.... 232 0 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44%, Gold Bonds ............ 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares = .......... 250 0 0<br />
80 Buenos Ayres Great Southern<br />
<br />
Railway 4% Extension Shares<br />
<br />
1914 (£8 paid) .............. 240 0 0<br />
<br />
8 Central Argentine Railway £10<br />
Preference Shares New Issue... 380 0 0O<br />
<br />
Total’ 7. £4,454 6 O<br />
<br />
<br />
<br />
PENSION FUND.<br />
<br />
——<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (7.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
April Ist, 1912.<br />
<br />
It does not include either donations given<br />
prior to April 1st, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
The full list of annual subscribers to the fund<br />
appears in this issue.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
LEASE NERDS<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Subscriptions.<br />
<br />
1912.<br />
<br />
April 6, Bland, J. O. P.<br />
<br />
April 6, Taylor, Mrs. Basil<br />
<br />
April 6, Forrester, J. Cliffe<br />
<br />
June 6, Probert, W. S.<br />
<br />
June 6, Wheelhouse, Miss M. V.<br />
<br />
June 6, Acland, Mrs. C. D. :<br />
<br />
June 6, Spurrell, Herbert (from<br />
1912 to 1915).<br />
<br />
June 6, Spens, Archibald B.<br />
<br />
July 18, Liddle, S. :<br />
<br />
Aug. 7, ‘Joseph, L.<br />
<br />
Sept. 6, Garvice, Charles (in addi-<br />
tion to present sub-<br />
scription of £1 1s.)<br />
<br />
Donations.<br />
<br />
1912.<br />
April 2, XX. Pen Club<br />
April 6, Taylor, Mrs. Basil :<br />
April 6, Cameron, Mrs. Charlotte .<br />
April 10, Kenny, Mrs. L. M. Stac-<br />
<br />
poole<br />
April 10, Robbins, Alfred F..<br />
April 10, Harris, Emma H.<br />
April 11, Ralli, €. Scaramanga<br />
April 11, Aitken, Robert.<br />
April 16, 7M YE (£1 per month,<br />
<br />
February, March, April)<br />
April 22, Prior, Mrs. Melton<br />
May 2, Baden- Powell, Miss Agnes<br />
May 25, Koebel, W. H. :<br />
May 28, Harland, Mrs. Henry<br />
May 28, Wood, Mrs. A. E. :<br />
June 4, Hornung, E. W.<br />
June 4, Ward, Dudley<br />
June 6, Worrall, Lechmere .<br />
June 13, Robbins, Miss Alice E.<br />
July 5, Hain, iM. ;<br />
Aug. 16, Shipley, R. H.<br />
<br />
—_—__—_+—— —____<br />
<br />
PENSION FUND.<br />
<br />
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<br />
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<br />
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<br />
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<br />
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QOoecoececoocas<br />
<br />
ComPLete List or ANNUAL SUBSCRIBERS.<br />
<br />
A. L. M. ‘<br />
<br />
Abbott, The Rev. Edwin, D.D.<br />
Adams, Newton .<br />
<br />
Allen, Rey. Geo. W.<br />
<br />
Allen, Mrs. Grant .<br />
<br />
Anderson, Arthur<br />
<br />
Andrews, Miss C. C.<br />
Armstrong, Miss Frances<br />
Arnold, Mrs. J. O.<br />
<br />
Askew, Claud<br />
<br />
ecocoocrooocrH om<br />
<br />
—_ 2<br />
OOo Oe OO a<br />
<br />
eecocoececoo=<br />
<br />
B. e<br />
<br />
BC. .<br />
<br />
Bagnall, Miss L. T.<br />
Baldwin, Mrs. Alfred<br />
Balme, Mrs. :<br />
Barne, Miss M. C. .<br />
Barnett, PA, .<br />
Barrington, Mrs. Russell<br />
Bashford, H H. H.<br />
<br />
Beale, Mrs. W. Phipson<br />
Beeching, Canon . :<br />
Begbie, Harold<br />
<br />
Bell, Lady .<br />
<br />
Benecke, Miss Ida<br />
Benjamin, Lewis .<br />
Bennett, Arnold .<br />
Berkeley, Mrs. F. R.<br />
Bland, J.O. P..<br />
Bland, Mrs. E. Nesbit<br />
Bloundelle-Burton, John<br />
Bolton, Miss Anna<br />
Bond, R. Warwick<br />
Bosanquet, E. F. .<br />
Boughton, Rutland<br />
Bowen, Miss Marjorie<br />
Brandon, Miss D. .<br />
Breakell, Miss Mary<br />
Brend, Charles C. .<br />
Brinton, Selwyn<br />
Brodhurst, Spencer<br />
Broster, Miss D. K.<br />
Brown, R. Grant .<br />
Budgen, Miss :<br />
Bungey, E. Newton<br />
Burmester, Miss Frances G.<br />
Burne- Murdoch, W. G.<br />
Ck. .<br />
<br />
Caine, William<br />
Calderon, George .<br />
Cannan, Gilbert<br />
<br />
Capes, Bernard .<br />
Capes, Mrs. (Marian Hawtrey)<br />
Carlyle, Rev. A. J. ‘<br />
Carr, Miss M. E. . :<br />
Caulfield, Kathleen M. .<br />
Channon, Mrs. Francis .<br />
Chase, Mr. and Mrs. L. N.<br />
Chesterton, G. K. :<br />
Child, Harold H.<br />
Clifford, Lady :<br />
Clifton, Mrs. Talbot<br />
Clodd, Edward<br />
<br />
Clough, Miss B. A.<br />
Cohen, Mrs. Herbert<br />
Collier, Hon. John<br />
Colquhoun, A. R. .<br />
Cooke, W. B<br />
<br />
fat<br />
<br />
Soococorr cocoon<br />
<br />
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foal ek bee o<br />
SCH ENE AnNooOUmenpao:s<br />
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Cotesworth, Miss Lillias E. (‘‘ Hester<br />
White’) . : .<br />
<br />
Coulton, G. G.<br />
<br />
Cox, Miss Marion Roalfe<br />
<br />
Cromartie, Countess of .<br />
<br />
Crommelin, Miss May<br />
<br />
Cross, Victoria :<br />
<br />
Curwen, Miss Maud<br />
<br />
Dale, Miss Nellie .<br />
<br />
Darbishire, Otto<br />
<br />
Darley, R. H.<br />
<br />
Daveen, Francis<br />
<br />
Davy, Mrs. E. M. .<br />
<br />
Dawson, W arrington<br />
<br />
De Morgan, Wm. .<br />
<br />
Desborough, The Right Hon. The<br />
Lord, P.C.<br />
<br />
Dixon, "A. F.<br />
<br />
Dixon, W. Scarth |<br />
<br />
Dobson, Austin<br />
<br />
Drake, F. Maurice. ‘<br />
<br />
Dummelow, Rev. J. R..<br />
<br />
Dunsany, The Lord :<br />
<br />
Durand, The Right Hon. Sir Henry<br />
Mortimer .<br />
<br />
Durand, Ralph<br />
<br />
Diiring, Mrs.<br />
<br />
E. D. C.<br />
<br />
E. H.<br />
<br />
BEAK. .<br />
<br />
. M. C:<br />
<br />
ZS .<br />
<br />
Edgington, Miss May<br />
<br />
Ellis, Miss M. A.<br />
<br />
Esmond, HOV. |:<br />
<br />
Kyre-Matcham, Mrs.<br />
<br />
Fagan, J. B.<br />
<br />
Felkin, Alfred Laurence :<br />
<br />
Felkin, The Hon. Mrs. A. L. ‘(Ellen<br />
Thornycroft- -Fowler) .<br />
<br />
Fenn, Frederick<br />
<br />
Festing, Miss : :<br />
<br />
Field, The Rev. Claude .<br />
<br />
Fieldhouse, Arthur<br />
<br />
FitzGerald, Colin . :<br />
<br />
FitzGerald, Mrs. EK. A. .<br />
<br />
Fleming, Mrs. A. D. i<br />
<br />
Forbes, The Lady Ellen<br />
<br />
Forrest, G. W. : :<br />
<br />
Forrester, J. Cliffe<br />
<br />
Forster, R. H.<br />
<br />
Fox, A. D.<br />
<br />
Francis, René :<br />
<br />
Freshfield, Douglas<br />
<br />
Fuller, Sir Bamfylde ;<br />
<br />
Galsworthy, John : ‘<br />
<br />
Garnett, Edward . : 4<br />
<br />
&<br />
<br />
wh<br />
<br />
cCcoonoceH mocoococoocoorooce<br />
<br />
mooenocooroqoocorcocre<br />
<br />
He SOM COHONENRFOSCOCOOCHF<br />
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<br />
THE AUTHOR.<br />
<br />
Garvice, Charles<br />
Gaunt, Mrs. Mary<br />
Gay, Mrs. Florence<br />
Geddes, Mrs.<br />
George, W. L. :<br />
Gidley, Miss E. C..<br />
Giles, Miss Edith J. F.<br />
Gilson, Captain Charles .<br />
Gilliat, Rev. Edward<br />
Glenconner, Lady ;<br />
Godfrey, Miss Elizabeth<br />
Gonne, Capt. C. :<br />
Gosse, Edmund<br />
Graham, Capt. Harry<br />
Graves, A. P. :<br />
Greig, James<br />
Gribble, Francis .<br />
Grier, Miss Julia M.<br />
Grogan, Walter E.<br />
Gurney, Mrs.<br />
Guthrie, ee<br />
H. A.<br />
Hep<br />
Haggard, Mrs.<br />
Hain, H. M..<br />
Halford, F. M.<br />
Hamilton, Henry .<br />
Hands, Mrs. Morris<br />
Hannay, Rev. Canon J. O.<br />
(Geo. A. Birmingham)<br />
Hargrave, Mrs. Basil (Parry ee<br />
Harraden, Miss Beatrice<br />
Harrison, Austin . :<br />
Harrison, Mrs. Darent .<br />
Haultain, Arnold .<br />
Hawkes-Cornock, Mrs. .<br />
Hawkins, Anthony Hee<br />
Heath, Miss KE. .<br />
Heath, Miss Helena<br />
Heath, Sidney ‘<br />
Hecht, Mrs. Arthur<br />
Hedgecock, F. A. . :<br />
Heming, Lieut.-Col. D. .<br />
Hepburn, Thomas ‘<br />
Hering, H. A.<br />
Hichens, Robert<br />
Hills, Mrs. Martha<br />
Hitchings, F.N.W. .<br />
Hollins, Miss Dorothea .<br />
Holme, Miss.<br />
Holmes, Miss Eleanor<br />
Hughes-Gibb, Mrs. :<br />
Hutchinson, Rev. H. N.<br />
Inkster, C. L.<br />
Inman, Rev. H. T.<br />
J. A. RB.<br />
J.K. J.<br />
<br />
COHFOCCONOMOOCOCOSCOOHHOONK COSCSCrHFSCOOONH<br />
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<br />
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<br />
<br />
<br />
<br />
<br />
<br />
J. L. W. ;<br />
<br />
Jackson, C. S.<br />
<br />
Jacomb, A. E.<br />
<br />
James, Henry<br />
<br />
James, Miss S. Boucher<br />
Jessup, A. E.<br />
<br />
Jones, Henry Arthur<br />
Jones, W. Braunston<br />
Keene, Mrs.<br />
<br />
Kelly, W. P.<br />
<br />
Kenny, Mrs. L. M. “Stacpoole .<br />
<br />
Kersey, William H.<br />
Kilmarnock, The Lord .<br />
Kipling, Rudyard<br />
Kitcat, Mrs.<br />
<br />
Knowles, Miss Margaret<br />
Lack, H. Lambert<br />
Lambe, J. Laurence<br />
Larden, Walter<br />
<br />
Larken, E. P.<br />
<br />
Laurence, Lionel .<br />
Laws, T.C. . :<br />
<br />
Lee, Rev. Albert .<br />
Letts, Miss W. M..<br />
Lewis, Rev. Arthur<br />
Lewis, T. C.<br />
<br />
Liddle, S. .<br />
<br />
Lion, Leon M. :<br />
Little, Mrs. Archibald<br />
Locke, W. J.<br />
<br />
Logan, The Rev. Robert<br />
Longe, Miss Julia .<br />
Lueas, E. V.<br />
M.M.B...<br />
Macdonald, Greville<br />
Mackenzie, Miss H. :<br />
Macnamara, Miss Margaret<br />
Maenaughton-Jones, Dr. H.<br />
Macpherson, J. F..<br />
Malcolm, Mrs. lan.<br />
“Malet, Lucas”? ...<br />
Mann, Mrs. Mary E.<br />
Maquarie, Arthur .<br />
Marchmont, A. W.<br />
Marks, Mrs. Mary<br />
Marriott, Charles .<br />
Martin, Miss Violet<br />
Masefield, John<br />
Matheson, Miss Annie<br />
McCormick, E. B.<br />
Meredith, Mark ;<br />
Middlemass, Miss Jean .<br />
Miniken, Miss Bertha M. M.<br />
Moffatt, Miss B. .<br />
Montgomery, Miss K. L.<br />
Montrésor, Miss F. F,<br />
Morton, Michael<br />
<br />
THE AUTHOR.<br />
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Mulliken, Mrs.<br />
<br />
Narramore, William<br />
<br />
Nembhard, Miss M.<br />
<br />
Nicholls, F.C...<br />
<br />
Niven, Frederick .<br />
<br />
Northcote, Rev. H.<br />
<br />
O’Brien, The Rev. G. E.<br />
<br />
O’ Donnell, Miss Petronella<br />
<br />
Orezy, The Baroness<br />
<br />
Osgood, Mrs. Irene<br />
<br />
Owen, Charles<br />
<br />
P. :<br />
<br />
Pakington, Hon. Mary :<br />
<br />
Parr, Miss O. K. .<br />
<br />
Parry, Sir C. Hubert, Mus. Doc.<br />
<br />
Paul, H. M.<br />
<br />
Pearson, Mrs. Conny :<br />
<br />
Pendered, Miss Mary L.<br />
<br />
Pettigrew, W.F. . :<br />
<br />
Phillips-Wooley, Clive<br />
<br />
Phillpotts, Eden<br />
<br />
Phipson, Miss Emma<br />
<br />
Pickthall, M. W. .<br />
<br />
Pinero, Sir Arthur<br />
<br />
Plunkett, G. N., Count . : j<br />
<br />
Pollock, The Right Hon. Sir<br />
Frederick, P.C. : ‘ :<br />
<br />
Pope, Miss Jessie .<br />
<br />
Portman, Lionel<br />
<br />
Prelooker, J. .<br />
<br />
Prideaux, Miss S. T.<br />
<br />
Probert, W. S.<br />
<br />
Pryor, Francis.<br />
<br />
Purdon, Miss K. L.<br />
<br />
Rawlings, Burford<br />
<br />
Reynolds, Mrs. Baillie<br />
<br />
Reynolds, Mrs. Fred<br />
<br />
Rhys, Ernest :<br />
<br />
Richardson, Mrs. Aubrey<br />
<br />
Riley, Miss i osephine<br />
<br />
Rittenberg, Max<br />
<br />
Roberts, D. G.<br />
<br />
Roberts, Morley<br />
<br />
Roe, Mrs. Harcourt<br />
<br />
Romanes, Mrs.<br />
<br />
Ropes, A. R.<br />
<br />
Rorison, Miss E.<br />
<br />
Rossetti, Wm. M.<br />
<br />
Rumble, Mrs. ; :<br />
Rumbold, the Right Honble. Sir<br />
Horace, Bart., G.C.B., G.C.M.G.<br />
<br />
Russell, G. H. , ;<br />
<br />
Rutter, Frank<br />
<br />
S. F. F.<br />
<br />
S.M. .<br />
<br />
Sabatini, Rafael : .<br />
Saies, Mrs. . : : ; :<br />
<br />
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. Salter, Miss E. K. ; ; :<br />
Salwey, Reginald E. : : :<br />
<br />
anders, Miss E. K. : : :<br />
<br />
Scott, G. Forrester<br />
<br />
Scott, Mrs. C.<br />
<br />
Seaman, Owen.<br />
<br />
Sedgwick, Prof. A.<br />
<br />
Sedgwick, W. :<br />
<br />
Selincourt, Mrs. ‘Basil de<br />
Douglas Sedgwick)<br />
<br />
Sergeant, Miss “Constancia<br />
<br />
Seton- Karr, H. W.<br />
<br />
Shaw, Fred G. :<br />
<br />
Shaw, Mrs. Bernard<br />
<br />
Shepherd, George H.<br />
<br />
Shera, Miss B. M. :<br />
<br />
Sherwood, Miss A. Curtis<br />
<br />
Shipley, Miss Mary<br />
<br />
Simpson, W. J.<br />
<br />
Sinclair, Miss May<br />
<br />
Skrine, Mrs. J ohn H.<br />
<br />
Skrine, Rev. John H.<br />
<br />
Slaughter, Miss F.<br />
<br />
Smith, Bertram<br />
<br />
Smythe, Alfred<br />
<br />
Snell, Miss Olive<br />
<br />
Somers, John<br />
<br />
Somerville, E. (.<br />
<br />
Speed, Lancelot<br />
<br />
Sproston, Samuel, Junr.<br />
<br />
Stacey, Mrs. W. Sy aoe<br />
<br />
Stanton, Miss H. M. E.<br />
<br />
Stawell, Mrs. Rudolf<br />
<br />
Stayton, Frank .<br />
<br />
Stein, Sir M. Aurel<br />
<br />
Steveni, W. Barnes -<br />
<br />
Stewart, J. C. ] oe<br />
<br />
Stockley, Mrs.<br />
<br />
Stott, M. D.<br />
<br />
Sturt, Geo. .<br />
<br />
Sullivan, Herbert .<br />
<br />
Summers, J.<br />
<br />
Sutherland, Her Grace The Duchess of<br />
<br />
Sutro, Alfred<br />
<br />
Taylor, Mrs. Basil.<br />
<br />
Tearle, Christian .<br />
<br />
Teixeira de Mattos, Alex<br />
<br />
Thomson, Lieut.-Col. J.<br />
<br />
Thorn, Ismay :<br />
<br />
Thurston, E. Temple<br />
<br />
Todd, Margaret, M.D.<br />
<br />
Toynbee, Paget .<br />
<br />
Toynbee, William<br />
<br />
Travers, Miss Rosalind .<br />
<br />
Trench, Herbert<br />
<br />
Trevelyan, G. M. .<br />
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Trevor, Major Philip. . :<br />
<br />
Truman, Miss Olivia M.. ‘ ‘<br />
<br />
Tuckett, F. F.<br />
<br />
Turner, G. F. :<br />
<br />
Turner, Reginald .<br />
<br />
Tuttiett, Miss M. G.<br />
<br />
Twycross, Miss M.<br />
<br />
Tyrrell, Miss Eleanor<br />
<br />
Underdown, Miss E.<br />
<br />
VS. :<br />
<br />
Vachell, H. A<br />
<br />
Vacher, Francis<br />
<br />
Vernéde, R. E.<br />
<br />
Von Holst, Gustav<br />
<br />
Voynich, Mrs. E. L. :<br />
<br />
Waldestein, Sir Charles .<br />
<br />
Walkley, S. ‘ ;<br />
<br />
Ward, Mrs. Humphry : ; <1<br />
<br />
Ward, Rev. F. W. Orde<br />
<br />
Warden, Madame Gertrude<br />
<br />
Watt, A. P.. :<br />
<br />
Weaver, Mrs. Baillie :<br />
<br />
Wentworth, Patricia _<br />
Dillon)<br />
<br />
Weyman, Stanley J.<br />
<br />
Wheelhouse, Mrs. .<br />
<br />
Whishaw, Mrs. Bernhard<br />
<br />
Whiteing, Richard<br />
<br />
Wicks, Mark<br />
<br />
Willard, Mrs. :<br />
<br />
Williams, W. Wynne<br />
<br />
Wills, The Rev. Freeman<br />
<br />
Wilton, Margaret W. .<br />
<br />
Winchilsea and Nottingham,<br />
Countess of :<br />
<br />
Woods, Miss Mary A.<br />
<br />
Worsley, Miss Alice<br />
<br />
Wright, E. Fondi .<br />
<br />
Yolland, Miss E. .<br />
<br />
Young, Capt. Geo. F., CB.<br />
<br />
Young, Ernest. ‘<br />
<br />
Young, W. Wellington .<br />
<br />
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<br />
COMMITTEE NOTES.<br />
<br />
<br />
<br />
HE last meeting of the committee before the<br />
vacation took “place on Monday, July Ist, at<br />
the society’s offices. After the minutes<br />
<br />
of the previous meeting had been read and signed,<br />
twenty-four members ‘and associates were elected,<br />
bringing the elections for the current year up to<br />
204. ‘The committee accepted, with regret, four<br />
resignations.<br />
<br />
The solicitors then reported upon the cases they<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 7<br />
<br />
had in hand, first dealing with matters that had<br />
been before the committee at their last meeting.<br />
These, the solicitors were able to state, were<br />
going forward in most cases satisfactorily. In the<br />
matter of fresh business, action was sanctioned<br />
for recovery of damages for wrongful dismissal of<br />
a member from the staff of a daily paper, and the<br />
solicitors were instructed to proceed. There were<br />
several small county court cases which had been<br />
placed in the solicitors’ hands during the month.<br />
In three of these, money had been recovered and<br />
forwarded to the authors. The others were pro-<br />
ceeding, and if no payment was made, summonses<br />
would be issued.<br />
<br />
The secretary then mentioned certain cases<br />
which had come before him during the month.<br />
One in America it was decided to place in the<br />
hands of the society’s American lawyers, failing<br />
payment by the American publisher. One was a<br />
complaint against a paper in Burma, and this the<br />
secretary was instructed to submit, when he had the<br />
necessary particulars, to the society’s solicitors in<br />
that country. In a third case, relating to the<br />
payment of the costs for settlement, by the society’s<br />
solicitors, of an agreemevt between an author and<br />
a publisher, the committee decided, after full con-<br />
sideration, that the bill must be settled by the<br />
member. Lastly, the secretary placed before the<br />
committee an offer received by a member from a<br />
publisher, and the committee instructed him to ask<br />
the member for permission to publish the suggested<br />
contract in the pages of Zhe Author, without<br />
mention of the member’s name.<br />
<br />
Owing to the passing of the new Copyright Act,<br />
the committee had under discussion the question<br />
of the collection of fees by the society for its<br />
members, on contracts, literary, dramatic and<br />
musical, the collection of fees under the compulsory<br />
licence clauses of the Act, as they affect mechanical<br />
reproduction of a composer’s works, being specially<br />
mentioned. It was decided to refer the matter to<br />
the Council, and notice was sent to the Council in<br />
due course, which body met early in July.<br />
<br />
The question of the election of members to the<br />
Council was considered, and four members were duly<br />
elected, subject to their consent.<br />
<br />
It was decided to increase the salary of one of<br />
‘the clerks and also to pay the insurance premiums<br />
of all the clerks in the office.<br />
<br />
The chairman received from the committee<br />
‘power to act in any matters of immediate import-<br />
ance that might come before the society during the<br />
vacation.<br />
<br />
It was decided also to purchase any files that<br />
might be required for the filing of the society’s<br />
correspondence which had grown so enormously<br />
recently.<br />
<br />
The committee expressed their thanks to Mrs.<br />
<br />
Wentworth-James for further<br />
society’s funds,<br />
<br />
donations to the<br />
aes<br />
Composers’ SuB-COMMITTEE.<br />
<br />
TuE last meeting before the vacation of the<br />
Composers’ Sub-Committee was held on Thursday,<br />
July 11th, at eleven o’clock, at the offices of the<br />
society.<br />
<br />
The minutes of the former meeting were con-<br />
firmed and signed.<br />
<br />
The secretary read a letter which he had<br />
received from a patent agent whom he had con-<br />
sulted on the matter of gramophone stamps and<br />
trade marks. In it the agent pointed out that he<br />
considered it useless to try and register the<br />
gramophone stamps under the Trade Marks Act.<br />
He suggested that the Composers’ Sub-Committee<br />
should rely on artistic copyright and that it would<br />
be as well for the society to keep a register of as<br />
many stamps as they could obtain from their<br />
members, and others, for the purpose of reference<br />
in order to prevent infringement. The committee<br />
instructed the secretary accordingly.<br />
<br />
Mr. Elkin, one of the directors of The Mechani-<br />
cai Copyright. Licences Co., Ltd., then attended the<br />
meeting in order to discuss with the Composers’ Sub-<br />
Committee some of the objections that had been<br />
raised to the form of contract for the collection<br />
of gramophone fees in the-hope that the sub-<br />
committee might, finally, be able to approve the<br />
agreement as put forward by Mr. Elkin’s company.<br />
The agreement was dealt with clause by clause, and<br />
after all the points had been fully discussed between<br />
the sub-committee and Mr. Elkin, he undertook to<br />
refer the matter to his directors, and then to refer<br />
the matter back to the sub-committee for further<br />
consideration. The sub-committee consider that<br />
the issues involved are of the greatest importance<br />
and, therefore, were pleased to welcome Mr, Elkin,<br />
as representing the Mechanical Copyright Licences<br />
Co., Ltd.<br />
<br />
ae<br />
<br />
CounciL MEETING.<br />
<br />
Tue second meeting of the Council for the<br />
present year was held at the rooms of the<br />
Society of Arts, 18, John Street, Adelphi, W.C.,<br />
on Friday, July 19th, at 5 o’clock.<br />
<br />
The Chairman put before the meeting the<br />
agenda which were contained in the circular<br />
convening the meeting, and ran as follows :—<br />
<br />
“Under the new Copyright Act certain com- |<br />
pulsory licence sections come into force under<br />
which fixed royalties are payable to authors<br />
and composers. The Committee of Manage-<br />
ment propose to meet the new conditions by<br />
extending the activities of the society so as to |<br />
8 THE AUTHOR.<br />
<br />
include not only the collection of fees under<br />
these sections for the members involved, but<br />
the collection for all members of moneys under<br />
any contracts, literary, dramatic or musical,<br />
which they may have entered into. This<br />
collection will be made subject to the payment<br />
of a certain commission to the society on the<br />
sums collected. The meeting is called to<br />
discuss this extension of the society’s<br />
activities.”<br />
<br />
The Chairman explained briefly to the meet-<br />
ing what the society proposed to do. It was<br />
not proposed to act as agents for the placing of<br />
work in the ordinary sense, but merely to<br />
collect fees on a commission. He said that he<br />
had received a letter from one of the members<br />
of the Council stating that he considered the<br />
action which the society proposed was ultra<br />
vires. The matter was discussed by the mem-<br />
bers present, and it was decided to take<br />
counsel’s opinion. If counsel’s opinion on the<br />
technical point was in favour of the society,<br />
then it was unanimously agreed to organise a<br />
branch of the society to carry out the fresh<br />
activities proposed.<br />
<br />
Subsequently, counsel’s opinion was obtained,<br />
and from this it was clear that the society had<br />
full power to take up the matter.<br />
<br />
ether eoeipen$ care<br />
<br />
Cases,<br />
<br />
Forty-oNE cases have passed through the<br />
:ecretary’s hands, making roughly an average<br />
of fourteen cases a month, since the last issue<br />
of The Author, in July. The number is rather<br />
higher than usual, as during the Vacation the<br />
tendency is for the number of cases to decrease.<br />
Not a few of the claims have been for money<br />
due from magazines and periodicals. There<br />
are, unfortunately, far too many of these<br />
concerns which, lacking sound financial sup-<br />
port, soon get into arrears in the payment of<br />
their contributors. Knowing that they can<br />
always rely upon getting copy from fresh<br />
contributors, the managers of these publica-<br />
tions leave the author’s account till the very<br />
last moment, paying the printers’ bill first<br />
because of the control that an unpaid printer<br />
has over them. The unfortunate author, not<br />
being in the same strong position, and without<br />
knowledge, is kept waiting and sometimes is<br />
not paid until he has actually issued, through<br />
the society, a summons for what is due to him.<br />
<br />
There have been fourteen claims altogether,<br />
either against publisher, editor, or theatrical<br />
manager, for money due. In four of these the<br />
secretary’s application has been sufficient to<br />
<br />
bring the amounts owing. Four have been<br />
placed in the hands of the society’s solicitors<br />
(who have recovered in one case and are<br />
proceeding by legal process in the remaining<br />
three), and in the other six the secretary is<br />
still pursuing the delinquents, most of whom<br />
have promised payment.<br />
<br />
The secretary has handled nine claims for<br />
the return of MSS. wrongfully detained. In<br />
four of these the MSS. have been restored to<br />
their owners in response to the secretary’s<br />
applications. In one case the editor reported<br />
he could not trace the MSS. and as the author<br />
had no evidence of its arrival, the matter<br />
had to be dropped. Another case is against an<br />
actor touring in South Africa from whom, at<br />
the time of going to press, no answer has been<br />
received. In a third case the editor has<br />
promised to make a search, but has yet to<br />
report with what result, while in the fourth<br />
unsettled case, one of the MSS. has been<br />
returned, the agent—resident in America—<br />
having disclaimed all knowledge of the rest of<br />
the MSS. sent. The last case is being handled<br />
by the society’s solicitors and relates to the<br />
detention of a play by a member of the<br />
theatrical profession. Some difficulty is being<br />
experienced in getting into touch with the<br />
party at fault, but it is hoped that a satis-<br />
factory conclusion may yet be reached.<br />
<br />
In seven claims for accounts, the secretary<br />
has been successful in five. The remaining<br />
two have only come into the office recently,<br />
but there is no reason to anticipate that there<br />
will be any difficulty in obtaining the state-<br />
ments.<br />
<br />
Two requests have been made, on behalf of<br />
members, for fuller particulars of certain items<br />
in accounts rendered by publishers. In both<br />
eases the desired information has been fur-<br />
nished and the members have expressed them-<br />
selves satisfied.<br />
<br />
Two claims have arisen respecting appro-<br />
priation of title. These cases are not always<br />
easy to deal with, as priority in the use of a<br />
title does not always give the first user ex-<br />
clusive possession. Everything depends upon<br />
whether the duplication of title is likely to<br />
mislead the public into purchasing the second<br />
author’s book, or witnessing the second author’s<br />
play in mistake for the book or play of the<br />
first author. No hard-and-fast rule can be laid<br />
down in these matters. Each case must be<br />
governed by its particular circumstances.<br />
However, in the two cases under this head, the<br />
society has been successful on behalf of its<br />
members. The first, which was against a<br />
cinematograph company, was placed in the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 9<br />
<br />
hands of the society’s solicitors, who persuaded<br />
the company to withdraw the film from circu-<br />
lation. The secretary was similarly successful<br />
in the second case. This case was against a<br />
theatrical manager who agreed to alter the<br />
title of his piece, when his attention was drawn<br />
to the fact that it was likely to conflict with<br />
the title given by the member concerned to a<br />
play which was still well before the public.<br />
<br />
Of two claims for infringement of copyright,<br />
one was settled by the offending newspaper<br />
compensating the author. The other, which<br />
is against an American pirate, has only just<br />
come into the office.<br />
<br />
Two cases arose in which the authors sought<br />
cancellations of their agreements with their<br />
publishers. In one the agreement has been<br />
eancelled. In the other, the secretary is<br />
waiting to hear from the publisher as to the<br />
terms on which he will deliver the balance of<br />
the stock to the author and cancel the contract.<br />
<br />
There were two claims for breach of agree-<br />
ment. One, against an actor, referred to the<br />
suppression of an author’s name from the play-<br />
bills and programmes of his play. Here,<br />
suitable compensation has been offered to, and<br />
accepted by, the author, and a draft apology<br />
for insertion in the papers has been drawn up.<br />
When this is signed by the actor the matter<br />
will be at an end. In the other case, a well-<br />
known firm of publishers broke their agree-<br />
ment by selling copies of a cheap edition of an<br />
author’s work in territory not covered by the<br />
licence granted them by the author. The firm<br />
have proved rather difficult to deal with in the<br />
matter, and the secretary has been forced, in<br />
consequence, to bring it to the notice of one<br />
of their directors who has promised, on his<br />
return from abroad, to communicate with the<br />
secretary.<br />
<br />
The last case referred to the division of<br />
gramophone fees between a composer and an<br />
author—both members of the society—under<br />
the Copyright Act, 1911. A division accept-<br />
able to both parties has been arranged.<br />
<br />
One case remains open from former months.<br />
The author has given the delinquent an exten-<br />
sion of credit, but proceedings will be taken if<br />
the amount is not, as has been promised, paid<br />
shortly.<br />
<br />
Souicrrors’ CasgEs.<br />
<br />
Nineteen cases have been placed in the hands<br />
of the society’s solicitors. The majority of<br />
them refer to the collection of money. Of<br />
these, numbering twelve, six have already been<br />
successful, the money having been obtained<br />
and forwarded to the authors. In two of the<br />
<br />
cases remaining, summonses have been issued<br />
but have not yet been returnable, in another<br />
an offer has been made for settlement, and in<br />
another the time for payment has been post-<br />
poned with the consent of the author. There<br />
have been two cases of infringement of copy-<br />
right—one in Sweden and the other in England.<br />
The former is in the course of a favourable<br />
settlement, as the penalties have practically<br />
been assessed, and it is only a question of how<br />
far the author is willing to accept the proffered<br />
terms. The other has only recently come into<br />
the office. In a case of piracy in Burma,<br />
considerable difficulty has arisen owing to legal<br />
technicalities, but it is hoped that the difficul-<br />
ties will be cleared away and the author enabled<br />
to establish his title. A question relating to<br />
the cancellation of an agreement and the<br />
rendering of accounts is being negotiated and<br />
is nearing a settlement. One case for the<br />
return of a MS. in the United States is still<br />
open, as it has only just been placed in the<br />
hands of the society’s lawyers in the United<br />
States. A question of account is being investi-<br />
gated, but as the defendant is away for his<br />
holiday it is difficult to get sufficient informa-<br />
tion. There is a serious allegation of over-<br />
charge of the cost of production on the account.<br />
It is possible, however, some explanation may<br />
be forthcoming. The last case refers to the<br />
purchase by a magazine of a story purporting<br />
to be the work of a well-known author who, in<br />
fact, had not written the story in question.<br />
It is hoped to bring the culprit to book. It is<br />
a most serious question of misrepresentation<br />
and must run very close to forgery.<br />
<br />
Of the cases in the solicitors’ hands before<br />
the last meeting a full report appears under the<br />
Committee Notes, but many of these which<br />
were then unsettled, have been satisfactorily<br />
terminated within the past three months.<br />
<br />
fag<br />
<br />
July Elections.<br />
Alford, Miss Daisy Oke Wayside, : Minehead,<br />
<br />
: Somerset.<br />
<br />
Baker, Arthur E., Tauntonand YewTree<br />
F.R.Hist.8., Secretary House, Winsford.<br />
and Librarian.<br />
<br />
Berkley, J., Major, R.F.A. Rooksbury Mill,<br />
Andover.<br />
<br />
54, Parliament Street,<br />
S.W.<br />
<br />
Flint Cottage, Mt.<br />
Ephraim Lane,<br />
Streatham, S.W.<br />
<br />
Bolster, Reginald, c/o<br />
Messrs. Grindlay & Co.<br />
<br />
Burgess, George (‘ Hmil<br />
Meene”’)<br />
10<br />
<br />
38th (K.G.0.) Cen-<br />
tral India Horse.<br />
<br />
53, Telford Avenue,<br />
Streatham Hill,<br />
S.W.<br />
<br />
Daylesford. Newport,<br />
Isle of Wight.<br />
<br />
Sidgard.<br />
<br />
Cooke, Major 8. A. . :<br />
<br />
Dodwell, Samuel (Bernard<br />
Phelps)<br />
<br />
Eldridge, Robey Frank<br />
<br />
Fisher, Miss M. L. (Jlollina<br />
Joy).<br />
<br />
Fulton, Grenville. Authors’ Club, 2<br />
<br />
Whitehall Court,<br />
<br />
S.W.<br />
<br />
Clarence ‘Terrace,<br />
<br />
Leamington Spa.<br />
<br />
Portslade, Sussex.<br />
Adamson Road,<br />
<br />
S. Hampstead.<br />
<br />
St. Bride Foundation,<br />
Bride Lane, E.C.<br />
The Cottage, Bushey<br />
<br />
Heath, Herts.<br />
<br />
Hain, a, M., PhD. 2<br />
F.R.S.L.<br />
<br />
Hall, Leonard . ; :<br />
<br />
Jessop, George H. . a4<br />
<br />
Peddie, R. A. . ‘ :<br />
<br />
Perrin, Mrs. Ida : ;<br />
<br />
Philip, Alex. J. : . 8, Darnley ‘Terrace,<br />
Overcliffe, Graves-<br />
end.<br />
<br />
Shelley, Bertha ‘ Lyceum Club, 128,<br />
Piceadilly.<br />
<br />
Shipley, R. H. . : Charleville, | Cranes-<br />
water Park, South-<br />
sea.<br />
<br />
Slater, Catherine P. . Edinburgh.<br />
<br />
Stewart, Miss Edith Anne. Clarewood, Limps-<br />
<br />
field, Surrey.<br />
———_+—_ > +—___—_<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
SS on eee<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
AGRICULTURE.<br />
<br />
A Free Farmer tn A Free Starz. A Study of Rural<br />
Life and Industry and Agricultural Politics in an<br />
Agricultural Country. By ‘“ Home Countizs” (J. W.<br />
Robertson Scott). 84 x 5% 335 pp. Heinemann.<br />
6s. n.<br />
<br />
ARCH AZOLOGY.<br />
<br />
Tur Form or THE AtrHapet. By. W.M. FLINDERS<br />
Perris (British School of Archeology in Egypt Studies<br />
Series, Vol. IIL). 124 x 10. 20 pp. Nine Plates.<br />
Macmillan and Quaritch. 5s. n.<br />
<br />
ARCHITECTURE.<br />
<br />
Tur CATHEDRALS OF ENGLAND AND WALES. Being a<br />
fourth edition of ‘“ English Cathedrals Illustrated.”<br />
By Francis Bonn. 8 X 5}. 493 pp. Batsford.<br />
78, 6d. nD,<br />
<br />
THE AUTHOR.<br />
<br />
ART.<br />
VISVAKARMA EXAMPLES OF IxpriaAN ARCHITECTURE,<br />
ScuterurE, Parytrnc, Hanpicrarr. Chosen by<br />
Awnanpa K. CoomaraswaMy. PartI. 11 x 9. 79 pp.<br />
<br />
The Author, 39, Brookfield, West-hill, N., and Luzac<br />
2s. 6d.<br />
<br />
Art and SwapesHt. By A. K. Coomaraswamy.<br />
_ Madras: Ganesh & Co. Rs. 1.<br />
Inp1ran Drawrnes. Second Series. Chiefly Rajput.<br />
<br />
With 27 collotype plates and 16 text illustrations. By<br />
<br />
A. K. Coomaraswamy. Probsthain. 25s. n.<br />
Hercutes BraBazon Brapvazon. 1821-1906. His Art<br />
and Life. By C, Lewis Hinp. 114 x 9. 103 pp.<br />
Allen. 21s. n.<br />
BIOGRAPHY.<br />
Tue Fourrn GuneraTIoN Reminiscences. By JANET<br />
Ross. 8? x 53. 400 pp. Constable, 12s. 6d. n.<br />
Intimate Memorrs or Naproreon III. PERSONAL<br />
<br />
REMINISCENCES OF THE MAN AND THE EMPEROR. By<br />
the late Baron D’Amnis. Edited and translated by<br />
A. R. Atrrxson. With illustrations from the collection<br />
<br />
of A. M. Broadley. 9 x 6. Twovols. Stanley Paul.<br />
248. n.<br />
<br />
A Yxrar anp A Day. By Outver Carist1an MALvery<br />
(Mrs. Archibald Mackirdy). 8} x 5}. 333 pp.<br />
Hutchinson. 6s.<br />
<br />
Grorce Borrow. The Man and his Books. By<br />
E. Tuomas. 9 xX 53. 333 pp. Chapman and Hall.<br />
<br />
10s. 6d. n.<br />
<br />
Tue CumBERLAND Lerrers. Being the Correspondence<br />
of Richard Dennison Cumberland and George Cumber-<br />
land between the years 1771 and 1784. Edited by<br />
CLEMENTINA Back, and now printed for the first<br />
time. 9} x 6. 352 pp. Martin Secker. 16s. n.<br />
<br />
CarprinaL Dre RicneuiEev. By Eveanor C. PRIc#.<br />
9 x 54. 306 pp. Methuen. 10s. 6d. n.<br />
<br />
Som Otp Love Storres. By T.P. O'Connor. 6} X 4}.<br />
<br />
376 pp. Nelson’s Shilling Library.<br />
<br />
BOOKS FOR THE YOUNG.<br />
<br />
Tur Farrtes AND THE Curistmas Camp. By Liitan<br />
<br />
Gask. ImIustrated by Witty Pocgany. 8% x 63.<br />
261 pp. Harrap. 5s. n.<br />
DRAMA.<br />
<br />
MaAKESHIFTS AND REALITIES.<br />
8} x 53. 39 pp.<br />
<br />
PRESERVING Mr. PANMURE.<br />
By Artuur W. PINRO.<br />
mann. Is. 6d. n.<br />
<br />
By GerrrrupE Rosiys.<br />
Werner Laurie. 6d.<br />
<br />
A Comic Play in Four Acts.<br />
64 x 5. 296 pp. Heine-<br />
<br />
THe Hoty Gram. A Romantic Mystery Play. By<br />
Haxiuyt Earrron. 7 x 43. 67 pp. The Faith<br />
Press. 2s. 6d,<br />
<br />
EDUCATIONAL.<br />
<br />
Tue GIANT AND THE CATERPILLAR. And other Addresses<br />
<br />
to Young People. By Joun A. Haminron. 7} X 43.<br />
256 pp. H. R. Allenson.<br />
FICTION.<br />
Tos Mummy. By Riccarpo Srernens. 7} x 5.<br />
<br />
428 pp. Nash. 6s.<br />
<br />
Tur Rep BupeEer or Stortus. Edited by CHARLES<br />
Garvice. 8} X 61. 312 pp. Hodder and Stoughton,<br />
ls. n.<br />
<br />
Gay Lawness. By Heran Maruers (Cheap Edition).<br />
8} x 5}. 153 pp. Stanley Paul. 6d.<br />
<br />
TALES OF THE OPEN Hazarv. By HaLLiwE Lb SUTCLIFFE.<br />
7% x 5. 312 pp. Mills and Boon. 6s. :<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. L1<br />
<br />
From THE ANGLE or SEVENTEEN. By EpEN PHILLrorTtTs,<br />
74 x 5. 235 pp. Murray. 3s. 6d. n.<br />
<br />
Beira. By E. C. Boorn. 7? x 5. 364 pp. Arnold.<br />
6s.<br />
<br />
. Mornine Star. By H. Riper Haceaarp.<br />
pp. Cassell. 1s. n.<br />
My Lapy oF THE Bass.<br />
<br />
415 pp. Gay and Hancock. 1s. n.<br />
<br />
To-pay. By Percy Ware. 72 x 5.<br />
Constable. 6s.<br />
<br />
THe Narrow Escape or Lapy Harpwetr. By F.<br />
Frangrort Moorr. 7} X 5. 335 pp. Constable. 6s.<br />
<br />
Tue Hovss or Fortune. By Max Pemprerton. 7? X<br />
43. 248 pp. Eveleigh Nash. 2s. n.<br />
<br />
Love at Pappineton. By W. Prtr Riper.<br />
271 pp. Nelson. 2s. n.<br />
<br />
THe Oakum Pickers. By L. §&.<br />
375 pp. Methuen. 6s.<br />
<br />
Setming or Sermincrorp. By Berrrram Mrrrorp.<br />
74 x 5. 320 pp. Ward, Lock. 6s.<br />
<br />
JupitH Ler. Some Pages from her Life. By Ricwarp<br />
Mars. 7? x 5. 317 pp. Methuen. 6s.<br />
Force Maseure. By Patrick RtsHDEN.<br />
409 pp. Mills and Boon. 6s.<br />
THe Vicars Secret. By C.<br />
<br />
255 pp. Murray and Evenden.<br />
<br />
Tue Hippex Hicuway. By Firorence Bone. 8<br />
189 pp. (The “Leisure Hour” Monthly L<br />
Religious Tract Society. 6d.<br />
<br />
THe Love Race. By Kente Howarp.<br />
Hodder and Stovghton’s Penny Stories.<br />
Aw Encuisnwan. The Romance of a Shop.<br />
L. PENDERED. 72 x 5. 342 pp.<br />
<br />
Revised. 6s.<br />
<br />
Tue ScyoLtar’s Daucurer.<br />
255 pp.<br />
<br />
Tue Tracrpy of THE Korosko.<br />
252 pp.<br />
<br />
Desorsr or Ton’s. By Mrs. HENRY DETA PASTURE.<br />
314 pp. Hodder and Stoughton. 74. n. each.<br />
<br />
Tae Diamonn Smr. By Max PEMBERTON.<br />
348 pp. (Cheap Edition). Cassell. 1s. n.<br />
<br />
Bricut SHame. By KuiaHiey SNOWDEN.<br />
276 pp. Stanley Paul. 6s.<br />
<br />
RosE oF THE GARDEN. By KatTHaRINE TYNAN.<br />
312 pp. Constable. 6s.<br />
<br />
THe \Virta Mystery. By Hersert FLOWERDEW.<br />
73 X 5. 319 pp. Stanley Paul. 6s.<br />
<br />
SasLtE anpD Mortiey. By STEPHEN ANDREW.<br />
316 pp. Greening. 6s.<br />
<br />
‘THe Waster. By Mrs. Henry Tirrert.<br />
319 pp. John Long. 6s.<br />
<br />
‘THos—E OrHer Days. By E. Puairriirs OPPENHEIM.<br />
7% X 5. 320 pp. Ward, Lock. 6s.<br />
<br />
‘THe Turnstite. By A. E. W. Mason.<br />
Hodder and Stoughton. 6s.<br />
<br />
‘Tne DarksomME Marps or Bagurers. By WILLIAM<br />
H. Kersey. 74 x 5. 309 pp. Stephen Swift & Co.<br />
6s.<br />
<br />
‘THe Marriace or Kerrie. By C. J. Curcrirre HynNe.<br />
7% x 5. 312 pp. Heinemann. 6s.<br />
<br />
Tue Turee Anarcuists. By Maup Stepney Rawson.<br />
7% X 5. 320 pp. Stanley Paul. 6s.<br />
<br />
Waitt Roseteaves. A Story of the Yorkist Court.<br />
By Emmy Rocunes. 73 x 5. 345 pp. Drane.<br />
63.<br />
<br />
‘THe Rep Hanp or Utstar. By G. A. BrrMincHaM.<br />
7? <x 5. 310 pp. Smith, Elder. 6s.<br />
<br />
A WitpEerness Woornc. By W. VicrorCoox. 7} x 5.<br />
312 pp. Methuen. 6s.<br />
<br />
‘The Secret Marriace. By A. WiLson<br />
73 x 5. 302 pp. Ward, Lock. 6s.<br />
<br />
74 x 5. 308<br />
<br />
By 8S. H. Burcwert. 7} x 5.<br />
<br />
319 pp.<br />
<br />
7k & 5.<br />
Grsson. 72 x 5.<br />
<br />
72 X 5.<br />
<br />
E. JEFFERY.<br />
25. ne<br />
<br />
Th X 5.<br />
<br />
wo<br />
<br />
Xe<br />
ibrary<br />
4x<br />
<br />
By Mary<br />
New Fuition<br />
<br />
rab ok<br />
<br />
ta Ol<br />
Re<br />
<br />
~J<br />
<br />
rs<br />
<br />
1<br />
4<br />
<br />
By Beatrice HarRapEn.<br />
<br />
By A. Conan DoYLe.<br />
72 x 5.<br />
12 X 6.<br />
<br />
7k x 5.<br />
<br />
7k Xx 5.<br />
<br />
72 X 5.<br />
<br />
72x 5. 344 pp.<br />
<br />
BARRETT.<br />
<br />
MiraBet’s Isnanp.<br />
Ward, Lock. 6s.<br />
<br />
Great 1s Discrerinr. By O. C. Ironstpn. 7} x 5.<br />
286 pp. E. J. and H. Henryson for Capitalist Common-<br />
wealth Association. 6s.<br />
<br />
Datsy’s Aunt. By E. F. Benson.<br />
Nelson. 7d. n.<br />
<br />
THe K®rEPER oF THE SECRET.<br />
(Mrs. Francis Channon).<br />
Boon. 6s.<br />
<br />
Ciara. Some Scattered Chapters in the Life of a Hussy.<br />
By A. Nem Lyons. 7} x 5. 336 pp. Lane. 6s.<br />
Buriep Ative. By ArnoLtp Bennett. New Edition.<br />
<br />
72 x 5. 323 pp. Methuen. 6s.<br />
<br />
A Brnepick ry Arcapy. By Hatitweiui SUTCLIFFE.<br />
84 x 53. 158 pp. (Cheap Reprint.) Stanley Paul.<br />
6d.<br />
<br />
Epetweiss. By “Rrra.” 84 x 6.<br />
Reprint.) Stanley Paul. 6d.<br />
<br />
SopHy or Krayonta. By AntHony Hope.<br />
370 pp. Nelson. 7d. n.<br />
<br />
Mrs. FauntLeRoy’s NerHew. By Beatrice Brairu-<br />
waite Barry. 207 pp. Ouseley. 2s. n.<br />
<br />
Hans. TuHere 1s Victory IN THE Cross. A Continental<br />
Story from Real Life. By Huryr. M. Harn, Ph.D.<br />
Elliot Stock.<br />
<br />
Mareiace. By H. G.<br />
Macmillan. 6s.<br />
<br />
Lonpon LavENDER.<br />
Methuen. 6s.<br />
<br />
Meapow Sweet. By Tue Baronsss Orczy. 7} X 5.<br />
376 pp. Hutchinson. 6s.<br />
<br />
Tue Ovreost or Erernity. By Cosmo HamMILTon.<br />
8 x 5.. 344 pp. Hurst and Blackett. 6s.<br />
<br />
Our Nance. By W. Bravnston JONES.<br />
303 pp. Ouseley. 6s.<br />
<br />
A Maxesuirt Marriace. By Mrs. Batis REYNOLDS.<br />
73 x 5. 300 pp. Hodder and Stoughton. 6s.<br />
<br />
Toe Aneto-Inpians. By Atice Perri. 7? X 5.<br />
312 pp. Methuen. 6s.<br />
<br />
Ourvia Mary. By HE,<br />
308 pp. Methuen. 6s.<br />
<br />
Tur Demon. By C. N. and A. M. WiuiraMson. 7 x 41.<br />
208 pp. Methuen. 1s.<br />
<br />
Barpara. By Aice and Craup ASKEW.<br />
319 pp. Fisher Unwin. 6s.<br />
<br />
Tne Escort. A Farcical Comedy. By Gertie Dz S.<br />
Wentwortn-JAMES. 73 x 5. 320 pp. Everett. 6s.<br />
<br />
WILHELMINA IN LoNnpDON. By Barry Par. New<br />
Edition. 7 <x 4%. 126 pp. J. Long. 6d.<br />
<br />
Tue Oruer Sipe. By H. A. VACHELL.<br />
287 pp. Nelson’s Sevenpenny Library.<br />
<br />
Untm Tuat Day. By Haro~tp WINTLE.<br />
349 pp. John Ouseley. 6s.<br />
<br />
Tur Sevento Son. A Novel. By Cuartes REINHARDT.<br />
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Puan. Being the Warburton Lectures for 1912.<br />
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NOTES.<br />
a<br />
= ELSH Poetry, Old and New in<br />
<br />
English Verse,” by Mr. A. P. Graves,<br />
: issued by Messrs. Longmans & Co.,<br />
is the first attempt to present in English<br />
verse, as nearly as possible in the metres of<br />
the originals, a selection of Welsh poetry,<br />
old and new, fairly typical of the lyrical<br />
literature of the Principality. The anthology<br />
contains a foreword by the Bishop of St. Asaph,<br />
an introduction embodying the views of expert<br />
critics on the various periods and branches of<br />
<br />
Welsh poetry with which it deals, and bio-<br />
graphical and critical notes upon the poets<br />
treated of.<br />
<br />
J. Giberne Sieveking’s new books include a<br />
biographical work and a novel. The former<br />
is a Memoir of Sir Horace Mann, and deals<br />
with the later life of Charles Edward at<br />
Florence, where Mann was George II.’s Envoy.<br />
The title of the novel is “The Great<br />
Postponement.”<br />
<br />
M. Alexander Teixeira de Mattos has<br />
acquired the right of translation for the<br />
United Kingdom and America of all the<br />
entomological and other works of J. H. Fabre,<br />
the French naturalist, that have not been<br />
published in this country.<br />
<br />
Messrs. Hodder and Stoughton will publish<br />
this autumn a volume of travel sketches by<br />
Mrs. H. R. Curlewis (Miss Ethel Turner),<br />
entitled ‘Ports and Happy Havens,” the<br />
various sketches being of Colombo, the Red<br />
Sea, Italy, Switzerland, Germany, France,<br />
Holland and Belgium.<br />
<br />
Messrs. Ward, Lock & Co. at the same time<br />
are bringing out a new edition, with an<br />
entirely new set of illustrations of the same<br />
author’s ‘‘ Seven Little Australians.’ This<br />
book is now in its sixteenth edition, and like<br />
the rest of Miss Turner’s books, has been<br />
translated into Dutch, Swedish, Danish and<br />
other foreign languages. The same firm will<br />
also issue a new edition of “ That Girl”<br />
which they have bought from Mr. Fisher<br />
Unwin, who published it for the author in<br />
1908.<br />
<br />
Edith C. Kenyon’s new novel “ The Wooing<br />
of Mifanwy: A Welsh Love Story,” appears<br />
<br />
- this autumn by Messrs. Holden and Harding-<br />
<br />
ham. The atmosphere and environment is in<br />
the heart of rural Wales, where Miss Kenyon<br />
lived in her early womanhood.<br />
<br />
“Intimate Memoirs of Napoleon III.” is<br />
the title of a new work translated from the<br />
French of Baron d’Ambes by A. R. Allinson.<br />
This book is the private diary of a life-long<br />
and intimate friend of Louis Napoleon, whose<br />
identity is here thinly veiled under a somewhat<br />
obvious pseudonym. The Baron follows his<br />
hero from boyhood through the years of exile<br />
and adventure, as a conspirator in Italy, asa<br />
refugée in London, as President of the Republic<br />
of 48, finally as Emperor down to the disasters<br />
of 1870, the fatal day at Sedan and the death<br />
at Chislehurst.<br />
<br />
“Great is Discipline’? by O. C. Ironside<br />
is a novel which deals with a factory founded<br />
by a “ self-made ” man’s thrift almost wrecked<br />
by Trade Unionism, and re-established by<br />
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THE AUTHOR. 15<br />
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science. The published price of the book is<br />
6s. Copies may be obtained at 4s. 6d. net.<br />
from Mr. E. Dracup of 21, Millbrook Road,<br />
Bedford.<br />
<br />
Part III. of ‘“‘ Princess Alfrida’s Charity ”<br />
by the Rev. Henry Lansdell was published in<br />
July. The present, and concluding portion,<br />
contains biographical notes of Sir John Morden<br />
during his living at Wricklemarsh, his pur-<br />
chase of Church property, his treasurership of<br />
Bromley College; his mastership of his own<br />
College, with its first inhabitants; provision<br />
for the government of Morden College ; and<br />
how the administration of the Charity devolved<br />
into the hands of the first trustees. Messrs.<br />
Burnside, Limited, Booksellers, Blackheath<br />
publish the book.<br />
<br />
A cheap edition of Annabel Gray’s novel<br />
““The Mystic Number Seven” is announced<br />
by Messrs. W. Stewart & Co., 19, Newcastle<br />
Street, Farringdon Street, E.C. The novel,<br />
which was originally published some eight or<br />
nine years ago, is sensational in character.<br />
It will be published now at 6d. net. and will<br />
be followed by a complete edition of Miss<br />
Gray’s works at cheap prices.<br />
<br />
“Rome, The Cradle of Western Civilisation,<br />
as Illustrated by Existing Monuments,”’ is<br />
a book by Mr. H. T. Inman, published by<br />
Messrs. Edward Stanford. The author’s aim<br />
has been to enable English visitors to see the<br />
monuments of ancient and medieval Rome as<br />
a whole and from a point of view of personal<br />
interest to themselves. Some dozen or so<br />
plans, and an index enhance the usefulness<br />
of the volume.<br />
<br />
Her Majesty the Empress of Japan has been<br />
graciously pleased to accept a copy of * Four-<br />
teen Years of Diplomatic Life in Japan,” by<br />
the Baroness Albert d’Anethan, published by<br />
Messrs. Stanley Paul & Co.<br />
<br />
‘“* Edelweiss,’ by Rita, is the latest addition<br />
to these publishers’ “clear type” sixpenny<br />
novels.<br />
<br />
Messrs. Stanley Paul announce, also, that<br />
their Majesties, Queen Mary and Queen<br />
Alexandra have graciously promised to accept<br />
a copy of Mrs. Charlotte Cameron’s latest<br />
story, entitled “A Durbar Bride,” the only<br />
novel dealing with the historic event written<br />
from an eye-witness’ point of view. Mrs.<br />
Charlotte Cameron represented the ‘‘ Lady’s<br />
Pictorial” at the Durbar, and fully availed<br />
herself of the many opportunities afforded<br />
her for gathering interesting material for her<br />
new book.<br />
<br />
Mr. J. J. Haldane Burgess is preparing for<br />
publication a third edition of his volume of<br />
<br />
poems in the Shetlandic, entitled “ Rasmie’s<br />
Biiddie.”” A foreword in verse will occupy<br />
the opening pages of the new edition.<br />
<br />
Messrs. Methuen & Co. announce the<br />
publication of a volume of poems by<br />
L. F. Wynne Ffoulkes, under the title of<br />
“Poems of Life and Form.” Variety of<br />
theme and mode of expression is the keynote<br />
of the poems which are dedicated to H.R.H.<br />
The Princess Frederica of Hanover.<br />
<br />
Miss Florence Bone’s autumn books are:<br />
“The Furrow on the Hill,” published by the<br />
Religious Tract Society, and “ Curiosity<br />
Kate,’ which is to be published in England<br />
by Messrs. Partridge, and in America by<br />
Messrs. Little, Brown & Co., of Boston.<br />
<br />
Messrs. Smith Elder & Co. will shortly<br />
bring out a book entitled ‘ Two Troubadours ”<br />
by Esme Stuart. Though the lively twins,<br />
‘““Two Troubadours”’ chiefly fill up the<br />
canvas, many characters well-known to the<br />
public in ‘‘ Harum Scarum ” reappear.<br />
<br />
Mr. Norman Porritt, M.R.C.S. will publish<br />
during October with Mr. Evan Macleod,<br />
“The Ear; its hygiene and care,’ founded<br />
on thirty years of practice and the experience<br />
gained in the special eye and ear department,<br />
the author established at the Huddersfield<br />
Royal Infirmary, to which Institution he is<br />
now consulting surgeon. Without trespassing<br />
on the domains of the medical man, the book<br />
aims to be a practical guide for that large<br />
section of the lay public which suffers from<br />
deafness and other ear ailments.<br />
<br />
Messrs. John Long have just published a<br />
novel entitled ‘‘The Gate Openers” by<br />
K. L. Montgomery, author of “ The Cardinal’s<br />
Pawn.” The novel is based upon a dramatic<br />
chapter of English history, the Rebekah Riots<br />
in South Wales in 1843, and is the story of<br />
the crusade against the turnpike system.<br />
<br />
We have received from Mr. B. T. Batsford,<br />
prospectus of a work by Mr. Aymer Vallance,<br />
to be published shortly, for which subscribers’<br />
names are invited. The work constitutes an<br />
account of Oxford collegiate architecture<br />
lavishly illustrated. Mr. Vallance’s- book<br />
differs from those of previous writers who have<br />
devoted a large share of their attention to<br />
the history of the various colleges as institu-<br />
tions, whereas, the present work deals with<br />
them as monuments of beautiful architecture<br />
and storehouses of admirable craftmanship.<br />
Separate descriptions are given of the<br />
University Church, of the schools and the<br />
Bodleian, and then of each college in turn,<br />
but one of the special features of the book is<br />
the introduction, an analytical essay, in which<br />
16 THE AUTHOR.<br />
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the development of the college plan is traced<br />
and the most characteristic details of college<br />
architecture compared and summarised. The<br />
volume includes reproduction from water-<br />
colour and other drawings by the following<br />
artists and draughtsmen: J. Hoefnagel,<br />
M. Burghers, J. Malchair, E. Dayes, J. C.<br />
Nattes, J. Nash, H. O'Neill and G. Hollis.<br />
The book will appear in the autumn at £4 4s,<br />
net., but up to October 8th orders will be<br />
accepted at the rate of £3 13s. 6d. net., and a<br />
list of subscribers’ names will be published<br />
in the work.<br />
<br />
“The River Rhymer,” a volume of verses,<br />
treating of the Thames, its places, people and<br />
life, from the source to the sea, by Mr. J.<br />
Ashby Sterry, will be published this month by<br />
Mr. W. J. Ham-Smith.<br />
<br />
Mrs. Fred Reynolds will shortly issue a<br />
new novel under the title of ‘“ Letters to a<br />
Prison.” The letters are written by a young<br />
wife, separated from her husband, and give<br />
the pageant of the year from a mountain<br />
village in Wales. A local love story is inter-<br />
woven in the plot which itself touches the<br />
deep things of life.<br />
<br />
The September number of ‘‘ The Librarian ”<br />
contains the first part of an article on a subject<br />
of great interest to librarians, namely, ‘‘ Biblio-<br />
graphy.” This is a subject not very much<br />
studied in this country, compared with America<br />
and Germany and one or two other countries<br />
where bibliography is regarded as of great<br />
national importance. Miss Margaret Reed’s<br />
article appears, as well as Mr. T. Edwin Cooper’s<br />
article on “‘ Library Architecture.”<br />
<br />
Messrs. Stanley Paul & Co. announce<br />
for immediate issue a new novel by Miss<br />
Arabella Kenealy entitled ‘The Irresistible<br />
Mrs. Ferrers.” The irresistible Mrs. Ferrers<br />
is a fashionable beauty, whose ambition is to<br />
be known to history as the most beautiful and<br />
brilliant woman of her day who charmed all<br />
men and succumbed to none, and the story<br />
tells how she directs her life to this end. There<br />
are some original views in the book on the<br />
woman question.<br />
<br />
“The Three Anarchists” is the title of a<br />
new novel by Maud Stepney Rawson. The<br />
story is- written round the unsatisfied soul-<br />
starved young wife of an elderly, weak, cruel<br />
and penurious man, and the other principal<br />
character is a human stepson at inevitable<br />
enmity with so opposite a father. Both<br />
crave for the fulness of life, the woman<br />
intensely desirous of founding a real home<br />
and making real happiness; and the young<br />
man responding to her love and care with more<br />
<br />
?<br />
<br />
than mere affection. Messrs. Stanley Paul<br />
& Co, are the publishers.<br />
<br />
T e same publishers announce for immediate<br />
publication “The Thread of Proof,” a new<br />
story by Mr. Headon Hill. The principal<br />
theme of this volume is the abnormal astuteness<br />
of the conductor of a railway restaurant-car,<br />
whose power of observation and deduction<br />
enables him to solve the many absorbing<br />
““ mysteries’ that come under his ken.<br />
<br />
Mr. Herbert Jenkins is publishing, either<br />
this month or in November, Mr. W. L. George’s<br />
new book “Woman and To-morrow.” It<br />
deals with the principles and aims of Feminism<br />
in the arts, the home, the labour market, ete.,<br />
with its reactions on woman’s political position<br />
and sex-relations. A French translation of<br />
Mr. George’s novel ‘A Bed of Roses” has<br />
been arranged for.<br />
<br />
Mr. C. E. Gouldsbury, author of “ Dulale,<br />
the Forest Guard,” a story of Indian life, has<br />
written his reminiscences of ‘‘ Life in the<br />
Indian Police’ which Messrs. Chapman and<br />
Hall are publishing. It will be illustrated by<br />
the author’s own photographs. Mr. Goulds-<br />
bury was eighteen years old when he joined<br />
the constabulary service, and for thirty years<br />
he hunted native criminals and suppressed<br />
murderous dacoits. In the intervals of duty<br />
he enjoyed big game shooting in the jungle,<br />
and there are tales in the volume, of both work<br />
and sport.<br />
<br />
Miss Annesley Kenealy’s forthcoming novel<br />
is to be published by Messrs. Stanley Paul<br />
& Co. Miss Kenealy has recently placed a<br />
serial with Munsey and the National Press<br />
Agency and short stories with the Strand<br />
Magazine, ete.<br />
<br />
We have received a_ little book by<br />
W. E. Imeson relating to “ Illustrated Music-<br />
Titles and Their Delineators.” The book<br />
contains some interesting information which<br />
should be useful to collectors. There is also<br />
a dictionary of delineators at the end of the<br />
work, and nine illustrations.<br />
<br />
‘The Giant and The Caterpillar ’ and other<br />
addresses to young people, by the Rev. John<br />
A. Hamilton, has just been published by<br />
Messrs. H. R. Allenson, Ltd. There are 62<br />
addresses in all in this volume which should<br />
prove very helpful to Sunday school workers<br />
and others engaged in the training of the young.<br />
<br />
Early in September Miss M. P. Willcocks<br />
published, with Messrs. Mills and Boon, a<br />
study of Devon village life, called ‘‘ The<br />
Wind among the Barley,” after the title of<br />
an old country dance. Cranfordian in style,<br />
it is yet uncranfordian in matter, since the<br />
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THE AUTHOR. i7<br />
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actors of the<br />
Amazons.<br />
<br />
Mrs. Alec Tweedie, whose travel books are<br />
so well-known, has just written a personal<br />
one, entitled “‘ Thirteen Years of a Busy<br />
Woman’s Life,”’ which has just been published<br />
by Mr. Lane in England and the United States.<br />
It is hardly an autobiography, but rather<br />
chapters from the author’s life, with sketches<br />
of other well-known men and women.<br />
<br />
Mr. Bertram Mitford’s new book will be<br />
published shortly by Messrs. Ward, Lock & Co.<br />
This is Mr. Mitford’s fortieth novel, and of<br />
this total, all but nine are entirely or mainly<br />
concerned with South Africa. It is entitled<br />
** Seaford’s Snake,’’ and is not one of the nine<br />
exceptions.<br />
<br />
Messrs. Stanley Paul & Co. announce for<br />
immediate issue ‘‘In Jesuit Land: The<br />
Jesuit Missions in Paraguay ” by W. H. Koebel.<br />
The story of the Jesuit missions in Paraguay<br />
forms one of the most fascinating chapters in<br />
the complex history of the River Plate Pro-<br />
vinces. Mr. Koebel has traced the work of<br />
the missions from their inception in the early<br />
days of Spanish South American colonisation<br />
and discovery down to the final expulsion of<br />
the Jesuits by Bucareli in the middle of the<br />
eighteenth century.<br />
<br />
The same publishers have added to their<br />
“Clear Type” Sixpenny Novel Series “ Justice<br />
of the King,” by Hamilton Drummond, and<br />
‘Priscilla of the Good Intent,” by Halliwell<br />
Sutcliffe.<br />
<br />
Messrs. Macmillan & Co. published on<br />
September 25th a new book by The Right<br />
Hon. James Bryce, entitled ‘“‘ South America<br />
Observations and Reflections.”” The volume<br />
is the product of a journey made by the author<br />
through this region, and records his impres-<br />
sions regarding scenery, social and economic<br />
phenomena, the people, and the prospects for<br />
the development of industry and commerce<br />
in Panama, Peru, Bolivia, Chili, Argentina,<br />
Uruguay, and Brazil. Mr. Bryce has also<br />
something to say about the relics of pre-<br />
historic civilisation, the native Indian popula-<br />
tion, and the conditions of political life in the<br />
republics.<br />
<br />
Mr. Maurice Hewlett’s new novel, “ Mrs.<br />
Lancelot: a Comedy of Assumptions,”<br />
published by Messrs. Macmillan & Co. on<br />
September 17th, is concerned with love and<br />
politics, and high life in the days when the<br />
great Reform Bill was the burning question<br />
of the moment. Three men and one woman<br />
occupy the stage almost exclusively. They<br />
are Mrs. Lancelot and her husband, her<br />
<br />
story are not exclusively<br />
<br />
would-be lover, who was no less a personage<br />
than the Prime Minister himself, the famous<br />
Duke of Devizes, and Gervase Poore, a young<br />
and enthusiastic poet, who finally cuts the<br />
knot of a complex love entanglement.<br />
<br />
A re-issue, in a new and attractive binding,<br />
at 1s. net. of Mr. Clive Holland’s novels, ‘‘ My<br />
Japanese Wife,’’ ‘‘ Marcelle of the Latin<br />
Quarter” and “ An Egyptian Coquette,”’ will<br />
be published by Messrs. Lynwood & Co., Ltd.<br />
immediately. Of ““ My Japanese Wife” over<br />
417,000 copies have already been sold, and the<br />
demand continues. It has also been translated<br />
into several foreign languages.<br />
<br />
Messrs. Methuen & Co. are to publish, on<br />
the 17th of this month, the late Mrs. Paget<br />
Toynbee’s edition of the ‘‘ Letters of Madame<br />
au Deffand to Horace Walpole.” This edition<br />
has been completed and seen through the<br />
press by Dr. Paget Toynbee. Since the<br />
publication of the Marquis de Sainte Auldires’<br />
editions of these letters in 1859 and 1877,<br />
Mrs. Toynbee had discovered a large number<br />
of letters, many of which have never hitherto<br />
been published. The whole of the newly<br />
discovered letters were transcribed by Mrs.<br />
Toynbee from the original manuscripts, and<br />
all the previously printed letters, or portions<br />
of letters were carefully collated by her<br />
with the originals. The text of the<br />
original has been reproduced as faithfully<br />
as possible. The work is produced in French,<br />
as it was judged not only that French<br />
letters with English notes, ete. would be an<br />
incongruity, but also that the work of a writer<br />
regarded in her own country as a second<br />
Sévigné should appeal to a large circle of<br />
readers in France.<br />
<br />
Mr. Edward Arnold will issue shortly<br />
‘The Campaigns of a War Artist,’ being the<br />
work of the late Mr. Melton Prior, the well-<br />
known artist of the Illustrated London News.<br />
<br />
Madame Albanesi is engaged on a serial for<br />
the weekly edition of The Times. The story,<br />
which will commence running as a serial early<br />
in 1913 will appear later in book form with<br />
Messrs. Methuen & Co. somewhere about June<br />
or July. Madame Albanesi has only just<br />
recently brought out a new novel, through<br />
Messrs. Methuen, entitled ‘‘ Olivia Mary,”<br />
which is the first new novel she has published<br />
since 1910, when ‘“‘ The Glad Heart ” appeared.<br />
A number of the same author’s books are<br />
being brought out at sevenpence, notably,<br />
““ I know a Maiden ” and “‘ Love and Louisa ”’<br />
with Messrs. Everett, ‘‘ A Question of Quality ”<br />
with Messrs. Hurst and Blackett, and next<br />
year, ‘“‘Susannah and One Other” and<br />
18 THE AUTHOR.<br />
<br />
“Capricious Caroline ’’ with Messrs. Hodder<br />
and Stoughton, while a sixpenny edition of<br />
“The Glad Heart ” is also on sale.<br />
<br />
The book and serial rights for Great Britain<br />
and the Colonies of Mr. Carlton Dawe’s new<br />
novel ‘The Crackswoman’” have been<br />
acquired by Messrs. Ward, Lock & Co. ~<br />
<br />
The poems of Adam Lindsay Gordon the<br />
poet of Greater Britain and the best of all<br />
sporting poets have only to be known to meet<br />
with instant appreciation. Mr. Douglas Sladen<br />
has undertaken the editing, and in an edition<br />
published by Messrs. Constable & Co. has<br />
arranged them according to subject prefixing<br />
a memoir giving all the latest facts that have<br />
come to light about this Scottish aristocrat,<br />
who became policeman, horse-breaker, squatter,<br />
member of Parliament, livery stable keeper,<br />
trainer, and the most famous steeplechase<br />
rider and poet Australia has known. Mr.<br />
Sladen’s edition costs but half-a-crown, though<br />
it is delightfully printed and delightfully illus-<br />
trated. Three of the illustrations are sketches<br />
drawn by Gordon of himself on horseback, and<br />
34 pages of the poems are new.<br />
<br />
His Majesty the King has graciously accepted<br />
a copy of “* When the War is O’er,”’ by the late<br />
Major I’. M. Peacock. The book is published<br />
by Messrs. Longmans & Co.<br />
<br />
Mrs. Archibald Little has been commissioned<br />
by Messrs. Hutchinson & Co. to write the text<br />
on the customs of China for their standard<br />
work on the “‘ Customs of the World,” Part I.<br />
of which will be published this autumn. Mrs.<br />
Little is leaving in the Dunnottar Castle for a<br />
five months’ cruise to the Far East, and, there-<br />
fore, will not be available to speak at any<br />
meetings before next spring.<br />
<br />
Madame Sarah Grand’s new book, ‘* Adnani’s<br />
Orchard,” is to be published on the 15th of this<br />
month. It is a romance dealing with the<br />
social aspect of the land question.<br />
<br />
“The Silence Broken” is the title of a<br />
collection of short stories by Mrs. Baillie<br />
Reynolds, published by Messrs. Mills and Boon.<br />
A new novel by the same writer has just<br />
appeared through Messrs. Hodder and Stough-<br />
ton, entitled “A Makeshift Marriage.” The<br />
story appeared serially in the Daily News last<br />
month. Mrs. Baillie Reynolds has also written<br />
a new serial for the Lady’s World, which will<br />
commence next month, under the title of<br />
“A Doubtful Character,” and a serial for<br />
Messrs. Mowbray, entitled ‘‘ The Secret Stair.”<br />
She is now engaged upon anewnovel for Messrs.<br />
Hodder and Stoughton. Nearly all Mrs. Baillie<br />
Reynolds’ novels have been purchased for<br />
publication in Sweden, In addition to various<br />
<br />
short magazine stories, she wrote a complete<br />
novelette, entitled ‘“‘ The Swashbuckler,” for<br />
Messrs. Cassell’s new magazine of fiction.<br />
This story was also published in America,<br />
where most of Mrs. Baillie Reynolds’ writings<br />
appear.<br />
<br />
DRAMATIC.<br />
<br />
** Rebecca of Sunnyhook Farm” by Kate<br />
Douglas Wiggin and Charlotte Thompson was<br />
produced at the Globe Theatre on Sep-<br />
tember 2nd. It is a simple picture of humble<br />
life in America, telling the story of a little<br />
girl from the day she comes to live with her<br />
aunts till her departure with the “ fairy prince”’<br />
of her fancy.<br />
<br />
Included in the caste are Edith Taliaferro,<br />
Marie L. Day and Mr. Archie Boyd.<br />
<br />
Mr. Louis N. Parker’s play ‘“‘ Drake ’’ was<br />
produced at His Majesty’s Theatre on Sep-<br />
tember 8rd. The play shows Drake at the<br />
outset of his career; on his return from his<br />
journey round the world; and at the time of<br />
the Armada. Various scenes from these three<br />
periods of the life of Drake are represented.<br />
Mr. Lynn Harding as Drake, and Miss Neilson-<br />
Terry as Queen Elizabeth are in the cast,<br />
which also includes Mr. Herbert Waring.<br />
<br />
On September 4th Mr. Graham Moffat’s<br />
new play, ‘“‘ The Scrape of the Pen” was pro-<br />
duced at the Comedy Theatre. Briefly, the<br />
story is this. A scapegrace son, prior to<br />
leaving home for Africa, has persuaded a<br />
girl to sign a marriage contract before witnesses,<br />
and has also left behind him another girl who<br />
subsequently bears him a child and dies.<br />
The first girl, hearing nothing of him for some<br />
years, and believing him to be dead, marries<br />
a farmer and adopts the motherless child.<br />
<br />
The scapegrace returns suddenly and claims<br />
his ‘‘ wife,” but finding he is responsible for<br />
a daughter, tears up the marriage contract<br />
and devotes himself to the child. Mr. and<br />
Mrs. Graham Moffat, Mr. Alfred Brydone and<br />
Mr. Norman McKeown are in the cast.<br />
<br />
Mr. H. V. Esmond’s new comedy “‘ A Young<br />
Man’s Fancy,” produced at the Criterion on<br />
September 7th, deals with a somewhat erratic<br />
youth, for whose heart are two competitors,<br />
one a rich and romantic American girl, and<br />
the other the scheming daughter of the<br />
proprietress of a Regent Street flower shop.<br />
The plot turns upon the endeavours of the<br />
young man’s aunt to separate her nephew<br />
from the flower-shop girl—endeavours soon<br />
rendered rather unnecessary by the marriage<br />
of the girl to another party. Miss Lottie<br />
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THE AUTHOR. 19<br />
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Venne, Mr. Charles Maude and Mr. C. M.<br />
Lowne are in the cast.<br />
<br />
Mr. Granville Barker’s play, ‘‘ The Voysey<br />
Inheritance” was revived at the Kingsway<br />
Theatre last month. Mr. Barker’s production<br />
of “* The Winter’s Tale ” at the Savoy Theatre<br />
took place on September 21st. The decoration<br />
of the play was by Mr. Norman Wilkinson,<br />
the old music under the direction of Nellie<br />
Chapman and the morris and country dances<br />
taught by Mary Neal and Clive Carey. In<br />
the play were Mr. Henry Ainley, Mr. Leon<br />
Quartermaine, Miss Lillah McCarthy, Miss<br />
Esmé Beringer and Miss Enid Rose.<br />
<br />
Mr. Forbes Dawson’s drama, “‘ The Triumph<br />
of the Blind ” was produced on September 16th<br />
at the West London Theatre, and has now<br />
gone on a long provincial tour. Mr. Dawson’s<br />
sketch, ‘“ The Woman Makes the Home ’”’ will<br />
be produced at a London Music Hall this<br />
month, after which it will go on a tour of the<br />
combined Syndicate Halls. Negotiations are<br />
pending also over a three-act comedy by<br />
Mr. Forbes Dawson.<br />
<br />
“ The Girl in the Taxi’? by Frederick Fenn<br />
and Arthur Wimperis was produced at the<br />
Lyric Theatre on September 5th with music<br />
by Jean Gilbert.<br />
<br />
Oo<br />
<br />
PARIS NOTES.<br />
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—— ++<br />
<br />
HE sudden death of Massenet was a great<br />
aa shock and cast a gloom over Paris, so<br />
universal a favourite was he. Rarely<br />
<br />
has any man been endowed with such charm.<br />
He was not only a melodist as a composer, but<br />
also in his daily life. Strangely enough his<br />
Memoirs were almost ready for publication.<br />
Only two or three months ago he read us a few<br />
chapters of them, and little did we think then<br />
that he would not see the publication of the<br />
volume. He had dated them 1848—1912.<br />
It was in 1848 that he made his début in the<br />
musical world, for it was then that his hands<br />
were first put on the piano. He delighted in<br />
telling the story of the acceptance of his first<br />
compositions, His volume, ‘‘ Mes Souvenirs,”<br />
is charming, full as it is of interesting reminis-<br />
cences, and told in the bright, witty way<br />
peculiar tohim. Massenet was a great worker,<br />
rising at four or five in the morning. Of late<br />
years he had gone out very little into society.<br />
He died at his home in the Rue de Vaugirard,<br />
<br />
and his funeral, at his request, was as simple as<br />
possible.<br />
<br />
Many novelists travel to distant countries in<br />
search of new material and what they term<br />
“local colour” for their forthcoming book.<br />
René Boylesve finds his material very near<br />
home, and his novels gain from the fact that<br />
the “ local colour” is genuine. As a result his<br />
pictures stand the test of time. ‘Le Bel<br />
Avenir”? was a wonderfully delicate, psycho-<br />
logical study. In that novel we were able to<br />
watch the effect of education and surroundings<br />
on three young Frenchmen. In a more recent<br />
book M. Boylesve gave us an account of ‘‘ La<br />
Jeune Fille bien élevée,’”’ and in his latest novel<br />
the girl about whom he had told us is ‘‘ Made-<br />
leine, jeune femme.’ In his preface, the<br />
author explains to us that, in the first of these<br />
two books, he merely wished to show the way<br />
in which a girl brought up in a French pro-<br />
vincial town was educated. He declines, as a<br />
novelist, to go into the question of the best<br />
way of educating girls. In his latest novel he<br />
merely shows us the result of Madeleine’s<br />
education. He maintains that the novelist<br />
simply holds out to us a magic mirror, in which<br />
life, too vast to be seen by most eyes, is reflected<br />
and as it were condensed. In conclusion,<br />
M. Boylesve very truly observes that most of<br />
the misunderstandings which lead to disorder<br />
every day are due to a lack of psychology.<br />
The story of Madeleine’s married life is told by<br />
herself, and starts from the moment she gets<br />
into the train on her honeymoon journey. We<br />
will not spoil the story by giving a résumé of it,<br />
as all those who know this author’s work will<br />
prefer to read the book itself.<br />
<br />
Another story which treats of a woman’s<br />
married life has recently appeared, under the<br />
title of ‘‘ Lettres d’une Divorcée.”” The author<br />
of this novel is Leona Faber. It is cleverly<br />
written in a clear, natural style, so natural<br />
indeed that it seems more like a diary contain-<br />
ing a story from real life than a work of imagina-<br />
tion, There is not a word too much in it, a<br />
rare quality in a woman’s novel, and yet in<br />
these few words the writer has made her<br />
characters very living.<br />
<br />
There is a dearth just now of really strong<br />
novels. Perhaps it is because everyone<br />
appears to be either reading or writing memoirs.<br />
<br />
M. Elie Halévy has now published the first<br />
volume of a work entitled “ Histoire du peuple<br />
anglais au dix-neuvieme siécle.’’ England, in<br />
1815, is the subject of the first volume. The<br />
author treats in turn the political institutions,<br />
the social economy and the religion and culture<br />
of the English nation.<br />
<br />
““La Colline Inspirée”’ is the title of the<br />
forthcoming novel by Maurice Barres. It will<br />
20<br />
<br />
be published first as a serial in the Revue<br />
hebdomadaire.<br />
<br />
“Les Ravageurs”’ is the latest work by<br />
M. J. Fabre, the celebrated entomologist. In<br />
this volume we have an account of the various<br />
insects to be dreaded by the agriculturist, and<br />
not only does M. Fabre tell the ravages which<br />
may be made by the insects, but he shows how<br />
it is possible to fight against them. The<br />
volume will be welcomed by all who have read<br />
the preceding ones. :<br />
<br />
“* Etude raisonnée de ]’Aéroplane et descrip-<br />
tion critique des modéles actuels” is a work<br />
which will render great service to the science of<br />
aviation. It is written by M. Jules Bordeaux,<br />
a brother of M. Henry Bordeaux, the well-<br />
known novelist.<br />
<br />
The theatres are all opening their doors once<br />
more and announcing their programme for the<br />
Autumn season.<br />
<br />
“* Bagatelles,’ by Paul Hervieu, is the new<br />
play at the Comédie Frangaise. At the Odeon,<br />
M. Antoine announces a whole list of new<br />
writers, and the Athénée is rehearsing a play<br />
which it is hoped will have the same success as<br />
“Le Coeur dispose ”’ of last season.<br />
<br />
Atys HALLARD.<br />
<br />
<br />
<br />
“‘Mes Souvenirs” (Pierre Lafitte).<br />
<br />
‘Madeleine, jeune femme” (Calmann Levy).<br />
“Lettres d’une Divorcce”’ (Ollendorff).<br />
<br />
“Les Ravageurs” (Delagrave).<br />
<br />
“Etude raisonnée de l Aeroplane” (Gauthier Villars).<br />
<br />
—_—_— + _—___.<br />
<br />
NEW LITERARY CONVENTION BETWEEN<br />
FRANCE AND RUSSIA.<br />
<br />
a<br />
<br />
ae the courtesy of the Foreign Office—<br />
which we desire to acknowledge in the<br />
fullest way—we were indebted for very<br />
<br />
early information that a copyright convention<br />
had been signed between France and Russia.<br />
The politeness shown us was accompanied by<br />
an intimation that, as the treaty was still un-<br />
published in either country at the date when<br />
the communication was made, the intelligence<br />
must be regarded as confidential. Having<br />
however, recently received an intimation that<br />
the convention has now been made officially<br />
public we are at liberty, first of all, to express<br />
our pleasure in being able to say that a first<br />
step has been taken towards drawing Russia<br />
<br />
THE AUTHOR.<br />
<br />
into the general concert of the Western Literary<br />
Conventions. We are still, it is true, very far<br />
from the much-to-be-desired consummation of<br />
finding Russia among the signatories of the<br />
Berne Convention ; but where the difficulties<br />
are so many, to have seen a beginning made is<br />
no small matter. It would be to ourselves a<br />
source of the highest satisfaction if steps could<br />
be taken that would lead to some agreement<br />
between Great Britain and Russia such as that<br />
which now exists between Russia and France.<br />
<br />
According to the terms of the new convention<br />
the authors belonging to either country will<br />
enjoy for their literary or artistic works,<br />
published in either country, or in any other<br />
country, or not yet published, the rights<br />
accorded, or to be accorded, in either country.<br />
The same rights are accorded to authors who<br />
are neither Frenchmen nor Russians, if they<br />
publish in either of the contracting countries.<br />
<br />
The expression “ literary or artistic works ”<br />
is in the new convention interpreted in the<br />
wide sense now generally used in copyright<br />
enactments.<br />
<br />
The literary author of either country enjoys<br />
in the other country an exclusive right of<br />
translation for ten years, dating from<br />
January 1 of the year of the publication of<br />
the original, on the condition that this right of<br />
translation is mentioned as reserved. The<br />
right lapses if the author does not make use of<br />
it within five years from the date of the publi-<br />
cation of the original.<br />
<br />
Authors of drama and of musical drama,<br />
published or not, have protection for the<br />
original during the whole duration of the copy-<br />
right of the original, and for translation during<br />
the period of their right of translation.<br />
<br />
In the case of musical works a statement, on<br />
every copy, of the reservation of rights is<br />
necessary. Photographs must bear the name<br />
of the publisher, and the date of publication,<br />
Literary and artistic works cannot be repro-<br />
duced for the cinematograph without the<br />
consent of the author.<br />
<br />
The new convention is to remain in force for<br />
five years.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS.<br />
<br />
ee<br />
{ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
Front Page sue os sae ee oe<br />
<br />
Other Pages, “4 5 ;<br />
Half of a Page .., 110 9<br />
Quarter of a Page 015 6<br />
Eighth of a Page ie asa or, ww 0 7 9<br />
Single Column Advertisements aay perinch 0 6 g<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent, for<br />
<br />
Twelve Insertions,<br />
<br />
All letters respecting Advertisements should be addressed to J. F,<br />
Betyont & Co., 29, Paternoster Square, London, E.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 21<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
a<br />
<br />
1. VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinarysolicitors, Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination,<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers ;<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7, Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members,<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s.<br />
<br />
er<br />
annum, or £10 10s. for life membership. .<br />
<br />
TO<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement, There -are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
obtained, But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,’’<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights,<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production,<br />
<br />
(2.) Keep control of the advertisements,<br />
<br />
(3.) Keep control of the sale price of the book. :<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous te the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
tothe author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheid.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
—_—___§_+—<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
+<br />
<br />
EVER sign an agreement without submitting it to the<br />
N Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :-—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
99 THE AUTHOR.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent, An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed. :<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (7.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (8.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words,<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
——__+—_—>—_—_ —______<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
—-—><br />
<br />
By in aed typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
<br />
Oe<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author's fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
<br />
<br />
<br />
——_—___+—<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
ag<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
Se<br />
<br />
STAMPING MUSIC.<br />
<br />
ae<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
a a<br />
<br />
THE READING BRANCH.<br />
<br />
———— +<br />
<br />
EMBERS will greatly assist the Svuciety in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works, The<br />
Readers are writers of competence and expericnce. The<br />
<br />
fee is one guinea,<br />
o><br />
<br />
REMITTANCES.<br />
<br />
OEE<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
aU.<br />
<br />
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<br />
THE AUTHOR. 23<br />
<br />
GENERAL NOTES.<br />
<br />
<br />
<br />
The Editor of “The Author” would be<br />
indebted to those Members who haye no<br />
further use for the July number, containing<br />
a supplement of the Board of Trade Regula-<br />
tions, if they would forward the same to the<br />
Office, as the issue is sold out.<br />
<br />
ELECTIONS TO THE COUNCIL.<br />
<br />
Miss Marie Coreu, The Rt. Hon. A. J.<br />
Balfour and Prof. Gilbert Murray have joined<br />
the Council of the Society of Authors.<br />
<br />
An AMENDED AGREEMENT.<br />
<br />
In the July number of The Author, under<br />
the heading of “A Dangerous Clause,”<br />
attention was directed to an agreement<br />
between publisher and author, in which<br />
Messrs. George Allen & Co., Ltd., figured as<br />
publishers. The author concerned informs us<br />
that Messrs. Allen & Co. have deleted the<br />
objectionable clause, to his gratification.<br />
<br />
EpirortaL MretTuops.<br />
<br />
A WELL-KNOWN writer, who is a member of<br />
the society, has forwarded to us the following<br />
letter which has been addressed to him.<br />
<br />
Tur GooLe ure To DarE—? Monthly Magazine.<br />
Head Office :<br />
37, Kinesway, GOOLE,<br />
August 19th, 1912.<br />
Dear Mr. G.,—Having heard of your great talents in<br />
writing and having read many of your loving stories, we<br />
should be very thankful to you if you could let us have a<br />
nice story, no matter how short it is, for our magazine.<br />
<br />
Our publication is quite a new one, it is why we want<br />
<br />
as much as possible the help of great and_well-known<br />
writers to launch it, and afterwards support it.<br />
<br />
We must admit beforehand that we will not’ be able to<br />
ive you any remuneration for your kind service, as we<br />
ardly possess enough capital to get the magazine to<br />
<br />
print, but we and all our friends feel certain that our<br />
publication will be a success, but it would be a greater<br />
success still if we are able to print stories written by great<br />
authors. We ask you to send us an article as a sort of<br />
help to us.<br />
<br />
Hoping you will favour us with a few stories which will<br />
<br />
appear as one of the “clous”’ of the issue,<br />
We are, dear Mr. G.,<br />
Yours very respectfully,<br />
The Manager Secretary,<br />
G. C. De BAERDEMAECKER.<br />
<br />
<br />
<br />
p-p. E. W. TOowNEND<br />
G. C. de B.<br />
<br />
All correspondence should be sent :—<br />
Tue GooLe up To DaTE—?<br />
c/o G, C. DE BAERDEMAECKER,<br />
37, Kingsway, Goole,<br />
Yorkshire.<br />
<br />
The letter hardly calls for any comment, but<br />
it affords one more illustration of the view,<br />
which still prevails in some quarters, that<br />
authors differ from most other people in that<br />
it is not necessary for them to be paid for their<br />
work. That the editor has hardly enough<br />
capital to get the magazine printed does not<br />
seem a sound reason for asking the author to<br />
provide it in the form of gratuitous contribu-<br />
tions. It is fairly certain that the printer has<br />
not been asked to print the magazine without<br />
payment; why, then, should the author be<br />
expected to fill its pages on these terms ?<br />
<br />
CoLONIAL PUBLICATION.<br />
<br />
On another page of this issue we publish,<br />
with the kind permission of The Publishers’<br />
Circular, an article on the Australian book<br />
trade.<br />
<br />
The question of Colonial publication is a<br />
matter of increasing importance, and notes<br />
have from time to time appeared in The Author<br />
dealing with the subject. One point seems<br />
quite clear—that English works do not get a fair<br />
circulation on the Colonial markets. One main<br />
reason for this is the fact that the American<br />
publisher is much more energetic and pushing<br />
than the English publisher. He has already<br />
practically secured the Canadian market for<br />
himself, is gradually securing the New Zealand<br />
and Australian markets, and, no doubt, will<br />
extend his activities further into the South<br />
African market if he is allowed to do so. The<br />
English author may benefit by this, if he cares<br />
to give his Colonial rights to be marketed under<br />
his American contract. Indeed, we know of<br />
one author who has done this and has found<br />
the result eminently satisfactory, securing to<br />
himself a larger Colonial circulation than he<br />
had obtained previously through his English<br />
publisher. But our patriotism revolts from<br />
such action. By another way, however, it is<br />
possible that the Colonial market may, at no<br />
distant date, open up a wider field for the<br />
English author, namely, by Colonial publishers<br />
endowed with energy and foresight, making<br />
contracts direct with the English authors.<br />
This is hinted at in the article which we<br />
publish, Robertsons, apparently, issuing one<br />
new American novel every week. Why should<br />
they not issue one new English novel every<br />
week? The English author, if he deals direct<br />
with a Colonial publisher, can obtain a larger<br />
royalty than if he deals through an English<br />
publisher, or even through an American pub-<br />
lisher, for the extra middleman is bound to take<br />
24 THE AUTHOR.<br />
<br />
a share of the profits. This method of obtaining<br />
increased circulation and increased returns has<br />
been proved by certain authors who have dealt<br />
direct with Colonial publishers. There is this<br />
further argument, that if a Colonial publisher<br />
knows that he has the sole right for the Colony<br />
he can put much more push into the sale of the<br />
book than he would when his stock may meet<br />
with competition in the same market from<br />
other booksellers and publishers.<br />
<br />
In the first instance, we should like to see<br />
the English publisher obtaining the larger<br />
markets to which the English author is entitled.<br />
Failing this, we should like to see the Colonial<br />
publishers making direct contracts. Lastly,<br />
failing the two former methods, it may he<br />
necessary to advise English authors to place<br />
their Colonial rights with the American pub-<br />
lisher, but patriotism forbids the reeommenda-<br />
tion of the last till the two former methods<br />
have been tried and found wanting.<br />
<br />
<br />
<br />
CopyYRIGHT.<br />
<br />
As all members of the society ought to know,<br />
the new Copyright Bill came into force on<br />
July Ist. We have warned members from time<br />
to time of the great danger of transferring the<br />
copyright to a publisher or to an exploiter of copy-<br />
right property. We desire once again to affirm this<br />
statement, that in no circumstances should a<br />
dramatist, composer, or a writer of books get rid<br />
of his copyright, however tempting the offer may<br />
be that is made to him. Under the present Act<br />
copyright has a much wider significance than it<br />
had under the Act of 1842, and, therefore, what was<br />
wrong under the Act of 1842 becomes now an<br />
heinous crime.<br />
<br />
AUTHORS’ INSURANCE.<br />
<br />
WE have received from Vienna the Fortieth<br />
Annual Pension List (for 1911) of the Viennese<br />
Journalists’ and Authors’ Society (Concordia), and<br />
also the Fourteenth Annual Report for the same<br />
year of the Viennese Old Age and Sick Fund of the<br />
Viennese Journalists, erected in honour of the<br />
Jubilee of thie Emperor of Austria. The former<br />
document opens with the sentiment, “ Physical<br />
existence without financial solidity and security is<br />
not happiness but torment”; a sentiment with<br />
which too many authors will be ready to agree.<br />
The forty years’ history of the former society has<br />
been a record of long struggles with difficulties,<br />
happily, however, a successful struggle which en::bles<br />
the directors to declare the present state of the<br />
society satisfactory. The number of members at<br />
the end of last year was 339. As all make a<br />
<br />
voluntary insurance all are in some sort beneficiaries;<br />
but we must confess that the extremely complicated<br />
nature of the provisions for voluntary insurance<br />
and for pensions of different sorts render it difficult<br />
to understand what pensions are distributed, The<br />
report of the younger society is in this respect by<br />
far more lucid. Its members are 221, of whom 29<br />
receive old-age pensions amounting altogether to<br />
about £70. We congratulate both societies on<br />
their flourishing condition.<br />
<br />
OO<br />
<br />
AUSTRALIAN BOOK TRADE NOTES.<br />
<br />
—_— +<br />
<br />
(Reprinted by the kind permission of the<br />
“ Publishers’ Circular.’’)<br />
<br />
MELBOURNE, July Ist, 1912.<br />
T all times large buyers of books, the<br />
A Australian people are likely to excel<br />
themselves in this respect in the<br />
future, splendid general rains having fallen<br />
over this grateful continent during the weeks<br />
of June that must represent a cash value of<br />
goodness knows how many million pounds<br />
sterling.<br />
<br />
We have also the blessing of a low rate of<br />
postage for books throughout the Common-<br />
wealth, which should help greatly to spread<br />
the printed page; book postage within<br />
Australia is now 2d. per Ib. for imported books,<br />
and 1d. per Ib. for those printed and bound<br />
here.<br />
<br />
Many of the representatives of English and<br />
American publishers were in Melbourne during<br />
the past month, gathering in their “ journey ”<br />
orders, among them being Messrs. E. R.<br />
Bartholomew, Roger Macdonald, John Wyatt,<br />
J. Kettlewell, J. Ogle, A. Macgregor, William<br />
Steele, A. Gould, and John Morgan. Record<br />
orders are reported from Sydney, and doubtless<br />
the Melbourne ones will prove equally generous.<br />
<br />
The trade is now largely engaged in thinking<br />
and planning for Christmas, in taking stock,<br />
and in holding sales of surplus stock. As to<br />
bargains in books, the whole of the Australian<br />
book trade is really like a huge bargain counter,<br />
in that we sell many books at much less than<br />
their published price in England and America.<br />
Novels and travel books especially are thus<br />
cheapened here, the newest novel, at a dollar<br />
and a half in America or six shillings in Eng-<br />
land, being sold by us at three shillings and<br />
sixpence in cloth. Luckily the 25 per cent.<br />
discount does not obtain in this country.<br />
<br />
All net books are sold at an advance on<br />
published price, the 7d. net cloth selling for<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
#<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 25<br />
<br />
9d., the 1s. net for 1s. 3d., and sometimes for<br />
1s. 6d., and the 2s. net for 2s. 6d.<br />
<br />
Fifteenpence has become a very popular<br />
price, with the growth of the great Is. net<br />
series, such as Everyman’s, Collins’ Pocket<br />
Classics, World Library, Home University, and<br />
so on.<br />
<br />
The Australian country-town bookseller is<br />
generally not a big factor in the distribution of<br />
literature, most of which is done from the big<br />
cities ; he is often not so much a bookseller as<br />
a seller of books and other things.<br />
<br />
Our people are so thinly spread over a vast<br />
territory that it is difficult to market one’s<br />
wares even in one’s own district ; but time will<br />
remedy this with the continual extension of<br />
railways and settlements, and the country<br />
bookseller will, as his town and district develop,<br />
become a substantial unit, and a tradesman of<br />
knowledge and pride, as in the old country.<br />
<br />
Owing to the lack of means of free communi-<br />
cation between the settlements and the outside<br />
world, an institution known as the Mechanics’<br />
Institute and Free Library has evolved. This<br />
is a combining of the residents of a settlement<br />
or township to form a centre and provide a<br />
building for general recreation and _ self-<br />
improvement purposes.<br />
<br />
These institutes, of which there are some<br />
hundreds in Victoria alone, receive substantial<br />
Government grants of money, which are mostly<br />
spent with the big city bookseller. About<br />
90 per cent. of the purchases are of modern<br />
fiction, and very discriminating these “‘ back<br />
blocks ”’ people are—only the best sellers being<br />
found on their lists—and they get 15 per cent.<br />
discount off the ordinary selling prices. It<br />
may be a debatable question whether public<br />
money should be spent in the purchase of light<br />
reading, but it remains that the Mechanics’<br />
Institute is a factor to bear in mind when<br />
buying novels from the publisher.<br />
<br />
The American novel, about which the<br />
English publisher shows, or ought to show,<br />
some concern, is still a strong feature in the<br />
Australian bookseller’s stock.<br />
<br />
The public are not so much attracted by an<br />
author’s name as by the quality of the novel,<br />
although the fine cover designs and attractive<br />
jackets must help to draw attention to them.<br />
The American publishers do not bind up in<br />
a special cover for this market, like the Eng-<br />
lish Colonial library, and most of them prefer<br />
to let one distributing firm, like Robertson’s,<br />
deal with an important book for Australia and<br />
New Zealand.<br />
<br />
In this way Robertson’s issue at least one<br />
new American novel every week now.<br />
<br />
Melville and Mullen also handle occasional<br />
“sole agency ” novels for two or three English<br />
publishers.<br />
<br />
Cole’s Book Arcade, who have so far steered<br />
clear of sole rights to any extent, have pub-<br />
lished one or two books themselves lately,<br />
being possessed of a fine plant and premises<br />
for this purpose. One particularly, of much<br />
interest to early colonists, being ‘“‘ The Gold<br />
Rushes of the Fifties,’ by W. E. Adcock,<br />
narratives of the gold finds of the “ roaring<br />
fifties ’ that gave Victoria her great impetus in<br />
the race for wealth and population.<br />
<br />
Publishing in Australia will presently become<br />
a trade of importance when matters of tariff,<br />
copyright, and labour conditions are more<br />
definite than at present. Meanwhile we ‘have<br />
the N.S.W. Bookstall Co., Ltd., issuing a<br />
successful shilling series of humorous books<br />
and “ shockers ’’—some sixty odd titles—and<br />
Gordon and Gotch announcing the printing of<br />
sixpenny novels here.<br />
<br />
This subject of publishing in Australia will<br />
be dealt with further in a future letter.<br />
<br />
S. J. E.<br />
++<br />
<br />
A MINOR NOVELIST.<br />
<br />
— ja<br />
<br />
WE have read with great interest the article<br />
in the September National Review, signed by<br />
‘“* A Minor Novelist.”<br />
<br />
It is difficult to criticise the results of ‘“‘ A<br />
Minor Novelist’s”’ experience, as he has not<br />
given the names of the works he has published<br />
or the names of the publishers with whom he<br />
hasmade his agreements. In other words, he has<br />
given no idea as to the quality of his work or<br />
the quality of the publishers. No doubt it was<br />
impossible for him to do so. It seems clear, how-<br />
ever, that in many cases he has undersold the<br />
book market and has undersold, accordingly,<br />
the market of his fellow-workers. This may<br />
have arisen either from ignorance or from<br />
necessity. In any case the matter is very<br />
serious, as it is owing to these lapses that the<br />
minor novelist finds himself in the present<br />
position.<br />
<br />
If all authors of fiction undertook not to<br />
accept less than a certain amount, either the<br />
minor novelist would not exist, at any rate in<br />
the position stated in the article, or he would<br />
be able to get a living wage.<br />
<br />
We entirely disagree with the statement that<br />
it is a counsel of perfection for popular novelists<br />
to tell young authors that they should never<br />
part with the copyright. This amounts to<br />
26<br />
<br />
saying that no publisher will ever alter his agree-<br />
ments. The daily experience at the office of<br />
the Society of Authors is absolutely the con-<br />
trary. Nowadays, very few authors writing on<br />
any subject sell their copyright, and even if a<br />
book is commissioned by the publisher and<br />
the writer is a specialist he takes care not to<br />
betray himself and his comrades. If they do<br />
so they do so through ignorance of their rights<br />
and powers ; and publishers, who naturally<br />
demand from an author not merely all they<br />
are entitled to but all they think they can get,<br />
will readily alter an agreement and concede an<br />
author the copyright when they find out that<br />
the author also knows something about his<br />
business. :<br />
<br />
We give to “ A Minor Novelist ” our sincerest<br />
sympathy, if his reason for selling both his<br />
serial rights and book rights below the market<br />
value was to him a matter of necessity, and we<br />
think, as he himself suggests, that it would be<br />
much better for him to drive a taxi-cab than to<br />
keep on underselling the literary market.<br />
<br />
Another fact he puts forward that shows a<br />
lack of power to drive a satisfactory bargain<br />
for one or both of the above reasons, is his<br />
acknowledgment that when he sells a serial he<br />
is generally required to confer upon the pur-<br />
chaser the right to make any alteration he<br />
pleases in the plot, incidents, or characters.<br />
This is a serious confession for any author to<br />
make who has any respect for his own work or<br />
his art. Many authors are willing to make<br />
alterations themselves to meet the objections<br />
of an editor or his staff, but to give an arbitrary<br />
power to another person to make such cor-<br />
rections seems to point to the fact that the<br />
author of the article is not really a minor<br />
novelist, but a scribbler of stories, to suit the<br />
taste of any chance comer.<br />
<br />
Since this note was penned we have read in<br />
the Globe a very sensible letter dealing with<br />
the points raised, and signed “ Another Minor<br />
Novelist.” It appears that he has written<br />
eight books and that they have brought him<br />
in an average of £200 per book, and best of<br />
all that he has never parted with his copyright.<br />
<br />
oe<br />
PUBLISHERS’ ROYALTY AGREEMENTS.<br />
a<br />
<br />
Tue Autuor Grants.<br />
<br />
i the June number of The Author we<br />
published the first part of an article<br />
<br />
entitled “ The Author Grants.” In that<br />
.article those clauses were dealt with in which<br />
the publisher asked the author to transfer his<br />
<br />
| work in book form in<br />
| between author and publisher) at the price of in<br />
| the English language.”<br />
<br />
THE AUTHOR.<br />
<br />
copyright. What was stated in that article<br />
must be repeated here, No AUTHOR SHOULD<br />
TRANSFER THE COPYRIGHT TO A PUBLISHER<br />
WHILE HE PRESERVES A CONTINUING INTEREST<br />
IN HIS WoRK. But in this article it might be<br />
added, NO AUTHOR SHOULD GRANT TO A PUB-<br />
LISHER THE EXCLUSIVE LICENCE TO PUBLISH<br />
HIS WORK DURING THE TERM OF COPYRIGHT<br />
WITHOUT LIMITATION, for this may lead to evils<br />
almost as serious as those which result when<br />
the author transfers his copyright.<br />
<br />
In the article referred to it was suggested<br />
that the first clause in all agreements should<br />
be “ What the Author grants ” and should run<br />
as follows :-—<br />
<br />
“‘ The author grants the publisher a licence to publish his<br />
format (or in format agreed<br />
<br />
The other limitations which this clause<br />
should contain are :—(1) limitation as to<br />
country (generally Great Britain, Ireland,<br />
the Colonies and the Dependencies thereof) ;<br />
(2) limitation as to edition (an edition 1,000,<br />
2,000 or 8,000 copies); (8) limitation as to<br />
time for a period of 3, 5 or 7 years.<br />
<br />
Here, as in the former article, we set<br />
out from the publishers’ own agreements the<br />
clauses which they have asked the author to<br />
sign, in order that the author may easily recog-<br />
nise them, and may as easily gather from the<br />
following comments some of the disadvan-<br />
tages under which he will labour if he affixes<br />
his signature to them. They are as follows :—<br />
<br />
A. The publisher shall during the legal term of copyright<br />
have the exclusive right of producing and publishing the<br />
work in England and the colonies and the United States<br />
of America. The publisher shall have the entire control<br />
of the publication and sale and terms of sale of the book,<br />
and the author shall not during the continuance of this<br />
agreement (without the consent of the publisher) publish<br />
any abridgment translation or dramatised version of the<br />
work.<br />
<br />
During the continuance of this agreement the copy-<br />
right of the work shall be vested in the author who may be<br />
—S as the proprietor thereof accordingly.<br />
<br />
. The author hereby agrees to assign to the said<br />
& Co. their successors and assigns, and the said & Co.<br />
hereby agree to purchase the sole right of publication of<br />
the above work in the British Empire and elsewhere.<br />
<br />
The said & Co. shall be at liberty to dispose of<br />
copies at special terms to America, and the author shall<br />
be entitled to receive per cent. of the price at which<br />
copies are sold in sheets to America.<br />
<br />
C. That the copyright of the said new novel shall remain<br />
the property of the author and that at the expiration of<br />
five years from the date on which the publisher first<br />
publish the said new novel or at the expiration of any<br />
subsequent period of five years thereafter this agreement<br />
may be terminated by either party on giving three months<br />
notice of intention to do so.<br />
<br />
That the publishers shall issue or cause to be issued a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
rt hake bree<br />
<br />
=<br />
ae<br />
<br />
is7<br />
ay<br />
<br />
<br />
<br />
THE AUTHOR. 27<br />
<br />
special edition of the said new novel for sale in the Colonies<br />
and Dependencies of Great Britain (with the exception<br />
of Canada) and they shall pay to the author on all copies<br />
of the said new novel sold in such special edition a royalty<br />
of 4d. a copy.<br />
<br />
That the United States rights, the Canadian rights, the<br />
rights of translation, dramatisation and the right to<br />
publish the said new novel in English on the Continent of<br />
Europe are reserved by the author.<br />
<br />
D. The author hereby agrees to assign to the publishers<br />
their successors and assigns and the publishers hereby<br />
agree to purchase the sole right of publication in volume<br />
form during the legal term of copyright of an original work<br />
entitled “ ” of which he is the author.<br />
<br />
Tf the above book ahall be included in the publisher’s<br />
Colonial Library, or any colonial edition arranged for by<br />
the publisher, the royalty shall be 3¢. per copy on all<br />
copies sold. The publisher shall have the right to arrange<br />
for publication of the said work in the United States of<br />
America and shall credit the author with per cent.<br />
of all profits accruing from such an arrangement. All<br />
profits arising from minor rights such as translations,<br />
continental editions, &c., to be divided equally between the<br />
author and the publisher.<br />
<br />
Let us now take, for particular comment,<br />
the clauses printed above, in their order, stating,<br />
as we have already stated, that to grant to a<br />
publisher an exclusive licence to publish a work<br />
during the term of copyright without limita-<br />
tion, may lead to evils almost as serious as<br />
those which result from the transfer of copy-<br />
right. The evils resulting from the transfer of<br />
copyright have been set out in many numbers<br />
of The Author and in the reports. As far as<br />
literary and dramatic works are concerned the<br />
result attending this constant repetition has<br />
been, on the whole, successful. No dramatists<br />
transfer their copyright, and very few authors,<br />
except in the cases where the work has been<br />
commissioned. The musical composer, however,<br />
is not free of the shackles of the music pub-<br />
lisher who endeavours to bind him in every<br />
possible way, with the scantiest return.<br />
<br />
A. The publisher shall during the legal term of copyright<br />
have the exclusive right of producing and publishing the<br />
work in England the Colonies and the United States of<br />
America. The publisher shall have the entire control of<br />
the publication and sale and terms of sale of the book, and<br />
the author shall not during the continuance of this agree-<br />
ment (without the consent of the publisher) publish any<br />
abridgment translation or dramatised version of the work.<br />
<br />
During the continuance of this agreement the copyright<br />
of the work shall be vested in the author, who may be<br />
registered as the proprietor thereof accordingly.<br />
<br />
_ This article deals with the conveyance of the<br />
licence to publish, that is, the appointment of<br />
the publisher as agent to do certain things, as<br />
distinct from the conveyance of copyright, 7.e.,<br />
the transfer of property, which allows the<br />
publisher to act as principal.<br />
<br />
This is a step in the right direction, but an<br />
author must beware, for the grant of a licence<br />
to publish unconditioned by limitations of<br />
<br />
time, place, price, edition, etc., may prove as<br />
dangerous almost as the transfer of the copy-<br />
right.<br />
<br />
If a publisher is granted a licence to publish,<br />
he can only publish the work that an author<br />
submits to him; he cannot make even those<br />
alterations which, often so galling to an author<br />
who conveys the copyright, do not, however,<br />
damage his literary reputation.<br />
<br />
The clause then, as it stands, isolated from<br />
the rest of the agreement, is a dangerous clause,<br />
as it does not limit the publisher either in shape,<br />
price, time or edition,—it does not even limit<br />
the publisher to book form, though apparently<br />
it does not include all the countries of the<br />
Berne Convention. There is, however, one<br />
serious defect in the clause.<br />
<br />
“The author shall not during the continuance of this<br />
agreement (without the consent of the publisher) publish<br />
any abridgment, translation, or dramatised version.”<br />
<br />
What do these words mean? What would<br />
they mean if read to an_ unsophisticated<br />
author? They would read rather as a vagary<br />
of the publisher, and the author would think<br />
that the words, like the words in a lease, would<br />
mean that such consent would not be unreason-<br />
ably withheld.<br />
<br />
The author would indeed have some right to<br />
think so, when he reads another clause, not<br />
printed here, from the same agreement, which<br />
carefully apportions the division of profits on<br />
serial and other minor rights.<br />
<br />
There is something, no doubt, to be said in<br />
case of some books, scientific books, diction-<br />
aries, and others of a like kind, in favour of<br />
restricting the author from publishing an<br />
abridgment while the book of his original grant<br />
is selling, and the publisher might well desire<br />
to have a word in the matter. But this agree-<br />
ment cannot apply to translation rights, still<br />
less to the sale of a dramatic version.<br />
<br />
What then actually happens? The author,<br />
with some difficulty, arranges with a foreign<br />
author and publisher to translate and publish<br />
his book. He writes to the publisher and asks<br />
for his consent. The publisher replies that he<br />
eannot give his consent unless he receives<br />
50 per cent. of the profits, there is nothing to<br />
prevent his asking 75 per cent. even. The<br />
author is bound to acquiesce or lose his market.<br />
<br />
An agent, it is true, takes 10 per cent. for<br />
finding a market, but here a publisher will ask<br />
50 per cent. for doing nothing.<br />
<br />
The case is worse, however, when it comes<br />
to the sale of a dramatic version. It is<br />
important for an author who has dramatised<br />
his work to have control of the publication of<br />
28 THE<br />
<br />
the words of his drama, and this could not<br />
interfere with the publication of his book,<br />
although the publisher might say that it would.<br />
This right to publish a dramatic version must<br />
not be confused with the right to perform,<br />
i.e., dramatic rights which are included in some<br />
publishers’ agreements. :<br />
<br />
An author may take infinite time, trouble<br />
and labour in converting his book into a drama,<br />
and in getting it accepted by a manager, and<br />
then be met by the same demand. This, too,<br />
when he expected merely a polite letter of<br />
sanction. An author cannot be urged too<br />
strongly not to sign any agreement in which<br />
these words are included.<br />
<br />
To Clause 2 an objection must be raised on<br />
the ground of bad draughstmanship.<br />
<br />
If the author has clearly never conveyed the<br />
copyright to the publisher the copyright is<br />
vested in him, and he is clearly entitled to be<br />
registered as proprietor. There is no need,<br />
therefore, to insert the clause, and anything<br />
that may raise an extra chance of a legal<br />
argument should be avoided.<br />
<br />
B. The author hereby agrees to assign to the said<br />
& Co. their successors and assigns, and the said & Co.<br />
hereby agree to purchase the sole right of publication of<br />
the above work in the British Empire and elsewhere.<br />
<br />
The said & Co. shall be at liberty to dispose of<br />
copies at special terms to America, and the author shall<br />
be entitled to receive per cent. of the price at which<br />
copies are sold in sheets to America.<br />
<br />
It should be stated once for all that the<br />
agreement with a publisher should be personal<br />
to that publisher, even where the author is<br />
only conveying a licence to publish. It is a<br />
mistake, therefore, to allow the words “ their<br />
successors and assigns,’’ to come into a<br />
publication agreement. Many authors would<br />
be quite willing to allow certain publishers<br />
to have a licence to publish, but if anything<br />
happened to the firm they might strongly<br />
object to the agreement being sold in the<br />
open market to any chance purchaser. If,<br />
however, the author does grant a licence to the<br />
“ publishers, their successors and assigns,” he<br />
should see that his grant is strictly limited and<br />
that he is guarded against his work falling into<br />
the hands of another person antagonistic to<br />
his interests.<br />
<br />
There is one further point in the clause<br />
which should be mentioned, and that is, the<br />
wording. The author should not “ assign the<br />
right of publication,” but should merely<br />
““ grant a licence to publish the work in book<br />
form.”<br />
<br />
These slight alterations mean a good deal<br />
from the legal point of view.<br />
<br />
AUTHOR.<br />
<br />
This clause is unlimited as to country and is<br />
not limited as to book form. It is wider than<br />
the one quoted just before and is dangerous.<br />
<br />
Clause 2 is not an unreasonable clause, as it<br />
gives the publisher liberty to deal with the<br />
American market, when the author has not<br />
acquired the American copyright.<br />
<br />
In fact, save in exceptional cases, this liberty<br />
is best left to the publisher. All the author<br />
has to see is that he gets a fair royalty.<br />
<br />
C. That the copyright of the said new novel shall<br />
remain the property of the author and that at the expira-<br />
tion of five years from the day on which the publisher first<br />
publish the said new novel or at the expiration of any<br />
subsequent period of five years thereafter this agreement<br />
may be terminated by either party on giving three months<br />
notice of intention to do so.<br />
<br />
That the publisher shall issue or cause to be issued a<br />
special edition of the said new novel for sale in the Colonies<br />
and Dependencies of Great Britain (with the exception of<br />
Canada) and they shall pay to the author on all copies<br />
of the said new novel sold in such special edition a royalty<br />
of 44. a copy.<br />
<br />
That the United States rights, the Canadian rights, the<br />
rights of translation, dramatisation and the right to publish<br />
the said new novel in English on the Continent of Europe<br />
are reserved to the author.<br />
<br />
A licence to publish limited as to time.<br />
<br />
This form of grant has a great many advan-<br />
tages and is certainly to be recommended to<br />
the writers of technical works, who must have<br />
power, from time to time, to reconsider their<br />
position and bring their works up to date.<br />
Three years is, in most cases, a good limit, and<br />
the publisher is not likely to suffer. If the<br />
author desires he can—should no alterations<br />
be necessary—allow the publisher to continue,<br />
or if alterations are necessary, give him the<br />
option of publishing the new edition.<br />
<br />
There is one point, however, against which<br />
the author must guard himself in dealing with<br />
time limitations, and that is, the possibility of<br />
the publisher over-printing towards the end of |<br />
the contract, so that when the time limit has<br />
expired there is a large stock on hand. It has<br />
been decided in the Courts that the publisher<br />
would have a right to continue dealing with<br />
this stock after the time limit has expired.<br />
<br />
Clause 2 is satisfactory, for the publisher<br />
actually undertakes to do certain things.<br />
<br />
In many agreements where the publisher<br />
obtains these rights he does not undertake, and<br />
cannot, therefore, be compelled to do anything<br />
with them at all. :<br />
<br />
This difficulty has already been emphasised<br />
frequently in those articles dealing with the<br />
conveyance of copyright.<br />
<br />
Clause 3 is essential where an unlimited<br />
licence to publish has been transferred to the<br />
publisher, but the words “ and all other rights<br />
<br />
<br />
<br />
<br />
<br />
<br />
ss<br />
&<br />
<br />
<br />
<br />
<br />
<br />
\<br />
+<br />
4<br />
4<br />
og<br />
|<br />
<br />
THE AUTHOR. 29<br />
<br />
not included by this agreement,” should be<br />
added.<br />
<br />
It is always much better, however, and much<br />
clearer for the author to limit the publisher<br />
by granting him a licence to produce the work<br />
in book form at the price of only in<br />
Great Britain and Ireland, the Colonies and<br />
Dependencies thereof. Then such a clause as<br />
Clause 3 is surplusage and should not be<br />
inserted. When the publisher has been limited<br />
in a proper way it is always dangerous to<br />
insert a further clause reserving certain rights<br />
to the author unless the clause is very general,<br />
as some rights may be omitted inadvertently,<br />
and questions may arise as to whether they<br />
belong to author or publisher. The best plan,<br />
therefore, is carefully to limit the publisher as<br />
to the exact rights the author intends to convey<br />
and to insert no further clause as to what<br />
rights the author retains.<br />
<br />
D. The author hereby agrees to assign to the publishers<br />
their successors and assigns and the publishers hereby agree<br />
to purchase the sole right of publication in volume form<br />
during the legal term of copyright of an original work<br />
entitled “ ” of which he is the author.<br />
<br />
If the above shall be included in the publisher’s Colonial<br />
Library, or any colonial edition arranged for by the<br />
publisher the royalty shall be 3d. per copy on all copies sold.<br />
The publishes shall have the right to arrange for publica-<br />
tion of the said work in the United States of America and<br />
shall credit the author with per cent. of all profits<br />
accruing from such an arrangement. All profits arising<br />
from minor rights such as translations continental editions,<br />
ete., to be divided equally between the author and the<br />
publisher.<br />
<br />
On the subject of “their successors and<br />
assigns,” and “ sole right of publication,” we<br />
have already spoken.<br />
<br />
The sole right of publication in this clause<br />
is limited to volume form. So far this is<br />
satisfactory, but the limitation is not sufficient.<br />
There is no limit as to country. There is no<br />
limit as to price, there is no limit as to time,<br />
and there is no limit as to edition.<br />
<br />
In the next clause there is no undertaking<br />
on the part of the publisher to perform this<br />
part of his licence, but if he thinks it will suit<br />
him to market the book in the Colonies he<br />
undertakes to pay the author a fixed number<br />
of pence per copy. This might be satisfactory<br />
if he had bound himself to Colonial production.<br />
The question of the amount to be paid would<br />
of course be a matter of bargaining, and we<br />
hope to deal with Colonial sales and prices at<br />
greater length in another article.<br />
<br />
Sale on half profits to America when royalty<br />
is paid on British and Colonial sales should<br />
only be permitted when the publisher under-<br />
takes to charge only the cost of printing and<br />
paper against the profits on the American<br />
<br />
edition. This the best firms undertake to do,<br />
but examples have come to hand when a<br />
proportionate amount of the cost of composition<br />
has been charged against the profits. Why<br />
such a course is unfair and unjustifiable wiil<br />
be explained in a subsequent article. It is<br />
sufficient here to emphasise the fact that<br />
where profits are being shared on the American<br />
sales and there is a royalty agreement on the<br />
English sales, only the cost of printing and<br />
paper should be charged against the American<br />
edition.<br />
<br />
Under no circumstances should the latter<br />
part of the clause stand, but if through the<br />
publisher’s agency under an agreement signed<br />
by the author any of the minor rights are sold,<br />
then the author should pay the publisher the<br />
usual agency charge of 10 per cent.<br />
<br />
———__4¢ 9<br />
<br />
THE PALACKY AND SOKOL COMMEMORA-<br />
TION AT PRAGUE.<br />
<br />
—+- <><br />
By James Baker, F.R.G.S.<br />
<br />
HE unveiling of the national memorial to<br />
the memory of the famous historian,<br />
Francis Palacky, was linked by the<br />
<br />
Bohemians with their national festival of the<br />
Jubilee of the foundation of the Sokol move-<br />
ment, a movement for the physical and moral<br />
development of the Slav people, that has<br />
grown under splendid organisation to gigantic<br />
proportions.<br />
<br />
British writers and journalists were honoured<br />
on this occasion, by the City of Prague sending<br />
invitations to five members of the British<br />
International Association of Journalists, as<br />
guests of the City during the festivities, that<br />
lasted four days. The writers so honoured were<br />
all men who had written upon Bohemia, when<br />
on a former occasion as members of this<br />
Association they had visited the country ; and<br />
a right cordial welcome they received at the<br />
impressive ceremonies held in the Pantheon,<br />
and at the unveiling of the remarkable monu-<br />
ment by Sucharda.<br />
<br />
Francis Palacky is a writer who has done so<br />
much for his country as a historian, that it is<br />
strange his dramatic, forceful work is not more<br />
utilised in England by writers upon Central<br />
European life and polities, up to the year 1526 ;<br />
when, alas, his history closes.<br />
<br />
The scenes enacted in Prague, both in the<br />
Pantheon and before the monument to the<br />
memory of the patriot and historian, were full<br />
30<br />
<br />
of intense significance. The whole of the Slav<br />
peoples were represented, and the addresses<br />
given by his Excellency, the President of the<br />
Bohemian Academy, and Professor Dr. Joseph<br />
Pekats were worthy and interesting culegies<br />
of Palacky’s work, and its outcome. What<br />
a tremendous influence the work has had, was<br />
evidenced by the demonstration at the unveil-<br />
ine of the monument, a gigantic and notable<br />
work of art. The Viceroy and Church<br />
dignitaries, Princes, nobles, and people listened<br />
to an oration from Dr. Kramai, the well-known<br />
Slav Parliamentarian. The writer of this<br />
article also spoke a word on the debt English<br />
writers owed to his work. Not only at this<br />
historical and literary festival were the British<br />
visitors honoured, but also at the imposing<br />
Sokol demonstrations, and at the banquets<br />
and concerts coincident with the festivals.<br />
On the great Letna Plain they witnessed from<br />
the Tribunes the astounding gymnastic and<br />
drill display simultaneously of 11,000 men and<br />
6,000 women, organised by the Sokols or<br />
Faleons, who number now far over 100,000<br />
members, and they were present at the march<br />
past of over 20,000 of these splendidly drilled<br />
men before the old Town Hall of Prague and<br />
the Lord Mayor and Council. The links<br />
between England and Bohemia in bygone<br />
days have been many, and of world-wide<br />
influence, far more than the general reader can<br />
glean; for even Green and Bright and other<br />
historians omit to mention that Richard II.<br />
marriel Anne of Bohemia, an event of great<br />
<br />
importance to the world’s history. The<br />
British International Journalists who were<br />
invited learnt much during their stay. They<br />
<br />
included Mr. D. A. Louis, the scientifie writer<br />
of the Times, Mr. Walter Jerrold of the<br />
Telegraph, Mr. R. J. Kelly of the Freeman, and<br />
Mr. Rainbow of the Eastern Chronicle ; and the<br />
writer who has watched for over thirty years<br />
the wondrous developments in Bohemia that<br />
are now of such weight in Central European<br />
politics. Palacky’s famous saying: “If the<br />
Empire of Austria did not exist, we should be<br />
compelled to create it,” has to-day a wondrous<br />
significance.<br />
<br />
ee<br />
<br />
“TO PLEASE ONESELF.”<br />
<br />
<br />
<br />
By W. Haroip THomson.<br />
<br />
HE other day I beard a novelist—you would<br />
know his name quite well if I were to set<br />
it down here—bemoaning the fact that in<br />
<br />
the ten years during which he had been making<br />
<br />
THE AUTHOR.<br />
<br />
a really good income from writing he had not done<br />
anything for the sheer joy of pleasing himself.<br />
<br />
“T was making just enough to live on,” he said,<br />
“and getting pretty sick of things. I was writing<br />
essays of the style that are cal’ed graceful, and<br />
stories which editors usually dub ‘ pretty, but too<br />
slight,’ and I was getting them accepted here and<br />
there, and now and then. But J wanted to get on,<br />
I wanted to become known, and I wanted to make<br />
money. So I followed the advice of an old hand<br />
who had found that there was better fun than<br />
starving on art. He told me to stop dreaming;<br />
he told me to forget any hopes I had of being<br />
recognised asa stylist; he told me to stop framing<br />
phrases that had a tendency to make people think,<br />
and finally he told me to stop doing what I wanted,<br />
and to do instead what editors said their readers<br />
wanted. So I went in for that sort of thing.”<br />
<br />
He shrugged his shoulders at that point and<br />
ended : “ Well, I’ve done what I set out to do—<br />
I’ve made a name and I’ve made money. But I’ve<br />
made the name by stuff I’m ashamed of, and I know<br />
that I won the money hard because I starved the<br />
artistic side of me until it died.”<br />
<br />
I believe—and am sorry to believe—that the case<br />
of that writer is quite a common one. Or at least<br />
it is common as regards the starving of the artistic<br />
nature. Few writers, perhaps, gain a popularity or<br />
financial reward such as his, but a pitiful army in<br />
their efforts to do so learn the bitterness of crushing<br />
that desire which, in the first place, made them<br />
stretch out their hands for the pens—the desire to<br />
write of the sweetest things they know in the<br />
sweetest words at their command.<br />
<br />
To write something just to please oneself ! That<br />
is the craving I am sure that comes often and with<br />
an increasing pleading to every author dependent<br />
upon his work for a livelihood.<br />
<br />
There are those who du please themselyes—who<br />
give of their very best and reach just to that point<br />
where they please what might be called the literary<br />
gallery ; there are others—a small and to be envied<br />
band——who write to please themselves and at last<br />
gain a public of which they may be proud and a<br />
return with which they may be pleased. But the<br />
average writers, the middle-class in the penman’s<br />
world, the men and women who, if they can write<br />
what is in popular demand, must do so in sackcloth<br />
and with tears, as a rule, cannot afford to permit<br />
themselves the joy of doing what they term to be<br />
their best.<br />
<br />
Their best would perhaps some day meet with its<br />
reward, but they recognise that before that glad<br />
day has had time to dawn, their eyes would have<br />
been closed.<br />
<br />
It is the canker in the breast of the average pro-<br />
fessional author—the stifling of his inclination to<br />
sit down and express the best that is in him<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
without regard to popular taste. Perhaps “ the best<br />
that is in him” is not quite the right phrase. I<br />
do not mean that he may have some noble philo-<br />
sophy which he feels called to expound, nor indeed<br />
that he may have anything particularly serious to<br />
say at all. It would be more correct to say that he<br />
longs to set down with all the artistry in him his<br />
own thoughts upon the sweet or sad things which he<br />
sees or hears—anything which appeals to and moves<br />
the higher emotions.<br />
<br />
The insistent editorial demand for action in every<br />
paragraph, quite irrespective of the language in<br />
which that action is described, is what makes<br />
cynics of the more ambitious penmen. During<br />
their period of apprenticeship and when writing<br />
was so far a hobby merely, they had written<br />
what they wanted and had no doubt seen their<br />
essays, their graceful stretches, their short stories<br />
that were free from blood and detectives and<br />
‘ther popular ingredients, in print from time to<br />
time.<br />
<br />
But at last, perhaps not for a lone time—because<br />
authors are creatures in whom hope dies hard—<br />
they were forced to recognise that where money-<br />
making by the pen is concerned it is the matter<br />
and not the manner that counts.<br />
<br />
It was forced upon them that writers much<br />
inferior to themselves in education having not the<br />
slightest pretension to culture; men and women<br />
whose outlook and whose language were both<br />
mawkish—were those who were making the big<br />
incomes, True, they were not admired by the<br />
book-reading public save in a few well-known<br />
instances, and could never hope to gain the praise<br />
of critics or fully educated people, but still they<br />
were doing something enviable, they were making<br />
good incomes wherewith to maintain themselves<br />
and those dependent on them. And the young<br />
writer seeing them, and perhaps being helped to<br />
his bitter decision by sheer need, reluctantly sets<br />
out to crush what is artistic in him; with much<br />
travail of soul he represses the inclination to set<br />
down anything which might be dubbed over-subtle<br />
and clever for the understanding of the mass ; he,<br />
in fact, far more than the actor, has to recognise<br />
the necessity of playing to the gallery.<br />
<br />
If he be a story-writer he will be told quite<br />
plainly and quite truthfully that what is wanted is<br />
a story—not fine writing ; psychological insight,<br />
deft portrayal of character counts but little if at<br />
all.<br />
<br />
There ‘are, of course, openings for imaginative<br />
articles written with cleverness and with style ; for<br />
Sketches where the writing is what tells, but the<br />
author who has a living to make gets to know very<br />
soon that the writing of such articles or sketches is<br />
‘a huge gamble. The market is so very small—the<br />
pay’ so very poor. Practically nobody wants his<br />
<br />
<br />
<br />
31<br />
<br />
literary cleverness—thousands want what editors<br />
and writers themselves pleasantly term ‘ muck.”<br />
<br />
I am not forgetting the exceptions who win<br />
through from the first with material of which they<br />
may well be proud—but the exceptions are, after all,<br />
of little moment to the rank and file.<br />
<br />
And so when the average author—travelled, per-<br />
haps, well read, cultured, possessing what is<br />
pathetically called a “soul ’’—sitg at night in his<br />
quiet study longing to express on paper and in<br />
language such as would please some kindred Spirit<br />
the thoughts that come to him, he knows the dread<br />
voice which whispers—* Forget.”<br />
<br />
“ Forget in your working hours at least your<br />
appreciation of the beautiful - forget the fascination<br />
of building a gracious picture with words; forget<br />
that there is in you the power to move minds and<br />
hearts like your own with finely-wrought sentences<br />
embodying high thoughts.<br />
<br />
“* Remember instead that if you are out for pay in<br />
this game of writing, you must either wait for long<br />
years before your work ‘ gets there,’ or you must<br />
learn to tickle the palates of your masters in the<br />
gallery. In one way it is, of course, just as clever to<br />
do that as to please the elect, but it is a cleverness<br />
which will bring you no joy—unless indeed the<br />
money is the only reward asked. And in that<br />
case the gallery is your proper audience, and you<br />
have no reason to talk either of your achievements<br />
or of what might have been,”<br />
<br />
PSUS REEy See cams<br />
<br />
BOOK-PRICES CURRENT.*<br />
<br />
—1—>— +<br />
<br />
dee parts of the periodical lying before us<br />
<br />
are the first three numbers of the<br />
twenty-sixth volume containing records<br />
of the sales from October 5, 1911, to April 15,<br />
1912. That the publication always maintains<br />
its high interest need not be said, but naturally<br />
other sales are thrown into the shade by the<br />
first section of the sale of the Huth Library<br />
(begun on November 15, 1911). Itis only from<br />
the pages of “ Book-Prices Current ” itself that<br />
it will be possible for any one to form any<br />
correct impression of the multitude of books cf<br />
extraordinary rarity and interest that were on<br />
this occasion offered for sale. The Shakes-<br />
periana were sold en bloc, but there remained<br />
a wealth of manuscripts, block-books, incuna-<br />
bula and rarities the mere titles of which (apart<br />
from the interesting bibliographics! particulars)<br />
form marvellous reading. To do the sale any<br />
<br />
<br />
<br />
* “Book-Prices ‘ Current.”<br />
Vol. XXVI.<br />
<br />
London: Elliot Stock.<br />
32 THE AUTHOR.<br />
<br />
justice in a short notice is impossible ; its<br />
record is matter for slow and pondered perusal.<br />
A copy of “ The Mazarin Bible ” (No. 1300—<br />
the bibliographical notes deserve particular<br />
attention) sold for £5,800. To the student of<br />
English literature will be hardly less inte-<br />
resting No. 1124, a collection of 384 broadside<br />
ballads in black letter, chiefly belonging to the<br />
period of the Restoration, in excellent preserva-<br />
tion, which sold for £400, and seems to us to<br />
have been cheap at that price. A further<br />
instalment of the Amherst Library was sold on<br />
December 12, presenting among other rarities<br />
the second edition of Caxton’s “‘ Book of Good<br />
Manners,”’ prohably the only copy in existence.<br />
Authors should look at the prices fetched by<br />
modern autograph MSS. at the sale of the<br />
library of J. S. Burra, of Ashford, Kent,<br />
together with other properties (December<br />
18—15, 1911). Sir Walter Besant’s “ Herr<br />
Paulus was sold for £2; Gissing’s ‘‘ Eve’s<br />
Ransom,” £11; Edna Lyall’s ‘‘ Donovan,” £50.<br />
Other autographs by modern writers are men-<br />
tioned. At the sale of the remaining portion<br />
of the library of Dr. Joseph Frank Payne several<br />
first and early editions of Milton’s works<br />
were sold; among them a first edition of<br />
“Paradise Lost’ for £40. How many fold<br />
does the price given for this single copy exceed<br />
the sum paid John Milton for the whole copy-<br />
right of a work out of which the publishers and<br />
booksellers of England have been ever since<br />
making profits? Particulars very interesting<br />
to authors will be found recorded in the sale<br />
(April 15, etc., 1912) of the library of Louisa<br />
Lady Ashburton. <A considerable number of<br />
works by Carlyle, or relating to Carlyle, were<br />
sold, with autographs of his in them. The<br />
vastly enhanced value of the volumes in con-<br />
sequence of the autographs contained in them<br />
is deserving of remark. The numbers are 5007<br />
to 5024, and should be studied by any one who<br />
desires to form a just estimate of what auto-<br />
graphs in a book mean.<br />
<br />
——_—_—\e—o— 2 —___—_<br />
<br />
LITERATURE AND LIFE.*<br />
<br />
—_-—~o + —<br />
<br />
Tat Mr. Watt has a public is sufficiently<br />
demonstrated by the number of works which<br />
he has published, and we entertain no doubt<br />
that his new book, ‘“‘ Literature and Life,” will<br />
be highly esteemed by those for whom it is<br />
<br />
<br />
<br />
* “Titerature and Life.” The Rev. Lauchlan Maclean<br />
Watt. London: A, & C. Black, 1912, A volume of “The<br />
Guild Library.”<br />
<br />
intended. Every prolific author knows to<br />
whom he is addressing himself, and how he<br />
may best hold their attention. For that<br />
reason we are unwilling to lay stress upon<br />
certain features of the book which do not<br />
exactly commend themselves to our judgment,<br />
the somewhat lyric tone of a good deal of the<br />
prose, and the values assigned to some of the<br />
authors whose works are recommended. We<br />
hasten to add that the latter feature is one<br />
respecting which it is, after all, almost im-<br />
possible that two minds should think abso-<br />
lutely in agreement. Practically ‘“* Literature<br />
and Life *’ is one of the many books recom-<br />
mending other people what they should read.<br />
Of such works there seems to be no end; and<br />
seeing how many people, comparatively speak-<br />
ing, never read anything that they ought to<br />
read, all these books are books that will do good<br />
if thev produce any effect at all. In the present<br />
case the author goes a point farther and dwells<br />
not only upon what should be read but how it<br />
should be read, and this also is commendable.<br />
Authors are likely to find the chapters on<br />
“Style and Thought,” ‘*‘ Vocabulary,” and<br />
‘“‘ The Writer and his Age,”’ the most suggestive,<br />
and we could imagine this part of the book<br />
proving valuable to writers who have not yet<br />
succeeded in saying things as they wish to say<br />
— The book is furnished with an excellent<br />
index.<br />
<br />
CORRESPONDENCE.<br />
<br />
ne<br />
CopyRIGHT BILL.<br />
<br />
Str, — Your readers will have been much<br />
interested by the supplement to the July issue of<br />
The Author. It is evident that the Board of Trade<br />
is anxious enough to accord fair play to authors,<br />
such as they have never had before ; and it will be<br />
their own fault if they do not take advantage of it.<br />
The paragraph that insists on stamps of royalty<br />
being affixed to the different copies of the book is<br />
of particular interest. It is a pity that the words<br />
“if not otherwise arranged” are not left out, as<br />
they leave a loophole to dishonest publishers, who<br />
are sure to take advantage of it if allowed to do so.<br />
<br />
The iniquitous rule of counting thirteen for<br />
twelve will now, I fancy, be abolished for ever.<br />
This is the author’s opportunity to get quit of<br />
their unjust trammels, and if they don’t join hands<br />
one and all, they will be greatly to blame for being<br />
robbed of their property with their eyes open.<br />
<br />
Iam, &c.,<br />
JUSTITIA. | https://historysoa.com/files/original/5/521/1912-10-01-The-Author-23-1.pdf | publications, The Author |
| 522 | https://historysoa.com/items/show/522 | The Author, Vol. 23 Issue 02 (November 1912) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+02+%28November+1912%29"><em>The Author</em>, Vol. 23 Issue 02 (November 1912)</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> | 1912-11-01-The-Author-23-2 | | | | | 33–64 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1912-11-01">1912-11-01</a> | | | | | | | 2 | | | 19121101 | Che Huthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vox. X XTII.—No. 2.<br />
<br />
NOVEMBER 1, 1912.<br />
<br />
[PRicE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
——_—_—_e——______<br />
<br />
NOTICES.<br />
<br />
—— $<<br />
<br />
ee the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
ARTICLES AND CONTRIBUTIONS .<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 89, Old<br />
Queen Street, Storey’s Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
——_— > —___<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
to<br />
<br />
{1ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund, This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
*9<br />
<br />
a<br />
<br />
<br />
THE PENSION FUND.<br />
<br />
1<br />
<br />
before the trustees of the Pension Fund<br />
<br />
the accounts for the year 1911, as settled<br />
by the accountants, with a full statement of<br />
the result of the appeal made on behalf of<br />
the fund. After giving the matter full con-<br />
sideration, the trustees instructed the secretary<br />
to invest the sum of £500 in the purchase of<br />
Antofagasta and Bolivian Railway 5% Pre-<br />
ferred Ordinary Stock and Central Argentine<br />
Railway Ordinary Stock. The amounts pur-<br />
chased at the current prices were £287 in the<br />
former and £232 in the latter stock.<br />
<br />
The trustees desire to thank the members of<br />
the society for the generous support which they<br />
have given to the Pension Fund. The money<br />
now invested amounts to £4,454 6s.<br />
<br />
Later in the year, at a meeting of the Com-<br />
mittee of Management, a question concerning<br />
the funds of the society was brought up for dis-<br />
cussion, and it was suggested that it would be<br />
a good thing for the Pension Fund trustees, if<br />
they had power, to sell out the Fund’s holding of<br />
Consols and to invest in some more satisfactory<br />
security. The suggestion was placed before the<br />
trustees of the Pension Fund, and a meeting<br />
was called, when the chairman of the Committee<br />
of Management, the trustees, and Mr. Aylmer<br />
Maude, the member of the Committee of<br />
Management who had made the suggestion,<br />
were present. The figures were very closely<br />
considered, and it appeared clear that altera-<br />
tions in the investment of the funds could be<br />
carried out with advantage to the Fund’s<br />
income. It was decided by the trustees, with<br />
the approval of the Committee of Management,<br />
to sell out the holding of Consols. With the<br />
amount realised, were purchased —<br />
<br />
$2,000 (£400) Consolidated Gas and Elec-<br />
tric Company of Baltimore 44% Gold<br />
Bonds ;<br />
<br />
30 Buenos Ayres Great Southern Railway<br />
4°, Extension Shares, (1914) £8 paid ;<br />
£250 Edward Lloyd, Ltd., £1 5% Prefer-<br />
<br />
ence Shares.<br />
<br />
These amounts are fully set out and added<br />
in the nominal value to the Pension Fund<br />
investments, below.<br />
<br />
The trustees have also, in view of the option<br />
extended to them as holders of £232 Central<br />
Argentine Railway Ordinary Stock, subscribed<br />
for 8 Central Argentine Railway £10 Preference<br />
Shares, New Issue.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
<br />
iT January, the secretary of the society laid<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
to £4,454 6s., details of which are fully set out<br />
in the following schedule :—<br />
Nominal Value.<br />
<br />
<br />
<br />
<br />
<br />
gd<br />
Local loans ......:0. 552... 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ...........- 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4%, Certificates ...<.:.. 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
<br />
Stock 2.2.2.5.....0 2 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4°% Preference Stock 228 0 O<br />
New Zealand 34% Stock........ 247 9 6<br />
Trish Land 23% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1927-57 .............. 438 2 4<br />
Jamaica 34% Stock, 1919-49 1382 18 6<br />
Mauritius 4% 1937 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 34%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5, Preferred Stock .......4., 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock... ........ 3. 232 0 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44% Gold Bonds ............ 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares 2 ........ 250 0 0<br />
80 Buenos Ayres Great Southern<br />
<br />
Railway 4° Extension Shares<br />
<br />
1914 (£8 paid)... 240 0 0<br />
8 Central Argentine Railway £10<br />
Preference Shares New Issue... 30 0 O<br />
Total. ..........£4,454 6 0<br />
Se<br />
<br />
PENSION FUND.<br />
<br />
—— ++<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
April 1st, 1912.<br />
<br />
It does not include either donations given<br />
prior to April Ist, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Subscriptions.<br />
1912.<br />
April 6, Bland, J. O. P.<br />
April 6, Taylor, Mrs. Basil<br />
April 6, Forrester, J. Cliffe<br />
June 6, Probert, W. S. :<br />
June 6, Wheelhouse, Miss M. V.<br />
June 6, Acland, Mrs. C. D. .<br />
June 6, Spurrell, Herbert (from<br />
1912 to 1915)<br />
June 6, Spens, Archibald B. .<br />
July 18, Liddle, S. 5<br />
Aug. 7, Joseph, L. : : :<br />
Sept. 6, Garvice, Charles (in addi-<br />
tion to present sub-<br />
scription of £1 1s.)<br />
2, Todhunter, Dr. John.<br />
10, Eseott, T. H. S. : :<br />
10, Henderson, R. W. Wright<br />
10, Knowles, Miss M. W. :<br />
11, Buckley, Reginald<br />
12, Walshe, Douglas<br />
12 * Penmark’”’ ; :<br />
15, Sinclair Miss Edith .<br />
16, Markino, Yoshio<br />
20, Fiamingo, Carlo<br />
<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
<br />
1912. Donations.<br />
<br />
April 2, XX. Pen Club<br />
<br />
April 6, Taylor, Mrs. Basil .<br />
<br />
April 6, Cameron, Mrs. Charlotte .<br />
<br />
April 10, Kenny, Mrs. L. M. Stac-<br />
poole ; ‘ g<br />
<br />
April 10, Robbins, Alfred F..<br />
<br />
April 10, Harris, Emma H. .<br />
<br />
April 11, Ralli, C. Scaramanga<br />
<br />
April 11, Aitken, Robert —. :<br />
<br />
April 16, L. M. F. (£1 per month,<br />
February, March, April)<br />
<br />
April 22, Prior, Mrs. Melton :<br />
<br />
May 2, Baden-Powell, Miss Agnes<br />
<br />
May 25, Koebel, W. H. : :<br />
<br />
May 28, Harland, Mrs. Henry<br />
<br />
May 28, Wood, Mrs. A. E. ;<br />
<br />
June 4, Hornung, E. W.<br />
<br />
June 4, Ward, Dudley<br />
<br />
June 6, Worrall, Lechmere .<br />
<br />
June 13, Robbins, Miss Alice E.<br />
<br />
July 5, Hain, H.M. . ;<br />
<br />
Aug. 16, Shipley, R. H. ;<br />
<br />
Sept. 20, Willcocks, Miss M. P.<br />
<br />
Sept. 23, Peacock, Mrs. F. M.<br />
<br />
Oct. 2, Stuart, James .<br />
<br />
Oct. 14, Diblee, G. Bonney . .<br />
<br />
Oct. 14, Michell, The Right Hon.<br />
Sir Lewis, C.V.O. :<br />
<br />
Oct. 17, Ord, H.W. . :<br />
<br />
Oct. 20, Yorke-Smith, Mrs. .<br />
<br />
OCOorfocooot<br />
_<br />
<br />
SCrewmpnoocoroconcocoocow aOorH oS noo COroooooocoore re oooceo<br />
<br />
_<br />
<br />
oon<br />
<br />
—_<br />
<br />
Ome ane?<br />
<br />
Or Or Or Or<br />
<br />
ee<br />
oe OOS OOO OO =<br />
<br />
Se<br />
SCKNOCUHaANe<br />
<br />
_<br />
Son<br />
<br />
coaceooceocseco oooo Seooascoos<br />
<br />
—<br />
ooo<br />
<br />
OASCeoannocooocoocoaoo oooceo<br />
<br />
DAO<br />
<br />
COMMITTEE NOTES.<br />
<br />
—— +<br />
<br />
HE first meeting of the committee after<br />
the vacation was held at the offices of<br />
the Society, on Monday, October 7th.<br />
<br />
After the minutes of the previous meeting had<br />
been read and signed, the committee proceeded<br />
to the election of members and _ associates.<br />
Kighty-six elections were recorded, bringing<br />
the total for the current year up to 290, a<br />
record election for the first ten months of any<br />
year. The full list of names appears on another<br />
page. The committee, accepted with regret,<br />
the resignation of two members.<br />
<br />
The solicitor then read a detailed report of<br />
the cases left open from the former mecting<br />
and those taken in hand during the vacation.<br />
<br />
Against one paper there were six County<br />
Court cases. In each of these cases the sums<br />
due to the authors have been paid, and where<br />
summonses have been issued, costs have also<br />
been recovered. One important case, left<br />
over from the last meeting, related to the<br />
claim of a member against the proprietor of a<br />
paper for wrongful dismissal. In this case the<br />
damages demanded were obtained after some<br />
slight demur, and the matter has been closed.<br />
There was another case against the editor of<br />
a paper for infringement of copyright. This<br />
matter was settled, with the approval of the<br />
author, who resides in China. Of the County<br />
Court cases left open, in addition to those<br />
already mentioned, five have been settled by<br />
payment of the sums claimed, with costs.<br />
In one case the paper has gone into liquida-<br />
tion, and it is feared there are no assets.<br />
In three other cases, summonses are still<br />
pending, and will be heard some time in<br />
October. A report of these will be made to<br />
the committee at their meeting in November,<br />
and details will appear in the December issue<br />
of The Author. Three cases against a music<br />
publisher are in the solicitors’ hands. They<br />
involve complicated questions of account and<br />
disputes under agreements. Negotiations have<br />
been carried on, and it is hoped the matters<br />
will be settled before the November meeting<br />
of the committee. A case against a paper,<br />
on behalf of a member of the Society, arising<br />
out of a dispute as to the exact terms of a<br />
contract, has been set down for trial and will<br />
be carried through in due course, unless, as the<br />
solicitor reported might possibly happen,<br />
terms are reached before the case is tried.<br />
<br />
A serious case against an agent was taken<br />
in hand on the authority of the chairman during<br />
the vacation. The action of the chairman was<br />
36 THE AUTHOR.<br />
<br />
approved by_ the committee, and the matter<br />
will be carried through by the lawyers as<br />
quickly as possible. In another case, where a<br />
magazine had printed a story purporting to<br />
be the work of an author who had not, in fact,<br />
written it, the course adopted during the<br />
vacation was confirmed by the committee,<br />
and the case will be carried through. A<br />
dispute between an author and publisher as<br />
to the terms on which a commission agreement<br />
could be terminated, was also reported by the<br />
solicitor, who was instructed to proceed, as the<br />
question was a matter of principle, although<br />
the sum in dispute was small. The solicitor<br />
reported that delay had occurred in one case<br />
owing to the difficulty in obtaining answers to<br />
letters written from the society’s office. The<br />
committee decided it would be best for a<br />
representative of the Society to see the member<br />
personally and discuss matters with him.<br />
Having heard all the circumstances, the<br />
committee decided they could not take up a<br />
case dealing with the loss of a MS.. which had<br />
been put before them.<br />
<br />
The secretary then reported a curious<br />
difficulty which had arisen in the conduct of an<br />
action for infringement of copyright in Burma.<br />
It appeared, that the infringement had<br />
occurred when the Act of 1842 was in force,<br />
under which Act it was necessary to produce a<br />
copy of the certificate of registration of the<br />
author’s copyright. This, however, it was<br />
impossible to do now as the registration office<br />
had been closed. It was equally impossible to<br />
sue under the Act of 1911, as that Act had not<br />
yet been proclaimed in India or Burma. The<br />
secretary reported he had written twice to<br />
the India Office on the matter, and that<br />
that office reported that they had drawn the<br />
attention of the Indian authorities to the<br />
difficulty, and had forwarded the correspon-<br />
dence. It is hoped that the Society will be<br />
able to take action, as soon as the Act is pro-<br />
claimed under Section 37.<br />
<br />
The secretary then read to the committee<br />
a statement of a case laid before the Society<br />
by a member, in which a publisher had refused<br />
to keep his contract, owing to the refusal of<br />
the printers at the last moment to print the<br />
book. The member did not wish any action<br />
taken, as the book was being published by<br />
another house under a fresh agreement, but she<br />
wished to draw the committee’s attention to<br />
the position of the publisher, and that of the<br />
printers in the special case. The committee<br />
expressed their thanks to the member for her<br />
statement.<br />
<br />
A further report was made by the secretary<br />
<br />
as to a case taken up by the Society in San<br />
Francisco, and the committee decided to push<br />
the matter forward.<br />
<br />
It will be seen from this report that the<br />
number of cases carried through has been very<br />
large, and in most of them, the issues have<br />
been successful. The pressure of legal work<br />
in no way slackened off during the vacation.<br />
<br />
After the reports of the secretary and the<br />
solicitor, the next business dealt with was<br />
Canadian copyright. The chairman explained<br />
that it had been necessary for him to act in<br />
this matter under powers given to him by the<br />
committee, and he read a report of the work<br />
done during the vacation. As a result of<br />
interviews and correspondence it was decided<br />
to address the Canadian Prime Minister upon<br />
the proposed Copyright Bill of the Dominion.<br />
A letter, which it was proposed to send to the<br />
Canadian Premier, was therefore submitted<br />
to certain members of the Society, and the<br />
chairman said that it had been signed, with few<br />
exceptions, by all those before whom it had<br />
been laid. It will now be forwarded. The<br />
object of the letter was to urge upon the<br />
Prime Minister of Canada, the Right Honour-<br />
able R. L. Borden, the importance of main-<br />
taining the unity of imperial and international<br />
copyright.<br />
<br />
The committee next considered the most<br />
important matter that has been before the<br />
Society for some time, viz., the collection bureau<br />
an office which is being started to assist authors<br />
in the collection of certain fees. In another<br />
column of this issue will be found a short<br />
statement of what it is proposed to do, although<br />
<br />
‘the full details have not, as yet, been settled.<br />
<br />
The secretary reported the action that had<br />
been taken during the vacation, as a result<br />
of the approval of the council, which approval<br />
was chronicled in the October issue of The<br />
Author. Letters had been sent to certain<br />
members of the Society, asking them whether<br />
they would guarantee any sum towards the<br />
starting of the new bureau. The secretary<br />
reported that promises had been given, and a<br />
guarantee amounting to £670 had been raised.<br />
The committee then gave authority to the<br />
secretary to collect the fees due on the<br />
mechanical reproductions of the work of<br />
composers, members of the Society, who<br />
wished these fees collected by the Society.<br />
The question of the commission to be charged<br />
was referred to the Composers’ Sub-Committee,<br />
with a request to that body to report to the<br />
Committee of Management at the earliest<br />
opportunity. The question of the collection<br />
<br />
of fees on dramatic contracts was referred to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Sse anaes ae ANS<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the Dramatic Sub-Committee, with a similar<br />
request for report as to the commission to<br />
be charged for collection. The question of<br />
the charge for collection of fees on literary<br />
contracts between authors and_ publishers<br />
was adjourned to the next meeting of the<br />
committee, when it will come up with the<br />
reports from the Composers’ Sub-Committee<br />
and Dramatic Sub-Committee. The secretary<br />
was authorised to hire another room for the<br />
use of the Collection Bureau at a given limit<br />
of rental, and to engage another clerk to carry<br />
out the work and to assist in the work of the<br />
Society generally.<br />
<br />
The appointment of the date of the dinner,<br />
and the necessary arrangements in connection<br />
therewith, were left in the hands of the<br />
chairman to settle in consultation with the<br />
secretary. A circular dealing with this matter<br />
will be sent out in due course.<br />
<br />
Questions referring to Australian copyright<br />
and other copyright matters were referred<br />
to the Copyright Sub-Committee. Finally,<br />
the committee sanctioned the purchase of a<br />
safe to contain the scenarios which were being<br />
registered at the office, as the present regis-<br />
tration box was inadequate. They also sanc-<br />
tioned the purchase of a card index and other<br />
necessary equipment.<br />
<br />
The business discussed occupied the com-<br />
mittee till a late hour.<br />
<br />
——>+—<br />
<br />
Dramatic SuB-CoMMITTEE.<br />
<br />
Tue first meeting of the Dramatic Sub-<br />
Committee after the vacation was held at the<br />
offices of the Society of Authors on Friday,<br />
October 18th.<br />
<br />
The matter of the managerial treaty was the<br />
first on the agenda. The secretary read a<br />
letter from the Society of West End Managers<br />
to the effect that the last communication from<br />
the Society of Authors was to be considered by<br />
the managers at their mecting in November.<br />
Further discussion therefore was adjourned.<br />
<br />
The sub-committee next considered what<br />
fees authors should be advised to accept for<br />
performances of their plays in provincial halls<br />
and theatres twice nightly, as certain managers<br />
in the provinces had started performances on<br />
these lines. The secretary received instruc-<br />
tions to obtain some further information and<br />
to report to the next meeting.<br />
<br />
The question of fees in portable theatres, was<br />
also discussed, and a letter from Mr. Cecil<br />
Raleigh was read to the sub-committee.<br />
<br />
37<br />
<br />
It was followed by “‘ Cinematograph perfor-<br />
mances and authors’ rights.” The secretary<br />
stated that Mr. Raleigh had promised to submit<br />
a report, but was unable to lay it before the<br />
present meeting, as he was awaiting further<br />
information from the Société des Auteurs<br />
Dramatiques.<br />
<br />
The Committee of Management referred to<br />
the Dramatic Sub-Committee for advice in<br />
regard to the collection of authors’ fees by the<br />
society's Collection Bureau. The secretary<br />
explained at length what the Society proposed<br />
to undertake, and the sub-committee recom-<br />
mended, as the Society did not propose in any<br />
way to act as agents for the placing of plays,<br />
that under contracts actually made between a<br />
dramatist and a manager for the performance<br />
of a play, the Society should collect the fees on<br />
a commission of 5 per cent.<br />
<br />
The secretary then laid before the sub-<br />
committee the translation of an agreement<br />
issued by the Société des Auteurs Dramatiques<br />
between a dramatist and a translator. He<br />
explained that he had been desired to take this<br />
step by a gentleman in Holland who was<br />
anxious to act as the Society's agent now that<br />
Holland was about to enter the revised Con-<br />
vention of Berne, and to have authority to<br />
translate the works of those dramatists who<br />
were members of the English Society. He had<br />
expressed his willingness to stand by the terms<br />
of any contract the sub-committee cared to<br />
settle. The matter was adjourned to the next<br />
meeting so that the sub-committee could give<br />
it their consideration, and the secretary was<br />
instructed to send round copies of the draft.<br />
<br />
The papers relating to the schedule of fees<br />
which, at the request of the sub-committee, had<br />
been issued to the members of that body, were<br />
laid on the table, and, after some discussion, it<br />
was decided to take no further steps at present.<br />
<br />
The secretary again raised the question of<br />
the appointment of agents in foreign countries.<br />
As at present there appeared to be no way of<br />
getting over the serious practical difficulties<br />
that existed, further discussion was abandoned.<br />
<br />
The dramatic cases that had been taken up,<br />
with the sanction of the chairman, during the<br />
vacation were reported.<br />
<br />
— ++<br />
<br />
Composers’ SUB-COMMITTEE.<br />
<br />
A MEETING of the Composers’ Sub-Com-<br />
mittee was held at the offices of the Society<br />
on Saturday, September 14th.<br />
<br />
Following the reading of the minutes of<br />
the last meeting, a question submitted to the<br />
38<br />
<br />
Composer's Sub-Committee by the Committee<br />
of Management, namely, the amount of com-<br />
mission to be charged for the collection of<br />
mechanical instrument fees, was considered.<br />
The sub-committee reported to the Com-<br />
mittee of Management that they considered, in<br />
the first instance, the Society should charge<br />
15 per cent. on the collection of these fees under<br />
the Act of 1911, on works reproduced in England,<br />
the composers affected paying for the manu-<br />
facture of the necessary stamps. The sub-<br />
committee also considered that if accounts<br />
were rendered and settled every six months,<br />
this would be convenient to composers. This<br />
report will be considered at the next meeting<br />
of the Committee of Management.<br />
<br />
A question then arose touching an agree-<br />
ment which had been submitted to one of the<br />
Society’s members for signature, and the<br />
secretary received instructions to write to the<br />
firm that had made the proposal, as the sub-<br />
committee considered the form of agreement<br />
submitted was wholly unreasonable.<br />
<br />
The question of performing rights again<br />
came up for discussion, and the secretary<br />
received instructions to write to the Music<br />
Publishers’ Association on the matter, referring<br />
them to correspondence which had passed in<br />
the spring of the year.<br />
<br />
Mr. W. A. Elkin, a Director of the Mechani-<br />
cal Copyright Licences Co., was kind enough<br />
to call at the Society’s offices to discuss the<br />
terms of an agreement put forward by his<br />
company for the collection of mechanical<br />
instrument fees, and it is hoped that some<br />
definite pronouncement may be made later.<br />
<br />
A discussion also took place relative to the<br />
Taylor-Coleridge Fund and Concert.<br />
<br />
—1—>+<br />
<br />
Tur Copyricut Sup-CoMMITTEE.<br />
<br />
A MEETING of the Copyright Sub-Committee<br />
was held at the offices of the Society on<br />
Thursday, October 17th, at 4 o'clock.<br />
<br />
A report on the Australian Copyright Bill,<br />
which had been drafted kindly by Mr. E. J.<br />
MacGillivray, was laid before the sub-com-<br />
mittee and carefully considered.<br />
<br />
The sub-committee recommended that the<br />
report should be laid before the Committee<br />
of Management, and advised that the Commit-<br />
tee of Management, if possible, should take<br />
steps to see the following points adopted.<br />
<br />
Under the present Bill registration is neces-<br />
sary in the Colony, if an author or copyright<br />
owner desired to take advantage of some of<br />
the penal clauses.<br />
<br />
THE AUTHOR.<br />
<br />
The Copyright Sub-Committee advise that,<br />
if possible, this registration should be done<br />
away with.<br />
<br />
The sub-committee advise that the penal<br />
clauses should be more clearly expressed, and<br />
it should be stated that the £10 is cumulative.<br />
They consider that a severer penalty should<br />
be enforced in the case of a second or subse-<br />
quent infringement.<br />
<br />
The sub-committee consider that the period<br />
in which to take summary proceedings is too<br />
short, being limited to six months. It is quite<br />
probable in many of the infringements of drama-<br />
tic rights that it would be impossible to take<br />
proceedings in the Australian Courts under the<br />
penal clauses, even if the infringement was<br />
known in Great Britain and other Colonies<br />
within the specified period, and they think it<br />
advisable that the time should be extended to<br />
a year.<br />
<br />
++<br />
<br />
Cases.<br />
<br />
Members of the Society may be inclined<br />
to consider, from the record of cases appearing<br />
monthly in these columns, that the Society’s<br />
work is confined merely to taking legal action.<br />
If this is their view, they are making an en-<br />
tirely false deduction, although, no doubt, the<br />
number of cases taken up by the Society during<br />
the year is considerable. During the past<br />
month, seventeen cases have been in the<br />
hands of the secretary. There were four<br />
demands for money. In one case the money<br />
has been paid, two other cases have had to<br />
go into the hands of the Society’s solicitors,<br />
and the fourth has only recently come to the<br />
office. Three cases for accounts have come<br />
to the office. In one the Society has placed<br />
in an accountant to investigate the accounts,<br />
in another the accounts have been rendered<br />
and satisfactorily explained, and the last<br />
case is still in course of negotiation. Two<br />
infringements of copyright have been dealt<br />
with. One has been settled, and it is hoped<br />
to bring the other to a satisfactory conclusion<br />
as the infringement is admitted, and the<br />
question is merely one of damages. A curious<br />
case of property in title has been placed in the<br />
hands of the Society’s solicitors in Dublin,<br />
though it is very doubtful whether a satis-<br />
factory result will ensue, as the movements<br />
of the defendants—a travelling theatrical<br />
company—are difficult to follow. Three claims<br />
for the return of MSS. have been dealt with.<br />
In two the MSS. have been returned, and the<br />
third, recently brought to the office, has not<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Beaman, Lieut. A. A. M.<br />
<br />
THE AUTHOR.<br />
<br />
yet been settled. Of four claims for accounts<br />
amd money, two have been settled and two are<br />
in the course of negotiation.<br />
<br />
—+—< +<br />
<br />
Elections.<br />
Barradell-Smith, W.<br />
(Richard Bird)<br />
<br />
Biddulph, Mrs. Wright.<br />
<br />
<br />
<br />
Bluett, Mrs. Duncan C,<br />
<br />
(Beatrice Kelston)<br />
<br />
Brewster, Bertram<br />
<br />
Buckley, Reginald R. .<br />
<br />
Cameron, W. J. .<br />
<br />
Chatterton-Hill, Georges<br />
<br />
Clarke, E. M.<br />
(C.0.M.)<br />
<br />
Close, Evelyne<br />
Dale, Miss Mary<br />
<br />
.<br />
<br />
Dibblee, G. Binney.<br />
Douglas, Sholto O. G. .<br />
<br />
Duckworth, Mrs. Madge<br />
<br />
Egerton, Mrs. Fred<br />
<br />
. _— Ervine, St. John G.<br />
<br />
Kscott, T. H. S.<br />
<br />
Evans, Frederic .<br />
<br />
Felberman,<br />
F.R.HS.<br />
<br />
Fellowship Song Com-<br />
<br />
mittee.<br />
<br />
Louis,<br />
<br />
Fiamingo, Carlo .<br />
<br />
Frere, Edgar<br />
<br />
Garrison, Mrs. Isabel<br />
<br />
___— Gibbs, Philip<br />
<br />
<br />
<br />
Glasgow Academy,<br />
Glasgow.<br />
<br />
96, Piccadilly, W.<br />
The Chilet, Pet-<br />
worth, Sussex.<br />
<br />
The Wood End,<br />
Prestwood, Gt.<br />
Missenden.<br />
<br />
59, Madeley Road,<br />
Ealing.<br />
<br />
23, Coram Street,<br />
Russell Square,<br />
W.C.<br />
<br />
Université, Gen®ve,<br />
Suisse.<br />
<br />
8, Winchester Street,<br />
St. Helier, Jersey,<br />
C.I. (Temporary).<br />
<br />
48, Rutland Gardens,<br />
Hove.<br />
<br />
12, E. 38th Street,<br />
New York, U.S.A.<br />
<br />
37, South Parade,<br />
Southsea.<br />
<br />
Gwessin House,<br />
Tonypandy, S.<br />
Wales.<br />
<br />
Cheriton _ Cottage,<br />
<br />
Alresford, Hants.<br />
Arcade House,<br />
<br />
Temple Fortune,<br />
<br />
Hendon, N.W.<br />
<br />
33, Sackville Road,<br />
Hove.<br />
<br />
Ty Cynwyd, Llan-<br />
gynwyd, __ Bridg-<br />
end.<br />
<br />
Bladen Lodge, South<br />
Bolton Gardens,<br />
W.<br />
<br />
114, Hunter House<br />
Road, Sheffield.<br />
998, Sda S. Tom-<br />
maso, Floriana-<br />
<br />
Malta.<br />
<br />
Authors’ Club.<br />
<br />
21, Brook Green,<br />
W.<br />
<br />
36, Holland Street,<br />
Kensington, W.<br />
<br />
9,<br />
<br />
Govat, Ignato Henry .<br />
<br />
Harris, The Rey. John<br />
H.<br />
<br />
Harris, Whitfield ‘<br />
<br />
Heathcote, Mrs. Man-<br />
ners.<br />
<br />
Hegarty, Miss Sheila<br />
<br />
Helston, John<br />
<br />
Henderson, R. W. Wright<br />
<br />
Hewlett, Etheldred<br />
M.M.<br />
<br />
Holiday, Henry .<br />
<br />
Holliday, Agnes Theresa<br />
Jane, L. Cecil<br />
<br />
Johnson, Harrold<br />
<br />
Jones, Gladys<br />
(Gwen John)<br />
Joseph, Leonard<br />
A.M.L.E.E.<br />
Klein, Charles<br />
<br />
Knoblauch, Edward<br />
<br />
Knowles, M. W. .<br />
(May Wynne)<br />
<br />
Legge, Miss Margaret .<br />
<br />
McLaughlin, Miss Mary<br />
M.<br />
<br />
Markino, Yoshio<br />
<br />
Marsden, Alfred, .<br />
M.1.A.E., A.M.I.M.E.<br />
<br />
Michell, The Hon. Sir<br />
Lewis, C.V.O.<br />
Moggridge, Edith<br />
Montefiore, Claude G. .<br />
, Myers, L. H.<br />
<br />
39<br />
<br />
“* Glencoe,” Ashleigh<br />
Avenue, __ Bridg-<br />
water.<br />
<br />
Denison<br />
Vauxhall<br />
Road, S.W.<br />
<br />
Vivary, Taunton.<br />
<br />
Horsley Priory,<br />
Nailsworth.<br />
<br />
14, Bessborough<br />
Street, Westmins-<br />
ter, S.W.<br />
<br />
23, Henderson Road,<br />
Wandsworth Com-<br />
mon, S.W.<br />
<br />
House,<br />
Bridge<br />
<br />
Oaktree House,<br />
Branch Hill,<br />
Hampstead, N.W.<br />
and Betty-Fold,<br />
Hawkshead, Am-<br />
bleside.<br />
<br />
39, High<br />
Oxford.<br />
<br />
Fairhaven, Harrow<br />
Road, Pinner,<br />
Middlesex.<br />
<br />
20, xlebe<br />
Chelsea.<br />
<br />
6, Birchington Road,<br />
London, N.W.<br />
<br />
Hudson Theatre,<br />
<br />
Street,<br />
<br />
Place,<br />
<br />
Hast Hill, Hayes,<br />
Kent.<br />
<br />
307, West 88th<br />
Street, New York,<br />
N.Y. USA.<br />
<br />
116, Lexham<br />
dens, W.<br />
<br />
3, Regent House, Wir-<br />
temberg Street,<br />
<br />
Clapham, S.W.<br />
<br />
Rondebosch, Cape<br />
Town.<br />
<br />
Stanfield House,<br />
High Street,<br />
Hampstead, N.W.<br />
<br />
12, Portman Square,<br />
W.<br />
<br />
Union Club, London.<br />
<br />
Gar-<br />
40<br />
<br />
Oldfield, L. C. F’.<br />
<br />
Parsons, Ernest Bryham<br />
<br />
Pedersen, Amy Skov-<br />
<br />
gaard.<br />
Perring, Miss Mary<br />
Ponsonby, Arthur<br />
<br />
A. W. H., M.P.<br />
Read, Mrs. Amy E.<br />
Richards, Miss Mary<br />
Roch, Mrs. Walter<br />
Rose, Frederick, L.D.S.<br />
<br />
Rowe, Louise Jopling .<br />
(Louise Jopling)<br />
<br />
—Scholes, Perey A.<br />
<br />
Shore, W. Teignmouth<br />
<br />
Sinclair, Edith .<br />
Singleton, Miss A. H.<br />
Smith, F. Stanley<br />
(Stanley Smith)<br />
Smith, W.S. M. . :<br />
<br />
- Soddy, Frederick, M.A.,<br />
F.R.S.<br />
Spencer, Blanche<br />
<br />
Stoddard, Frederick .<br />
Wolcott (Dolomite).<br />
<br />
Strachey, Mrs. Olive<br />
(Ray Strachey)<br />
<br />
Stuart, James. ¢<br />
<br />
Tait, Miss EK. M. . :<br />
Tata, Sir Dorab J. :<br />
<br />
Thoren, Lieut. Oscar de<br />
<br />
Turner, Denis . :<br />
<br />
Vahey, John Haslette .<br />
(John Haslette)<br />
<br />
THE AUTHOR.<br />
<br />
5, Pump_ Court,<br />
Temple, E.C.<br />
<br />
41, Guildford Street,<br />
Russell Square,<br />
W.C.<br />
<br />
Quimper,<br />
France.<br />
<br />
5, Clifton Gardens,<br />
Maida Vale, W.<br />
<br />
Shulbrede Priory,<br />
Haslemere.<br />
<br />
The Close, Henley-<br />
on-Thames.<br />
<br />
5, Clifton Gardens,<br />
Maida Vale, W.<br />
Llanarth Court,<br />
<br />
Raglan, S. Wales.<br />
<br />
1, Brunswick Street,<br />
Liverpool.<br />
<br />
7, Pembroke Gar-<br />
dens, Kensington,<br />
W.<br />
<br />
30, Carlton Terrace,<br />
Childs’ Hill, N.W.<br />
<br />
Finistere,<br />
<br />
27, Kensington<br />
Court Mansions,<br />
W.<br />
<br />
24, Hermitage Gar-<br />
dens, Edinburgh.<br />
<br />
Arch Hall, Navan,<br />
Treland.<br />
<br />
13, Little Grosvenor<br />
Street, W.<br />
<br />
138, Sloane Street,<br />
S.W.<br />
<br />
The University,<br />
Glasgow.<br />
3, Mortimer Road,<br />
Clifton, Bristol.<br />
Wessobrunn, Meran,<br />
Tyrol.<br />
<br />
96, South Hill Park,<br />
N.W.<br />
<br />
34, Loop Street,<br />
Pietermaritzburg,<br />
Natal, S. Africa.<br />
<br />
27, St. Georges<br />
Square, S.W.<br />
<br />
Harewood House,<br />
Hanover Square,<br />
W.<br />
<br />
St. Stephen’s Club,<br />
S.W.<br />
Whitehall<br />
Charing<br />
S.W.<br />
Fairseat, Poole Road,<br />
Bournemouth.<br />
<br />
House,<br />
Cross,<br />
<br />
Walker, Maude 41, Enys Road, East-<br />
<br />
bourne. :<br />
Littlefield, Worples-<br />
don, Surrey.<br />
<br />
Walshe, Douglas<br />
<br />
Wapling, Winifred H. . Tadworth.<br />
<br />
Williams, Sir Thomas The Police Court,<br />
Marchant. Merthyr Tydfil.<br />
Yellon, Evan ; 33, Furnival Street,<br />
<br />
K.C.<br />
~—>—_+—___—_-<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
———-— +<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact.<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
ART.<br />
Prerverxo. By Serwyn Briton. Tilustrated with<br />
eight reproductions in colour. 8 x 6. 80 pp. Jack.<br />
ls. 6d. n.<br />
<br />
Famous Parstrncs. Selected from the World’s Great<br />
Galleries and Reproduced in Colour. With an Intro-<br />
duction by G. K. Cuzsterron and Descriptive Notes..<br />
15 x 103. 50 pp. Cassell. 12s. 6d. n.<br />
<br />
VisvAKARMA. Examples of Indian Architecture, Sculp-<br />
ture, Painting, &c. Chosen by ANanpa W. CooMARAS-<br />
wamy, D.Sc. Part Il. 11 x 8}. Plates 28—60..<br />
Luzac. 2s. 6d.<br />
<br />
CHIPPENDALE AND HIs ScHoot. ByJ.P. Brake. 7} X 5.<br />
111 pp. (Little Books about Old Furniture.) Heine-<br />
mann. 2s. 6d. n.<br />
<br />
BIOGRAPHY.<br />
<br />
Forry-Nine Years or My Lire (1770—1815). By Tae<br />
Princess Lovise oF Prussta (Princess Anton Radzi-<br />
will). Edited by Princess RapzrwiLt. Translated by:<br />
A. R. Atirnson. 9 X 53. 461 pp. Nash. 16s. n.<br />
<br />
THIRTEEN YEARS OF A Busy Womay’s Lire. By Mrs.<br />
Arec Twrepis. 83 x 5}. 367 pp. Lane. 16s. n.<br />
<br />
Romances oF THE FreNcH THEATRE. By _ FRaNcIs<br />
Gripste. 9 X 53. 288pp. Chapman& Hall. 15s.n.<br />
<br />
Coxe or NorFoLK AND HIS Frrmnps. By A. M. W..<br />
Srretinc. New Edition. ‘ 8} x 53. 632 pp. Lane.<br />
12s. 6d. n.<br />
<br />
Tuomas ANDREWS, SHIPBUILDER. By SHAN F’. BULLOCK.<br />
With an Introduction by Str Horace PLUNKETT.<br />
7h x 43. 80 pp. Maunsell. 1s, n.<br />
<br />
JournaL or tur Comtr D’EsrincnaL DuRING THE<br />
Enicration. Edited from the original manuscripts by<br />
BE. vp Havtertve. Translated by Mrs. RoDOoLPH<br />
SrawetL. 9 x 5}. 432pp. Chapman & Hall. 12s, 6d. n.<br />
<br />
Apam Linpsay Gorpon AND HIS Frrenps Iv ENGLAND<br />
AnD Austratia. By Epira Humparis AnD DovGLas:<br />
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A WANDERER IN FLORENCE. By E. V. Lucas.<br />
391 pp. Methuen. 6s.<br />
<br />
Ix Frencu Arrica. Scenes and<br />
Brruam-Epwarps. 9 x 53.<br />
Hall. 10s. 6d. n.<br />
<br />
AtpivE Srupims. By W. A. B. Coorzpan.<br />
307 pp. Longmans. 7s. 6d. n.<br />
<br />
In Jesurr Lanp. The Jesuit Missions of Paraguay. By<br />
W. H. Komsrn. With an Introduction by BR. B.<br />
CUNNINGHAME GRAHAM. 9x 6, 381 pp. Stanley<br />
Paul. 12s. 6d. n.<br />
<br />
Monaco anp Monte Canto. By<br />
10} x 72. 477 pp. Grant Richards. 15s. n.<br />
<br />
THe Crrres or Lomparpy. By Epwarp Hurron.<br />
Illustrations in Colour by Maxwett Armrietp. 8 x 5.<br />
322 pp. Methuen. 6s.<br />
<br />
PicTURES FROM THE BALKANS.<br />
7% X°5. 298 pp.<br />
<br />
Barnes STEVEN.<br />
280 1<br />
By Mrs. Arcurpatp<br />
<br />
240 pp. (Cheap Reprint.) Everett.<br />
<br />
72 x 5.<br />
<br />
Memories.<br />
324 pp.<br />
<br />
By M.<br />
Chapman &<br />
<br />
or x 6.<br />
<br />
ApoLpHEe Smirn.<br />
<br />
By Jonn Fosrmr Fraser.<br />
Popular Edition. Cassell. 1s. n,<br />
I<br />
<br />
+><br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
ae<br />
NDER the title “ Pelops: A Tetral-<br />
[ ogy,” Mr. Arthur Dillon is publishing,<br />
through Mr. Elkin Mathews, four<br />
plays dealing with early incidents in the<br />
mythical story of the House of Tantalus.<br />
The present revival of interest in the Greek<br />
Drama should make the subject appeal to the<br />
public, since a knowledge of such earlier<br />
history is assumed in so many of the tragedies<br />
of classical times. The rhymed couplet. is<br />
used in the dialogue throughout. The plays<br />
are, “* The Charioteers,”’ “ Chrysippus,” “ The<br />
Victors at Olympia,” and * Tantalus: A<br />
Satyric Play.” The volume is published at<br />
two prices, on antique laid paper, in boards<br />
at 3s. 6d. net, and on wove paper, in wrapper,<br />
at 1s. 6d. net.<br />
<br />
F. Bancroft’s new novel, issued on the 24th<br />
ult., by Messrs. Hutchinson & Co., though it<br />
deals mainly with a phase of life in South<br />
Africa during the stormy days of the conflict<br />
between Britain and the Transvaal, is in no<br />
Sense a war story, but a study of character<br />
minutely sketched and framed in a background<br />
of South African portraiture which recalls her<br />
former work, “ Of Like Passions,’ now in an<br />
eighth edition.<br />
<br />
Miss Mary C. Rowsell’s “ Thornrose and<br />
44<br />
<br />
Sparkbedor,” and “ Humpbacked Riquet,”’<br />
are two plays in rhyme, excellently adapted<br />
for school or indoor amateur performance.<br />
There are no fees charged in respect of either play.<br />
Messrs. Samuel French are the publishers.<br />
<br />
Miss T. Wilson Wilson published in Sep-<br />
tember, through Messrs. Stanley Paul & Co.,<br />
“© 4 Modern Ahab,’ a present-day novel. In<br />
October the same writer produced a book for<br />
boys and girls entitled ‘“ Jim’s Children,”<br />
which Messrs. Blackie have published. Miss<br />
Wilson Wilson also has a story in Blackie’s<br />
Christmas Annual.<br />
<br />
Miss Amy McLaren’s novel “‘ Bawbo Jeeck,”<br />
has just appeared in a reprint in Messrs.<br />
Everett’s 7d. Library. The same writer’s<br />
‘‘ With the Merry Austrians,’’ has just appeared<br />
in America, where Messrs. Putmans Sons<br />
publish it.<br />
<br />
Mr. R. A. Peddie has compiled, for the use<br />
of students, a handbook to The British<br />
Museum Reading Room. ‘The book is revised<br />
and enlarged from Mr. Peddie’s lecture ‘* How<br />
to use the Reading Room of the British<br />
Museum,” and contains useful information<br />
on the Library of the Museum, conditions of<br />
admission to the reading room, the general<br />
catalogue and special catalogues. There are<br />
also chapters dealing with rare and valuable<br />
books, and one devoted to the Department of<br />
Oriental Books and Manuscripts. Messrs.<br />
Grafton & Co., of 69, Great Russell Street,<br />
W.C., are the publishers.<br />
<br />
Messrs. Blackie & Son, Ltd., have re-issued<br />
Miss Rowsell’s story, ‘The Pedlar and His<br />
Dog.” This volume belongs to a series of<br />
“Stories Old and New,” which has been<br />
especially prepared for children. The books<br />
have been carefully chosen so as to include<br />
many stories by the best children’s authors<br />
of to-day.<br />
<br />
Messrs. Blackwoods published last month<br />
Sydney C. Grier’s new novel, “‘ One Crowded<br />
Hour,”’ which deals with Garibaldi and the<br />
adventures of an Englishman in the campaign<br />
of the two Sicilies. They have also in the<br />
press an illustrated edition of “A Young<br />
Man Married,” which deals with the Penin-<br />
sular War. It will probably be out in time for<br />
the centenary of the battle of Vittoria, next<br />
spring.<br />
<br />
Mr. Clifford King, whose poems, published<br />
by Messrs. Kegan Paul & Co., have been<br />
accepted by H.M. the King, has just finished<br />
a blank verse play, in five acts, with forty<br />
speaking characters, upon a Carthago-Roman<br />
subject, and is negotiating for its London<br />
production.<br />
<br />
THE AUTHOR.<br />
<br />
K. L. Montgomery’s new novel, “ The<br />
Gate Openers,’’ has recently been published<br />
by Messrs. John Long. The story deals with<br />
the Toll Riots of 1843 in S. Wales, where the<br />
traditions of the Rebekah rioters still linger.<br />
<br />
Lieut.-Col. W. H. Turton is bringing out<br />
this month the eighth edition of his book,<br />
‘*The Truth of Christianity.”” The volume is<br />
now in its thirtieth thousand and was trans-<br />
lated into Japanese a few years ago. Messrs.<br />
Wells, Gardner & Co. are the publishers.<br />
<br />
On October 9th, Constable & Co. published<br />
a new book by Maud Diver, “ The Hero of<br />
Herat: A Frontier Biography in Romantic<br />
Form.” The book is as much a biography as<br />
a romance. The hero in question, Major<br />
Eldred Pottinger, C.B., did notable service<br />
in Afghanistan in 1838-39, and also through-<br />
out the Afghan War. Mrs. Diver’s first novel,<br />
“Captain Desmond, V.C.,” is now being<br />
translated into German. It is also running<br />
serially in a Norwegian-Danish paper.<br />
<br />
‘“*Samphire,”’ a pot-pourri of original and<br />
humorous inconsequences or essayettes on<br />
such subjects as gardening, shops, personal<br />
relations, etc., by Lady Sybil Grant, is to be<br />
published shortly by Messrs. Stanley Paul &<br />
Co. The work includes fanciful skits entitled<br />
‘“* Shadows,’ analogues, the sources of which<br />
it is not difficult to trace.<br />
<br />
A new edition of ‘Dr. Phillips,” one of<br />
Frank Danby’s most popular novels, is to be<br />
issued immediately by Messrs. Stanley Paul & Co.<br />
Although the thread of the story remains,<br />
each page has been extensively revised by the<br />
author.<br />
<br />
The romance of village life of rural England<br />
is a most interesting thing, and in some<br />
respects pathetic, because it cannot be denied<br />
that the spirit of modern progress is destroying<br />
the old face of the countryside of England.<br />
It is therefore interesting to know that<br />
Mr. J. M. Dent has in the press a work entitled<br />
“ Cottages and Village Life of Rural England,”<br />
by Mr. P. H. Ditchfield, who is known as an<br />
archeologist and antiquarian. It will contain<br />
no fewer than 52 coloured pictures and<br />
numerous line drawings by Mr. A. R. Quinton.<br />
Mr. Dent hopes to publish the book shortly.<br />
<br />
* Arabic Spain: Sidelights on Her History<br />
and Art,” by Bernard and Ellen M. Whishaw,<br />
published by Messrs. Smith, Elder & Co., is<br />
an attempt to elucidate some points in the<br />
history of Southern Spain, under the Moslems,<br />
on which the existing histories throw no light,<br />
and thus to account for some features in the<br />
art and architecture of the country hitherto<br />
unexplained. The writers account historically<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
4<br />
<br />
<br />
<br />
THE AUTHOR. 45<br />
<br />
for the undoubted Egyptian influence which<br />
is seen in a great deal of the architecture of<br />
Seville and the surrounding country. There<br />
is an index to the work, as well as genealogical<br />
tables and illustrations.<br />
<br />
Mr. Charles Garvice’s new 6s. novel, ‘* Two<br />
Maids and a Man,” appeared last month.<br />
French translations of “Just a Girl” and<br />
“The Outcast of the Family ” have appeared,<br />
whilst Spanish versions of “A Heritage of<br />
Hate,” “A Fair Impostor,” and “ Just a<br />
Girl.” Mr. Garvice is engaged to deliver<br />
his lecture-recital, ‘“ Humorists, Grave and<br />
Gay,” in Dublin, Belfast, Bradford, Hull, and<br />
other places. The Christmas numbers of<br />
Lhe Grand and The Strand will contain<br />
stories from his pen. Messrs. Hodder &<br />
Stoughton announce a new and uniform<br />
edition of Mr. Garvice’s novels. The volumes<br />
will be well printed, bound in cloth, and<br />
published at 3s. 6d.<br />
<br />
In his new work, “Light on the Gospel<br />
from an Ancient Poet,” the Rev. Dr. Edwin<br />
A. Abbot aims at illustrating the Gospel by<br />
showing how the recently discovered odes of<br />
Solomon—written by a Christian J ew, and prob-<br />
ably at the close of the first century—supply<br />
a missing link between the religious poetry<br />
of Jews and Christians, not quoting or imitating<br />
but independently corroborating Pauline and<br />
Johannine teaching, about the Church as the<br />
body of the Messiah as the Son of God, and<br />
about God as revealed to man in the unity of<br />
Father, Son, and Holy Spirit. The Cambridge<br />
University Press publish the work.<br />
<br />
Messrs. J. M. Dent & Son announce the<br />
publication of “ Aspects of Algeria : Historical,<br />
Pictorial and Colonial,” by Roy Devereux.<br />
The author’s treatment of Algeria includes her<br />
history her arts and sciences, her domestic<br />
economy, her industries, her political situa-<br />
tions. He pictures also her social life, the life<br />
of the natives, and that of the peoples living<br />
there. The text is illustrated by photographs.<br />
<br />
Mr. A. C. Fifield published’ last month a<br />
new volume of poems by H. M. Waithman,<br />
author of ‘“‘ Harvesting and Charybdis.”” The<br />
present volume is entitled “The Soul of a<br />
Gardener.” In it, every month of the gar-<br />
-dener’s year is enshrined in a cluster of poems,<br />
the work of an artist and a gardener.<br />
<br />
. Yolland’s novel, ‘‘ The Struggle for the<br />
Crown,” published by Messrs. Lynwood & Co.,<br />
is a romance of the seventeenth century. In<br />
it, the author presents a picture of the life<br />
and social conditions of the time, while the<br />
narrative possesses a strong love interest.<br />
<br />
Messrs. S. Fischer, Berlin, have just pub-<br />
<br />
lished a German translation of Mr. H. H.<br />
Richardson’s novel, -‘‘ Maurice Guest.” The<br />
title of the translation is ‘‘ Maurice Guest,<br />
von Henry Handel Richardson. Authorisierte<br />
Ubersetzung von Dr. Otto Neustalter.’ It is<br />
published in two volumes.<br />
<br />
Chaucer’s Complete Works have been added<br />
this week to the Oxford Standard Authors.<br />
This is a new issue of the well-known edition<br />
edited by the late Rev. Professor W. W. Skeat.<br />
In addition to Dr. Skeat’s introduction and<br />
Chaucer’s text—756 pages—a glossarial index<br />
of 149 pages, double column, is given, at what<br />
is really a nominal price.<br />
<br />
Maude Annesley’s new book, ‘‘ My Parisian<br />
Year,” 10s. 6d., Messrs. Mills & Boon, is a<br />
book on Paris written “from a woman’s<br />
point of view.” Mrs. Annesley has lived in<br />
Paris for years, and has seen many phases<br />
of its life. She deals with a good many<br />
subjects not usually touched upon in books<br />
on France, and she leaves weighty matters—<br />
such as religion, education, and polities—to<br />
other writers, preferring to describe for her<br />
English and American readers the “little<br />
things ’’ which are so interesting to the average<br />
Anglo-Saxon. There are chapters on the<br />
Frenchman, the Frenchwoman. Children, the<br />
Flineur, Concierges and Servants, Street-<br />
sellers, Students and Studios, the Demi monde,<br />
Family Functions, Theatres and Music-halls,<br />
the Races, Restaurants, Fétes and Fasts,<br />
Rows and Riots, Nerves, the Tourist, and<br />
others. Mrs. Annesley gives many interesting<br />
anecdotes, and there are descriptions of<br />
amusing and tragic incidents which the author<br />
has seen. The book is fully illustrated.<br />
<br />
“Kton in the ’Seventies,” by the Hon.<br />
Gilbert Coleridge, and published by Smith,<br />
Elder & Co., gives an insight into the school<br />
life of that period. It is written from a<br />
healthy and optimistic point of view, and<br />
contains many stories and episodes character-<br />
istic of the schoolboy which the author has<br />
collected. Earl Curzon of Kedleston and Mr.<br />
A. C. Benson contribute accounts of the<br />
literary movement in that decade, and there<br />
is much valuable and interesting matter added<br />
by the Rev. and Hon. Edward Lyttelton,<br />
the present Headmaster, and Mr. Basil<br />
Thomson, the author of “ The Diversions of<br />
a’ Prime Minister.’ There is much in the<br />
book which should interest other than Etonians.<br />
<br />
Messrs. A. & C. Black have issued in their<br />
“Peeps at many Lands” Series a booklet<br />
on Java by Mr. J. F. Scheltema, which will<br />
be followed, before the end of the year, by a<br />
richly illustrated volume from his hand, but<br />
46 THE AUTAOR.<br />
<br />
appealing to a different class of readers, on<br />
the ancient monuments in the same island, to<br />
be published by Messrs. Macmillan & Co.<br />
The October number of the Ouaford and<br />
Cambridge Review had a paper by Mr. J. F.<br />
Scheltema on “ Constantinople and the Holy<br />
Cities of Islam,” while other articles he has<br />
written will shortly appear in The Antiquary,<br />
The Englishwoman, The Dublin Review, and<br />
The Asiatic Quarterly Review.<br />
<br />
Miss Alice E. Robbins’ new novel, “ Things<br />
That Pass,” has just been published by Mr.<br />
Andrew Melrose.<br />
<br />
Mr. Headon Hill’s recent novel, “‘ My Lord<br />
the Felon,”’ has been translated into Swedish,<br />
and is published at Stockholm by the Aktie-<br />
bolaget Hiertas Bokforlag.<br />
<br />
Mrs. Fred Reynolds’ new work, entitled<br />
“Letters to a Prison,” was published by<br />
Messrs. Chapman & Hall last month, when<br />
the same house issued also “The City of<br />
Beautiful Nonsense,” in their uniform 2s.<br />
net edition of Mr. E. Temple Thurston’s<br />
works.<br />
<br />
Anne Douglas Sedgwick, author of “* Tante,”<br />
“Franklin Kane,” and other novels, is pub-<br />
lishing, through Mr. Edward Arnold, a volume<br />
of short. stories.<br />
<br />
His Majesty the King has been graciously<br />
pleased to accept a copy of “Life in the<br />
Indian Police,” by C. E. Gouldsbury (late<br />
Indian Police). The book is published by<br />
Messrs. Chapman & Hall.<br />
<br />
Messrs. Wickins & Co. are shortly pub-<br />
lishing a book of “‘ Motto Action Songs ” for<br />
Children, by E. Budgen. The words are<br />
based on well-known proverbs; the music<br />
includes three waltzes, two gavottes, and one<br />
march; and the actions are either simple,<br />
or with tambourines, handkerchiefs or fans.<br />
<br />
Miss May Crommelin’s new book, ‘“ The<br />
Golden Bow,” has just been brought out by<br />
Messrs. Holden & Hardingham. The scene<br />
is laid in Ulster; but it is, nevertheless, free<br />
from reference to the strong political feelings<br />
lately aroused there, being a novel dealing<br />
with the development of mind and purpose<br />
in a young girl early tried by heavy responsi-<br />
bilities and by a love affair whilst still in her<br />
teens. Miss Crommelin’s ‘‘ Crimson Lilies ”’<br />
has been reproduced by Mr. John Long, in a<br />
6d. edition.<br />
<br />
Messrs. Wildt & Kray (Willesden) are<br />
bringing out a series of small Christmas gift<br />
books at 6d., each of which contains a long<br />
poem by Miss H. M. Burnside. One of these,<br />
entitled ‘“‘ Friends Afar,” is specially designed<br />
for sending to Colonial friends. Another little<br />
<br />
book of a similar kind is published by Messrs.<br />
William Ritchie, of Edinburgh.<br />
<br />
“ Littledom Castle,” by Mrs. M. H.<br />
Spielmann, has run into its third edition, and<br />
is being issued by Messrs. Routledge at a<br />
reduced price, with all the original illustrations<br />
by Phil May, Kate Greenaway, Mr. Hugh<br />
Thomson, Mr. Arthur Rackham, Mr. Harry<br />
Furniss, Miss Rosie Pitman, and Miss Jessie<br />
King.<br />
<br />
“South America” will not for long be<br />
among the few countries unrepresented in<br />
Black’s series of Colour-Books. A volume has<br />
been written by Mr. W. H. Koebel, and<br />
illustrated by Mr. A. S. Forrest, which will<br />
be published immediately. The subject is<br />
vast and complex, but Mr. Koebel is a well-<br />
known authority on matters South American,<br />
and he has described the Republics of the<br />
Continent topographically, historically, and,<br />
to a certain extent, socially.<br />
<br />
G. P. Putnam’s Sons announce a new<br />
story by Florence L. Barclay, the author of<br />
“The Rosary.” Itisentitled ** The Upas Tree,”<br />
and was published at the end of October at<br />
3s. Gd. net. There is a coloured frontispiece,<br />
drawn by Mr. F. H. Townsend, the well-<br />
known Punch artist. ‘‘ The Upas Tree” is<br />
described as a love story with a musical<br />
interest, and contains stronger scenes than any<br />
Mrs. Barclay has treated before. She tells<br />
in the last chapter of a happy home-coming<br />
at Christmas time.<br />
<br />
‘The Thought in Music: an Enquiry into<br />
the Principles of Musical Rhythm, Phrasing,<br />
and Expression,” is the title of a book issued<br />
by Messrs. Macmillan & Co. Its author is<br />
Mr. John B. McEwen, Professor of Musical<br />
Composition in the Royal Academy of Music,<br />
and it may be further described as an attempt<br />
to formulate a definite basis on which the<br />
musical facts underlying the principles of shape<br />
in musical structure may be correlated and<br />
codified.<br />
<br />
Sir Frederic W. Hewitt has prepared a new<br />
edition of his well-known work, “* Anesthetics<br />
and their Administration,’’ with the assistance<br />
of Dr. Henry Robinson, Anesthetist to the<br />
Samaritan Hospital and to the Cancer Hospital.<br />
Since the publication of the last edition,<br />
extraordinary changes have taken place in<br />
this branch of medical science, so that large<br />
sections of the book have had to be completely<br />
rewritten. An entirely new chapter on local<br />
or regional anesthesia, and another on_ the<br />
medico-legal aspects of surgical anesthesia in<br />
general, have been added. The book was pub-<br />
lished in October by Messrs. Macmillan & Co.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 47<br />
<br />
Mr. Cayley Calvert, in “ Brighton and Hove<br />
Society,” has an article dealing with, and<br />
traversing, Sir Edwin Durning-Lawrence’s<br />
views on the Bacon-Shakespeare controversy.<br />
Mr. Calvert deals with the statement that<br />
Shakespeare was unable to write his own name,<br />
and also with the allegation of his “ illiteracy.”<br />
Finally, Mr. Calvert seeks to show that the<br />
mastery of stage technique which the plays<br />
denote could not be gained by a life spent in<br />
the legal and parliamentary circles, in which<br />
the author of “The Advancement of Learning ”’<br />
moved.<br />
<br />
Mr. Alex. J. Philip has in preparation ‘‘ The<br />
Library Encyclopedia,’ to be published on<br />
December 31st. It will contain some 700<br />
pages, and will be illustrated wherever it is<br />
considered necessary. The matters it will<br />
deal with will include library administration,<br />
book purchasing, library history, library plans<br />
and buildings, classification, cataloguing,<br />
office work and routine. Various contributory<br />
branches of knowledge will be included, such<br />
as binding paper, the preservation of records,<br />
museum works, practical printing, bibliography,<br />
and all the numerous subjects either directly<br />
or indirectly connected with work in public,<br />
proprietary, and private libraries and museums.<br />
Messrs. Stanley Paul & Co. are to publish<br />
the Encyclopedia.<br />
<br />
In “Five Years on a Training Ship,” by<br />
J.D. Bush and E. T. Miller, is given a faithful<br />
picture, in the form of a story, of the conditions<br />
under which hundreds of poor boys are dis-<br />
ciplined, trained and educated for the training<br />
ship life. One of the authors, Dr. Bush,<br />
spent several years on board the vessel, a<br />
Scottish training ship, coming in daily contact<br />
with the boys, whom he had exceptional<br />
opportunities of observing closely. The book<br />
is illustrated by Savile Lumley.<br />
<br />
A shilling edition of “The Truth about<br />
Man,” by a Spinster, has recently been<br />
issued. Originally published in The Lady’s<br />
Realm, and afterwards in M. A. P., it has<br />
already passed through two editions in book<br />
form. The present edition has been thoroughly<br />
revised.<br />
<br />
“In Praise of Australia,” by Florence Gay,<br />
forms one of Messrs. Constable’s “‘ Ini Praise of<br />
Series.”” The volume is divided into three<br />
parts. The earlier pages are devoted to a<br />
sketch of Australia’s story. These are followed<br />
by references to the black man, while the white<br />
man and his environment are dealt with<br />
towards the conclusion of the volume.<br />
<br />
Miss Edith EK. Kenyon’s new novel “ The<br />
Wooing of Mifarnoy: A Welsh Love Story,”<br />
<br />
was published last month by Messrs. Holden<br />
& Hardingham.<br />
<br />
* Written in the Sand,” by G. B. Duval,<br />
is aromance of Sahara. Woven into the story<br />
are pictures of desert life and sketches of<br />
desert scenery. Mr. W. J. Ham-Smith is the<br />
publisher.<br />
<br />
Messrs. Mills & Boon will publish another<br />
novel by Mary L. Pendered, next spring,<br />
entitled ‘‘ Phyllida Flouts Me!’ The same<br />
author’s “That Daisy the Minx,” is now in a<br />
1s. edition.<br />
<br />
The Religious Tract Society are issuing a<br />
new historical story by Helen H. Watson. It<br />
is called “ When the King came South,” and<br />
has to do with the Battle of Worcester. The<br />
scene is laid for the most part in the neigh-<br />
bourhood of Warton and Borwick Hall,<br />
Lancashire.<br />
<br />
Esme Stuart has had the honour of sending<br />
her new child’s book, “‘ Two Troubadours,” by<br />
request, to H.M. The Queen. The book is<br />
well illustrated, and will, it is hoped, prove<br />
an acceptable Christmas gift to children.<br />
<br />
“ The Snarer,” by Brown Linnet, published<br />
by Mr. John Murray, deals with a woman<br />
poacher. The book opens with the return<br />
of the woman, after a term of imprisonment,<br />
to the village in which her life has been<br />
spent. Apparently, she has decided to<br />
abandon her previous pursuits, and succeeds<br />
in engaging the interest of various powers in<br />
the village in her reformation. How far the<br />
reformation is genuine readers may gather<br />
from the chronicle of her escapades which the<br />
book contains.<br />
<br />
DRraMATIC.<br />
<br />
“Westward Ho!”, a romantic drama in<br />
four acts, was produced by Mr. Matheson<br />
Lang at His Majesty’s Theatre, Johannesburg,<br />
on September 28th. It is written by Miss Pegg<br />
Webling, the author of ‘‘ The Story of Virginia<br />
Perfect,” ‘‘ Felix Christie,’ and other novels.<br />
Founded on Charles Kingsley’s classic of the<br />
sea, the latest Elizabethan play is imbued<br />
with the spirit of the stirring times of Fro-<br />
bisher, Hawkins and Drake. The principal<br />
characters of the famous novel—Amyas and<br />
Frank Leigh, the Rose of Torridge, Don<br />
Guzman de Soto, Salvation Yeo—are intro-<br />
duced into the play, but many changes have<br />
necessarily been made in the story. The<br />
second act takes place in old Burrough Hall,<br />
the home of the Leighs of Devon, in striking<br />
contrast to another of the beautiful stage<br />
<br />
<br />
48<br />
<br />
an isle in the West Indies—and the<br />
curtain rises, for the last scene, on a realistic<br />
representation of the deck of Amyas’s ship,<br />
homeward bound. The part of Amyas Leigh<br />
was written by Miss Webling for Mr. Matheson<br />
Lang, and that of Ayacanora for his wife, Miss<br />
Hutin Britton.<br />
<br />
“ Words,” the new play by Kitty Barne,<br />
author of “‘ To-morrow,” will be produced at<br />
the Royal Court Theatre on November 29th,<br />
by an amateur company. :<br />
<br />
Mr. Charles Howett, the South African<br />
actor-manager who arrived here a few weeks<br />
ago, witnessed, and has secured, Mr. Forbes<br />
Dawson’s play, ‘“ Triumph of the Blind,” for<br />
production in Johannesburg shortly. He has<br />
also secured the same author’s ‘‘ Glorie Aston,<br />
The Female Convict,” which was produced<br />
in the provinces a few years back, as well as<br />
“Cherry Hall,” a society drama, originally<br />
staged at the Avenue—now the Playhouse—<br />
and ‘ The Man from Ceylon,” a three-act farce<br />
which ran in the Colonies.<br />
<br />
Mrs. Percy Dearmer is at present engaged in<br />
the production of ‘ The Dreamer,” a poetic<br />
drama of Joseph in Egypt. The play has<br />
already been published by Messrs. Mowbray &<br />
Co. Music has been composed expressly for<br />
this play by Mr. Martin Shaw, who will<br />
conduct the orchestra. The play will be<br />
produced at King’s Hall, Covent Garden, on<br />
November 29, December 6, 18, and 20, in the<br />
evening, and on November 30, December 7,<br />
14 and 21, in the afternoon, by the Morality<br />
Play Society. Tickets may be booked now<br />
from the Hon. Secretary, Miss Bartlett, 57,<br />
Fellows Road, N.W. Mr. Arthur Wontner will<br />
be in the leading part, and will be supported<br />
by Mr. Guy Rathbone, Mr. Acton Bond;<br />
Miss Lilian Braithwaite and Miss Margaret<br />
Halstan will play the only two women’s parts<br />
inthe play. The scenic effects will be arranged<br />
by Mr. George E. Kruger. The performers will<br />
number some hundred and _ thirty people.<br />
The play is on the same lines as “ The Soul<br />
of the World,” which was produced at the<br />
Imperial Institute a short time ago.<br />
<br />
pictures—<br />
<br />
——<br />
<br />
PARIS NOTES.<br />
<br />
—+~> +<br />
<br />
HERE is still a dearth of really good,<br />
strong novels. In consequence of this,<br />
<br />
__ everyone has turned to the stories of<br />
real life to be found in the various memoirs and<br />
<br />
THE AUTHOR.<br />
<br />
biographies offered to us. At present the pub-<br />
lishers are bewildered by the numberless<br />
manuscripts they receive from people who<br />
imagine that their exploits or ideas cannot fail<br />
to interest the public. There are volumes and<br />
volumes now being published which will prob-<br />
ably only charm the writers of them, and, in<br />
the meantime, we are all hoping that the<br />
forthcoming publishing season may reveal<br />
to us some hidden genius who will supply<br />
us with strong, entrancing novels.<br />
<br />
M. J. H. Rosny, ainé, whose books are always<br />
worth reading, promises us a series of novels,<br />
and gives us the first, entitled ‘‘ Les Rafales.”<br />
The rafales, or squalls, which are constantly<br />
disturbing the tranquillity of the Lérande<br />
family, are all due to the fact that the head of<br />
the little household, Antoine Lérande, is an<br />
absolutely unpractical man with wonderful<br />
ideas. In his efforts to carry out his ideas he<br />
uses his own and his wife’s fortune. The story<br />
is well told and is infinitely pathetic; the<br />
heroic struggle of the wife and mother to keep<br />
her little home together, the education of the<br />
children, accustomed from their earliest infancy<br />
to all the inconveniences of the constant storms<br />
caused by the demands of creditors, or the<br />
exasperation of unpaid domestics, are so many<br />
chapters taken from real life. The author has<br />
not needed to go abroad in search of a<br />
background for his story, nor has he had<br />
to invent a far-fetched plot. He has simply<br />
thought out a picture of life and painted it<br />
for us.<br />
<br />
The Baron de Batz gives us another book<br />
compiled from the archives of his family.<br />
Some little time ago he supplied us with the<br />
true story of his celebrated ancestor, Baron<br />
Jean de Batz, who, almost single-handed,<br />
attempted to rescue Louis XVI., who was<br />
being conducted to the scaffold. In ** Vers<br />
Viichafaud ” he now tells us of another of his<br />
ancestors, his grandfather, Jean Francois de<br />
Montegut, Councillor of the Parliament of<br />
Toulouse, who, together with his son and a<br />
number of other councillors, was condemned<br />
to death by Robespierre and Fouquier-<br />
Tinville. The story is extremely pathetic.<br />
Jean Francois de Montegut came of a culti-<br />
vated, intellectual family. His mother was a<br />
most refined woman and a_ poetess. The<br />
author of this volume draws attention to the<br />
extraordinary attitude of these victims of the<br />
Revolution, and to the facility with which a<br />
whole nation allows itself to be influenced and<br />
follows blindly a small minority of leaders.<br />
In this same volume are two other historical<br />
studies.<br />
<br />
<br />
<br />
<br />
<br />
<br />
“><br />
<br />
<br />
<br />
ix}<br />
i<br />
<br />
<br />
<br />
THE AUTHOR. 49<br />
<br />
“T’Ame des Enfants, des Pays et des<br />
Saints” is the title of the latest volume by<br />
Lucie Félix-Faure Goyau. The book contains<br />
a series of delicate and exquisite studies on<br />
widely different subjects. The first part is<br />
entitled, Le Reflet des Choses dans l Ame des<br />
Enfants, and among the things reflected in the<br />
soul of the child, we have the fairies’ tree, the<br />
swan, the ideal house, old people, clocks, the<br />
fear of darkness, sea birds, ete. Several<br />
chapters are devoted to Pascal’s childhood,<br />
and from this study we have an excellent idea<br />
of the Pascal family. The second part of the<br />
book is entitled Le Reflet des Ames sur la figure<br />
des choses: La Phystonomie des Pays, and a<br />
large part of this is devoted to Fromentin,<br />
the celebrated French artist. In the third<br />
division of the book we have Le Reflet des Ames<br />
<br />
sur les Ames: Ame des Saints. Among the<br />
subjects treated are the disciples of Socrates<br />
and the Apostles of Christ, Monica and<br />
St. Augustin, St. Catherine of Ricci, St.<br />
Catherine of Génes, St. Theresa. The subjects<br />
are all delicate and are delicately handled.<br />
In these days of materialism, and of such an<br />
alarming output of commonplace publica-<br />
tions, a volume of this kind will be weleomed<br />
by many readers. “Mes Souvenirs depuis<br />
la Guerre (1870—1901),” by General Zurlinden,<br />
the ex-Minister of War, is a book written<br />
by a man well qualified to speak on the<br />
subjects he touches. He tells us of the<br />
situation after the war, and of his experi-<br />
ences as Military Governor of Paris. The<br />
volume is extremely instructive, coming as<br />
it does from the man most able to write on<br />
such things.<br />
<br />
““Le Suicide,” is the title of the sixteenth<br />
volume of “L’Empire Libéral,” by Emile<br />
Ollivier. The subjects treated are: Le Pre-<br />
muer Acte, Woerth, Forbach, and Renversement<br />
du Ministire. They are handled in the same<br />
conscientious manner as those of the other<br />
fifteen volumes of this important historical<br />
work. “ La Politique Indigéne de l’Angleterre<br />
en Afrique occidentale,” by M. E. Baillaud,<br />
will be interesting for English readers. The<br />
author has lived for some time in the country<br />
about which he writes.<br />
<br />
“ La Russie Moderne, by Grégoire Alexinsky,<br />
formerly member of the Douma, has been<br />
translated by Madame Lavadsky.<br />
<br />
“Essai sur la Littérature Chinoise,”’ by<br />
Georges Soulié, is an attempt to familiarise<br />
us with the literature of a country about<br />
which we know comparatively little.<br />
<br />
“La Vie d’un Heros: Agrippa d’Aubigné,”<br />
is a biography that cannot fail to interest all<br />
<br />
readers, so curious and remarkable was the<br />
personality of this man. M. S. Rocheblave<br />
has rendered a great service in giving us so<br />
concise an account of a man whose life was a<br />
veritable romance.<br />
<br />
“ Marietta Alboni,” by Arthur Pougin, is<br />
a biography of the celebrated singer and<br />
charming Italian woman who made her home<br />
in Paris and left her fortune to found small<br />
scholarships for students attending the free<br />
classes organised by the City of Paris, and<br />
beds in one of the hospitals. Her husband,<br />
M. Charles Zieger, formerly captain in the<br />
French army, has supplied M. Pougin with<br />
most of the material] for this volume.<br />
<br />
A new edition, with a great amount of<br />
additional matter, of “La Géographie<br />
Humaine,” by Jean Brunhes, has just been<br />
issued. M. Jean Brunhes has now a chair of<br />
Human Geography at the College of France.<br />
His book is most remarkable, and he has been<br />
awarded the Halphen prize of the French<br />
Academy and the Gold Medal of the Geo-<br />
graphical Society of Paris for it. The present<br />
volume contains 272 illustrations.<br />
<br />
A book entitled “La Lutte preventive<br />
contre la Misére,” by Sidney and Beatrice<br />
Webb, has been translated by H. La Coudriac.<br />
<br />
The death of Alphense Lemerre will be re-<br />
gretted by the poets, as he was one of the<br />
rare publishers willing to consider their<br />
manuscripts. Sully Prudhomme, Francois<br />
Coppée, and numbers of other poets were<br />
discovered by Alphonse Lemerre. Fortunately<br />
his son keeps up the tradition of the firm and<br />
has published just recently, ‘‘ Les Oases,” by<br />
Charles. Clere, the poet who was awarded the<br />
Sully Prudhomme Prize for 1912.<br />
<br />
Perhaps one of the reasons of the dearth of<br />
novelists is the over-abundance of so-called<br />
dramatic authors at present. Very few of<br />
the new plays are really a success, so that the<br />
public has the opportunity of seeing plenty of<br />
variety, thanks to the frequent change of the<br />
bill.<br />
<br />
The programme of the season at the Odéon<br />
has a number of unknown names, as M.<br />
Antoine keeps up his reputation for endeavour-<br />
ing to discover hidden talent. M. Porel is<br />
organising a series of matinées at the theatre<br />
of the Jardin d’Acclimatation, which will no<br />
doubt attract the English and American<br />
colonies this winter. The prices are very<br />
moderate and the plays good ones. The<br />
theatrical event of the moment is Paul<br />
Hervieu’s play at the Francais. The Athénée<br />
had such success last season with ‘‘ Le Coeur<br />
Dispose,” that it has gone back to it, and the<br />
50<br />
<br />
public is waiting impatiently for the new play<br />
that has been announced to take its place.<br />
Auys Hatrarp.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
« Les Rafales ” (Plon).<br />
“Vers PEchafaud” (Calmann Levy).<br />
<br />
«t?Ame des Enfants, des Pays et des Saints”<br />
(Perrin).<br />
“Mes Souvenirs depuis la Guerre (1870—1901) ”<br />
(Perrin).<br />
<br />
“ Le Suicide” (Garnier).<br />
<br />
“Ta Politique Indigtne de TAngleterre en Afrique<br />
occidentale” (Hachette).<br />
<br />
“La Russie Moderne ” (Flammarion).<br />
<br />
« Bgsai surla Littérature Chinoise” (Mercure de France).<br />
<br />
La Vie d’un Heros: Agrippa d’Aubigné” (Hachette).<br />
<br />
‘«* Marietta Alboni”’ (Plon).<br />
<br />
“La Géographie Humaine ”’ (Felix Alcan).<br />
<br />
“La Lutte preventive contre la Mistre” (Giard et<br />
Britre).<br />
<br />
————_+—>—_+—__—_—_<br />
<br />
THE ACCESSION OF HOLLAND TO THE<br />
BERNE CONVENTION.<br />
<br />
—+-~< +<br />
<br />
TINUE accession of Holland to the Berne<br />
Convention for the Protection of<br />
Literary and Artistic Works, makes<br />
<br />
complete the accord of the nations of Western<br />
<br />
Europe. The Act of the Dutch Parliament<br />
<br />
effecting this highly desirable result has<br />
<br />
already passed. It is to come into force as<br />
soon as it is proclaimed ; and as proclamation<br />
is anticipated on November 11th, a Western<br />
<br />
Europe united in accord regarding intellectual<br />
<br />
rights will be, within a few days, a fait accompli.<br />
<br />
The actual number of new adherents to the<br />
<br />
Berne Convention will not be very large. The<br />
<br />
population of Holland is a little under six<br />
<br />
millions. That of the Colonies, situated<br />
principally in the East Indies, is considerably<br />
<br />
greater—about 88,000,000—but of these a<br />
<br />
very large proportion are natives, speaking<br />
<br />
languages other than Dutch. If the numeri-<br />
cal significance of the new accession is thus<br />
small, its moral significance is, nevertheless,<br />
very great ; for of the European nations there<br />
now remain outside the Union those only that<br />
occupy the eastern portion of the continent,<br />
whose claim to figure among the intellectual<br />
leaders of the world may be, perhaps, best left<br />
to be decided by themselves. It is hardly<br />
necessary to say that the two of the greatest<br />
importance are Austria and Russia. The<br />
adherence of Austria is much to be desired ;<br />
that of Russia—notwithstanding recent steps<br />
in the right direction—appears to be still some<br />
way off.<br />
<br />
The occasion of Holland’s long reluctance<br />
to enter the great solidarity of brain workers<br />
represented by the Copyright Union is the<br />
<br />
THE AUTHOR.<br />
<br />
oceasion of Russia’s reluctance as well as of<br />
that of Austria—and, we may add, that of the<br />
United States. It is not possible for any one<br />
who has watched the history of the Berne<br />
Convention, and the arguments alleged by<br />
those unwilling to join it, not to have observed<br />
the fact that all hesitations to accede amount<br />
to one and the same thing; namely, that<br />
attitude of mind so long ago quite shamelessly<br />
avowed by Diogenes the Cynic, in his reply to<br />
the question, which wine he liked best:<br />
“That,” he asserted, ‘‘ for which some one else<br />
pays.” Again and again this, and this only,<br />
has been the excuse pleaded for remaining<br />
outside the Convention: “It is our interest to<br />
be able to translate ’—“‘ to reprint ” is what<br />
is said on the other side of the Atlantie—<br />
“without paying the author.” This desire<br />
to pick other people’s brains without offering<br />
any money equivalent, disgraceful in the case<br />
of countries such as the United States, Russia,<br />
and Austria (which last, however, it is fair to<br />
add, is the least offender, for Austria has<br />
made independent copyright treaties with<br />
many countries) was by far less gross in the<br />
case of States such as Denmark and Holland,<br />
whose languages have a limited extension,<br />
and whose literatures a correspondingly<br />
restricted sale. Since, however, these have<br />
come into a line with civilisation, the position<br />
of the outsiders becomes positively unpardon-<br />
able.<br />
<br />
The new law, in virtue of which Holland<br />
accedes, is short; and we give here a translation<br />
of the whole, omitting only the formal title<br />
and the signatures.<br />
<br />
“ ArticLE 1.<br />
<br />
‘We reserve to ourselves the power to join, for the<br />
Netherlands and their Colonies, the revised Berne Con-<br />
vention for the Protection of Artistic and Literary Works,<br />
concluded at Berlin on the 13th of November, 1908,<br />
between Belgium, Denmark, the German Empire, France,<br />
Great Britain and Ireland, Italy, Japan, Liberia, Luxem-<br />
burg, Monaco, Norway, Spain, Tunis, Sweden and<br />
Switzerland, of which a copy is attached to this law.<br />
<br />
“ ARTICLE 2.<br />
<br />
“ On our joining the Convention we shall avail ourselves<br />
of the liberty afforded by the second sentence of the third<br />
part of the 25th Article of the Convention concluded at<br />
Berlin on the 13th of November, 1908, in this sense, that<br />
the 8th Article of the said Convention shall be replaced<br />
by the 5th article of the Convention concluded at Berne<br />
on the 9th of September, 1886, as that Article is modified<br />
by Article 1, paragraph IIT. of the Additional Act of Paris,<br />
of the 4th of May, 1896; of which a copy is attached to<br />
this law ;<br />
<br />
“that Article 9 shall be replaced by Article 7 of the<br />
Berne Convention, as that Article is modified by Article 1,<br />
paragraph IV. of the Additional Act of Paris; of which<br />
a copy is attached to this law:<br />
<br />
“that Article 11, second clause, shall be replaced by<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 51<br />
<br />
Article 9, second section, of the Berne Convention; of<br />
which a copy is attached to this law.<br />
“ ARTICLE 3.<br />
<br />
“We reserve to ourselves the power to conclude with<br />
the Powers, which shall not have confirmed the Convention<br />
concluded at Berlin on the 13th of November, 1908, or<br />
shall not have adhered to it, for the Netherlands, and for<br />
their Colonies, treaties within the bounds of that Con-<br />
vention; observing always the reservations mentioned<br />
in the second Article of this law.<br />
<br />
“* ARTICLE 4,<br />
<br />
“ This law comes into force on the day of its proclama-<br />
tion.”<br />
<br />
Attached to the law, in accordance<br />
with its terms, are—the full text of the<br />
International Convention, signed at Berlin<br />
on November 138th, 1908 ;* the Articles 5 and<br />
7 of the Convention, signed at Berne on<br />
September 9th, 1886, as they are modified by<br />
the additional Act of Paris of May 4th, 1896;<br />
and Article 9 of the Berne Convention.<br />
<br />
One term in the law may seem to some of<br />
our readers to need an explanation. It will<br />
have been noted that ‘‘ Holland ” is nowhere<br />
mentioned but ‘‘ The Netherlands.” When on<br />
June 7th, 1815, the great powers remade the<br />
political map of Europe, what are now known<br />
as Holland and Belgium were by them<br />
constituted “The Kingdom of the Nether-<br />
lands.” In 1830 a revolution separated<br />
Belgium from Holland; but the latter has<br />
always retained the official designation<br />
invented in 1815.<br />
<br />
It is of importance to observe what will be<br />
the precise effect of the reservations made by<br />
the new Dutch law in accordance with the<br />
liberty afforded by the second sentence of the<br />
third part of Article 25 of the Berlin Conven-<br />
tion. The article regards “ The accession of<br />
other countries,” allowing them, instead of<br />
“ full adhesion,” to “‘ indicate such provisions<br />
of the Convention of September 9th, 1886,<br />
or of the Additional Act of May 4th, 1896,<br />
as it may be judged necessary to substitute,<br />
provisionally at least, for the corresponding<br />
provisions of the present Convention.”<br />
<br />
The Dutch reservations are in number three,<br />
affecting Articles 8, 9, and 11 of the Berlin<br />
Convention.<br />
<br />
Article 8, is that which rules the copyright<br />
of translations. It gives authors exclusive<br />
right of translation for the whole term of copy-<br />
right. ‘‘ Authors of unpublished works within<br />
the jurisdiction of one of the countries of the<br />
Union, and authors of works published for the<br />
first time in one of these countries, enjoy in<br />
<br />
* A full translation of the Revised Berne Convention,<br />
concluded at Berlin in 1908, was printed in The Author<br />
for January, 1909.<br />
<br />
the other countries of the Union during the<br />
whole term of the right in the original work<br />
the exclusive right to make or to authorise the<br />
translation of their works.”<br />
<br />
For this the new law substitutes :<br />
<br />
“ The first paragraph of Article 5 shall run<br />
as follows :—<br />
<br />
“Authors belonging to any one of the<br />
countries of the Union, or their lawful repre-<br />
sentatives, shall enjoy in the other countries<br />
the exclusive right of making or authorising<br />
the translation of their works during the<br />
entire period of their right over the original<br />
work. Nevertheless, the exclusive right of<br />
translation shall cease to exist if the author<br />
shall not have availed himself of it, during a<br />
period of ten years from the date of the first<br />
publication of the original work, by publishing<br />
or causing to be published in one of the<br />
countries of the Union a translation in the<br />
language for which protection is to be claimed.”<br />
(Additional Act of Paris, Article 5).<br />
<br />
Article 9 of the Berlin Convention regards<br />
the publication of serial novels in periodicals<br />
and of newspaper articles.<br />
<br />
Its provisions are—<br />
<br />
*“ Serial stories (romans feuilletons), novels<br />
and all other works, whether literary, scientific<br />
or artistic, whatsoever be their subject,<br />
published in newspapers or periodicals of one<br />
of the countries of the Union, may not be<br />
reproduced in the other countries without the<br />
consent of the authors.<br />
<br />
** With the exception of serial stories (romans<br />
feuilletons) and of novels, any newspaper<br />
article may be reproduced by another news-<br />
paper if reproduction has not been expressly<br />
forbidden. The source, however, must be<br />
indicated. The confirmation of this obligation<br />
shall be determined by the legislation of the<br />
country where protection is claimed.<br />
<br />
‘The protection of the present Convention<br />
does not apply to news of the day nor to<br />
miscellaneous news having the character:<br />
merely of press information.”<br />
<br />
For this the new Dutch law substitutes—<br />
<br />
“ Article 7 shall run as follows :—<br />
<br />
** Serial stories, including tales, published<br />
in the newspapers or periodicals of one of the<br />
countries of the Union, may not be reproduced,<br />
in original or translation, in the other countries,<br />
without the sanction of the authors or of their<br />
legal representatives.<br />
<br />
“This stipulation shall apply equally to<br />
other articles in newspapers or periodicals,<br />
when the authors or editors shall have expressly<br />
declared in the newspaper or periodical itself<br />
in which they shall have been published, that<br />
<br />
<br />
52<br />
<br />
the right of reproduction is prohibited. In<br />
the case of periodicals it shall suffice if such<br />
prohibition be indicated in general terms at<br />
the beginning of each number.<br />
<br />
“In the absence of prohibition, such articles<br />
may be reproduced on condition that the<br />
source is acknowledged.<br />
<br />
“Tn any case the prohibition shall not apply<br />
to articles on political questions, to the news<br />
of the day, or to miscellaneous information.”<br />
(Additional Act of Paris, Article 7).<br />
<br />
Article 11, second clause, of the Berlin<br />
Convention, regards representation of transla-<br />
tions of dramatic works, and provides<br />
<br />
“ Authors of dramatic or dramatico-musical<br />
works are protected, during the term of their<br />
copyright in the original work, against the<br />
unauthorised public representation of a transla-<br />
tion of their works.”<br />
<br />
For this the new Dutch law substitutes<br />
<br />
‘“* Authors of dramatic or dramatico-musical<br />
works, or their lawful representatives, are,<br />
during the existence of their exclusive right of<br />
translation, equally protected against the<br />
unauthorised public representation of their<br />
works.” (Berne Convention, Article 9).<br />
<br />
It will be immediately perceived that all<br />
the restrictions regard, in one form or another,<br />
the rights of translation, which the Dutch are<br />
still indisposed to understand in the liberal<br />
terms of the Berlin Convention. If this is<br />
to be regretted, and it seems to us regrettable,<br />
the Dutch may yet honestly plead that they<br />
are giving as much as the foremost nations,<br />
for many years, considered it sufficient to give.<br />
<br />
Authors will be, naturally, asking themselves<br />
what Dutch rights are likely to be worth. At<br />
first sight any one who has been in Holland,<br />
and has seen the translations of English popular<br />
novels teeming in the Dutch daily papers might<br />
suppose Dutch rights likely to represent a good<br />
deal. It is, however, by far more probable<br />
that they will amount to something, but not<br />
to very much. There will remain for some<br />
time at the disposal of the Dutch translator<br />
the enormous number of English works that<br />
were published more than ten years ago and<br />
are not yet translated; but, in addition to<br />
this, it is most important to remember that<br />
comparatively few people read Dutch. There<br />
is no world-wide public such as exists for French<br />
and German. Every educated Dutchman<br />
reads French; and this cannot be without<br />
effect upon the demand for Dutch translations ;<br />
whilst the sale of Dutch books also represents<br />
a limited market. English authors have<br />
<br />
<br />
<br />
<br />
<br />
already learned that it is not possible to secure<br />
any very large sum for German rights; and<br />
<br />
THE AUTHOR.<br />
<br />
a considerably smaller honorarium must be<br />
anticipated for the right of translation into<br />
Dutch.<br />
<br />
i<br />
<br />
UNITED STATES COPYRIGHT ACT.<br />
oe<br />
<br />
[Norge.—The new matter in this amendatory Act is<br />
printed in italics. ]<br />
<br />
An Acr to amend sections five, eleven, and<br />
twenty-five of an Act entitled “ An Act<br />
to amend and consolidate the Acts respect-<br />
ing copyrights,” approved March fourth,<br />
nineteen hundred and nine.<br />
<br />
Be it enacted by the Senate and House of<br />
Representatives of the United States of America<br />
in Congress assembled, That sections five,<br />
eleven, and twenty-five of the Act entitled<br />
“An Act to amend and consolidate the Acts<br />
respecting copyrights,” approved March fourth,<br />
nineteen hundred and nine, be amended to<br />
read as follows :<br />
<br />
“Sec. 5. That the application for registra-<br />
tion shall specify to which of the following<br />
classes the work in which copyright is claimed<br />
belongs :<br />
<br />
‘““(a) Books, including composite and<br />
cyclopedic works, directories, gazetteers, and<br />
other compilations ;<br />
<br />
‘(b) Periodicals, including newspapers ;<br />
<br />
‘“(c) Lectures, sermons, addresses (prepared<br />
for oral delivery) ;<br />
<br />
‘*(d) Dramatic or dramatico-musical com-<br />
positions ;<br />
<br />
‘*(e) Musical compositions ;<br />
<br />
‘“*(f) Maps ;<br />
<br />
‘““(g) Works of art; models or designs for<br />
works of art ; :<br />
<br />
‘‘(h) Reproductions of a work of art ;<br />
<br />
‘“(j) Drawings or plastic works<br />
scientific or technical character ;<br />
<br />
‘“*(j) Photographs ;<br />
<br />
‘‘(i) Prints and pictorial illustrations ;<br />
<br />
“<(1) Motion-picture photoplays ;<br />
<br />
““(m) Motion pictures other than photoplays :<br />
<br />
“« Provided, nevertheless, That the above<br />
specifications shall not be held to limit the<br />
subject matter of copyright as defined in<br />
section four of this Aci, nor shall any error in<br />
classification invalidate or impair the copy-<br />
right protection secured under this Act.”<br />
<br />
“© Sec. 11. That copyright may also be had<br />
of the works of an author, of which copies are<br />
not reproduced for sale, by the deposit, with<br />
claim of copyright, of one complete copy of<br />
such work if it be a lecture or similar production<br />
or a dramatic, musical, or dramatico-musical<br />
composition ; of a@ title and description, with<br />
<br />
of a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
one print taken from each scene or act, if the work<br />
be a motion-picture photoplay ;; of a photo-<br />
graphic print if the work be a photograph;<br />
of a title and description, with not less than two<br />
prints taken from different sections of a complete<br />
motion picture, if the work be a motion picture<br />
other than a photoplay ; or of a photograph or<br />
other identifying reproduction thereof, if it be<br />
a work of art or a plastic work or drawing.<br />
But the privilege of registration of copyright<br />
secured hereunder shall not exempt the copy-<br />
right proprietor from the deposit of copies,<br />
under sections twelve and thirteen of this Act,<br />
where the work is later reproduced in copies<br />
for sale.”’<br />
<br />
“Sec. 25. That if any person shall infringe<br />
the copyright in any work protected under the<br />
copyright laws of the United States such<br />
person shall be liable :<br />
<br />
“(a) To an injunction<br />
infringement ;<br />
<br />
“(b) To pay to the copyright proprietor<br />
such damages as the copyright proprietor may<br />
have suffered due to the infringement, as well<br />
as all the profits which the infringer shall have<br />
made from such infringement, and in proving<br />
profits the plaintiff shall be required to prove<br />
sales only and the defendant shall be required<br />
to prove every element of cost which he claims,<br />
or in lieu of actual damages and profits such<br />
damages as to the court shall appear to be<br />
just, and in assessing such damages the court<br />
may, in its discretion, allow the amounts as<br />
hereinafter stated, but in case of a newspaper<br />
reproduction of a copyrighted photograph<br />
such damages shall not exceed the sum of two<br />
hundred dollars nor be less than the sum of<br />
fifty dollars, and in the case of the infringement<br />
of an undramatized or nondramatic work by<br />
means of motion pictures, where the infringer<br />
shall show that he was not aware that he was<br />
infringing, and that such infringement could not<br />
have been reasonably foreseen, such damages<br />
shall not exceed the sum of one hundred dollars ;<br />
and in the case of an infringement of a copy-<br />
righted dramatic or dramatico-musical work by<br />
a maker of motion pictures and his agencies for<br />
distribution thereof to exhibitors, where such<br />
infringer shows that he was not aware that he<br />
was infringing a copyrighted work, and that such<br />
infringements could not reasonably have been<br />
foreseen, the entire sum of such damages recover-<br />
able by the copyright proprietor from such<br />
infringing maker and his agencies for the dis-<br />
<br />
tribution to exhibitors of such infringing motion<br />
picture shall not exceed the sum of five thousand<br />
dollars nor be less than two hundred and fifty<br />
dollars, and such damages shall in no other<br />
<br />
restraining such<br />
<br />
53:<br />
<br />
ease exceed the sum of five thousand dollars<br />
nor be less than the sum of two hundred and<br />
fifty dollars, and shall not be regarded as a<br />
penalty. But the foregoing exceptions shall not<br />
deprive the copyright proprietor of any other<br />
remedy given him under this law, nor shall the<br />
limitation as to the amount of recovery apply to<br />
infringements occurring after the actual notice to<br />
a defendant, either by service of process in a suit<br />
or other written notice served upon him.<br />
<br />
‘First. In the case of a painting, statue, or<br />
sculpture, ten dollars for every infringing copy<br />
made or sold by or found in the possession of<br />
the infringer or his agents or employees ;<br />
<br />
** Second. In the case of any work<br />
enumerated in section five of this Act, except<br />
a painting, statue, or sculpture, one dollar for<br />
every infringing copy made or sold by or found<br />
in the possession of the infringer or his agents<br />
or employees ;<br />
<br />
‘Third. In the case of a lecture, sermon,<br />
or address, fifty dollars for every infringing<br />
delivery ;<br />
<br />
“Fourth. In the case of a dramatic or<br />
dramatico-musical or a choral or orchestral<br />
composition, one hudred dollars for the first<br />
and fifty dollars for every subsequent infring-<br />
ing performance ; in the case of other musical<br />
compositions, ten dollars for every infringing<br />
performance ;<br />
<br />
*“(e) To deliver up on oath, to be impounded<br />
during the pendency of the action, upon such<br />
terms and conditions as the court may pre-<br />
scribe, all articles alleged to infringe a copy-<br />
right ;<br />
<br />
““(d) To deliver up on oath for destruction<br />
all the infringing copies or devices, as well as.<br />
all plates, molds, matrices or other means for<br />
making such infringing copies as the court may<br />
order.<br />
<br />
*“ (e) Whenever the owner of a musical copy-<br />
right has used or permitted the use of the copy-<br />
righted work upon the parts of musical instru-<br />
ments serving to reproduce mechanically the<br />
musical work, then in case of infringement of<br />
such copyright by the unauthorized manu-<br />
facture, use, or sale of interchangeable parts,<br />
such as disks, rolls, bands, or cylinders for<br />
use in mechanical music-producing machines<br />
adapted to reproduce the copyrighted music,<br />
no criminal action shall be brought, but in<br />
a civil action an injunction may be granted<br />
upon such terms as the court may impose, and<br />
the plaintiff shall be entitled to recover in<br />
lieu of profits and damages a royalty as pro-<br />
vided in section one, subsection (e), of this<br />
Act: Provided also, That whenever any person,<br />
in the absence of a license agreement, intends<br />
54<br />
<br />
to use a copyrighted musical composition upon<br />
the parts of instruments serving to repro-<br />
duce mechanically the musical work, relying<br />
upon the compulsory license provision of this<br />
Act, he shall serve notice of such intention,<br />
by registered mail, upon the copyright pro-<br />
prietor at his last address disclosed by the<br />
records of the copyright office, sending to the<br />
copyright office a duplicate of such notice ;<br />
and in case of his failure so to do the court<br />
may, in its discretion, in addition to sums<br />
hereinabove mentioned, award the complainant<br />
a further sum, not to exceed three times the<br />
amount provided by section one, subsec-<br />
tion (e), by way of damages, and not as a<br />
penalty, and also a temporary injunction until<br />
the full award is paid.<br />
<br />
“Rules and regulations for practice and<br />
procedure under this section shall be prescribed<br />
by the Supreme Court of the United States.”<br />
<br />
ee en<br />
<br />
CROWN COPYRIGHT.<br />
<br />
—+-—<>—+—_<br />
<br />
COMMON idea exists in the minds of<br />
<br />
authors and the public, that papers<br />
<br />
and documents issued from Govern-<br />
ment offices are public property. The question<br />
was raised somewhat acutely under the old<br />
Act, but the position of the Crown has been<br />
more clearly defined under Clause 18 of the<br />
Act of 1911. We print below a Treasury<br />
Minute, dated June 28th, 1912. This will<br />
define the attitude of the Crown more clearly<br />
for the information of writers on political<br />
matters and others who may desire to know<br />
their exact position in this connection.<br />
<br />
Treasury MINUTE DatTEep 28TH JUNE, 1912.<br />
<br />
My Lords read section 18 of the Copyright Act, 1911<br />
(1 & 2 Geo. 5, ch. 46), which enacts that—<br />
<br />
** Without prejudice to any rights or privileges of the<br />
Crown, where any work has, whether before or after<br />
the commencement of this Act, been prepared or<br />
published by or under the direction or control of<br />
His Majesty or any Government department, the<br />
copyright in the work shall, subject to any agree-<br />
ment with the author, belong to His Majesty, and<br />
in such case shall continue for a period of fifty years<br />
from the date of the first publication of the work.”<br />
<br />
The above statutory provision renders it necessary to<br />
reconsider the Treasury Minute of the 3lst August, 1887<br />
(presented to the House of Commons No. 335 of 1887),<br />
and to define anew the practice to be followed with regard<br />
to Crown Copyright.<br />
<br />
The Treasury Minute divided Government publications<br />
into the following classes :—<br />
<br />
(1) Reports of Select Committees of the two Houses<br />
of Parliament, or of Royal Commissions,<br />
<br />
THE AUTHOR.<br />
<br />
(2) Papers required by Statute to be laid before<br />
Parliament, e.g., Orders in Council, Rules made<br />
by Government Departments, Accounts, Reports<br />
of Government Inspectors.<br />
<br />
(3) Papers laid before Parliament by Command, e.g.;<br />
Treaties, Diplomatic Correspondence, Reports<br />
from Consuls and Secretaries of Legation,<br />
Reports of Inquiries into Explosions or Acci-<br />
dents, and other Special Reports made to<br />
Government Departments.<br />
<br />
(4) Acts of Parliament.<br />
<br />
(5) Official books, e.g., King’s Regulations for the<br />
Army or Navy.<br />
<br />
(6) Literary or quasi-literary works, ¢.g., the Reports<br />
of the “Challenger”? Expedition, the Rolls<br />
Publications, the State Trials, the “‘ Board of<br />
Trade Journal.”<br />
<br />
(7) Charts and Ordnance Maps.<br />
<br />
A considerable and increasing number of Government<br />
works fall into the three last classes above set forth, and<br />
My Lords see no reason why such works—often produced<br />
at considerable cost—should be reproduced by private<br />
enterprise for the benefit of individual publishers. For<br />
the future, publications which fall within this description<br />
will bear an indication on the title page that the Crown<br />
Copyright is reserved. The Controller of the Stationery<br />
Office will act on a notification by the Department<br />
responsible for the production of the work that it is desired<br />
that Crown Copyright should be expressly reserved<br />
subject to reference to Their Lordships in case of doubt.<br />
Any infringement of copyright in these cases should be<br />
brought to the notice of the Controller of the Stationery<br />
Office by the Heads of Departments, so far as works<br />
prepared or published by or under their direction are<br />
concerned.<br />
<br />
The Controller of the Stationery Office will refer to this<br />
Board for instructions as to whether any infringement<br />
of Crown Copyright shall be made the subject of legal<br />
proceedings.<br />
<br />
The publications which fall into the first four classes<br />
are issued for the use and information of the public, and<br />
it is desirable that the knowledge of their contents should be<br />
diffused as widely as possible. In the case of these<br />
publications no steps will ordinarily be taken to enforce<br />
the rights of the Crown in respect of copyright. The<br />
rights of the Crown will not, however, lapse, and should<br />
exceptional circumstances appear to justify such a course<br />
it will be possible to assert them. In such a case, the<br />
Department concerned should acquaint the Controller<br />
of the Stationery Office as early as possible of the special<br />
circumstances which render it desirable to depart from the<br />
general rule permitting full and free reproduction of works<br />
in these categories, and the Controller will, subject to the<br />
direction of Their Lordships, take such measures as may<br />
seem appropriate to enforce the right of the Crown.<br />
<br />
Acts of Parliament must not, except when published<br />
under authority of the Government, purport on the<br />
face of them to be published by authority.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS.<br />
<br />
<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
Frout Page ave ae so aes a w.£4 0<br />
<br />
Other Pages ave ae eas aa ake eee on SO<br />
Half of a Page .., aes uae ses ssa ave aan eo 10<br />
Quarter of a Page a . O1<br />
Eighth of a Page cay ee vie sa O<br />
Single Column Advertisements a é per inch 0<br />
Reduction af 20 per cent. made for a Series of Six and of 25 per cent. for<br />
<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
Bstmont & Co,, 29, Paternoster Square, London, E.C.<br />
<br />
0<br />
0<br />
0<br />
5 6<br />
70<br />
6 0<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
=<br />
<br />
i; VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and |publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4, Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
This<br />
The<br />
<br />
7. Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
———+——_ - —_____<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
— + —<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
55<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements.<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements,<br />
<br />
(3.) Not to allow a special charge for “office expenses,’’<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continenta}<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |!<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author,<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advicefrom<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
$<<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters inte<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
56<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed. :<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (é.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (@.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
<br />
holding the performing right or licence to perform cannot<br />
<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration,<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
+e — —______<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
1<br />
<br />
ay fone sy typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
THE AUTHOR.<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
ag<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author’s rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
————_+——_—_<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
ESS<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
———————_e—_—_e—__<br />
<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society’s<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
0<br />
THE READING BRANCH.<br />
epee<br />
<br />
EMBERS will greatly assist the Society in this<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
<br />
fee is one guinea,<br />
oe<br />
<br />
REMITTANCES.<br />
<br />
<br />
<br />
<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery iLane, or be sent by registered<br />
letter only.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 5T<br />
<br />
GENERAL NOTES.<br />
<br />
——<br />
<br />
IMPERIAL COPYRIGHT.<br />
<br />
WE understand that by Orders in Council the<br />
Copyright Act is extended to the following terri-<br />
tories under Imperial Protection :—<br />
<br />
The Bechuanaland Protectorate, Hast Africa Protecto-<br />
rate, Gambia Protectorate, Gilbert and Ellice Islands<br />
Protectorate, Northern Nigeria Protectorate, Northern<br />
Territories of the Gold Coast, Nyasaland Protectorate,<br />
Northern Rhodesia, Southern Rhodesia, Sierra Leone Pro-<br />
tectorate, Somaliland Protectorate, Southern Nigeria<br />
Protectorate, Solomon Islands Protectorate, Swaziland,<br />
Uganda Protectorate, and Wei-hai-wei. The Act is also<br />
extended to Cyprus.<br />
<br />
Another Order in Council extends the protection<br />
of the Act to works of the following countries<br />
within the area of the Statute :—<br />
<br />
Belgium, Denmark and the Faroe Islands, France,<br />
Germany and the German Protectorates, Hayti, Italy,<br />
Japan, Liberia, Luxemburg, Monaco, Norway, Portugal,<br />
Spain, Sweden, Switzerland, and Tunis, belonging to the<br />
Copyright Union; also to works published in Austria-<br />
Hungary.<br />
<br />
To COMPOSERS.<br />
<br />
THE special attention of composers who are<br />
members of the Society is drawn to the article<br />
appearing elsewhere in this issue on the collec-<br />
tion bureau, and also to the reference to that<br />
bureau in the notes of the Committee of<br />
Management and of the Composers’ Sub-<br />
Committee.<br />
<br />
The committee have sanctioned the collec-<br />
tion of fees for mechanical instrument repro-<br />
ductions, due under section 19 of the Act, as<br />
they feel that any delay may tend to prejudice<br />
seriously the position of composers, for the<br />
payment of fees started from July of the present<br />
year. The committee considered that the<br />
commissions being charged by publishers and<br />
others for such collection were exorbitant.<br />
The commission to be charged by the Society<br />
has not yet been fixed, but the committee<br />
confidently hope that it will be considerably<br />
less than the charges already referred to.<br />
Three houses, it is known, have offered to<br />
collect the fees for composers whose works are<br />
published by them, on the following terms.<br />
After deduction of expenses of collection— a<br />
wholly indeterminate quantity—to pay 30 per<br />
cent. of what remains, to themselves, leaving<br />
the composer with a bare 70 per cent. The<br />
following may well represent the practical<br />
result of such a system. Say a publisher<br />
collects £100. He would then put in the rent<br />
<br />
of office for collection and other details of<br />
clerkship at, say, £20, or perhaps more (no<br />
figure is fixed), leaving a balance of £80. He<br />
would then pay himself, for no apparent reason,<br />
except that the composer has been fool enough<br />
to agree to the arrangement, 30 per cent., and<br />
would hand over the balance, £54, to the<br />
composer. This system practically means that<br />
the composer is putting 50 per cent. of his<br />
property into the hands of a publisher who has<br />
no claim on it whatever, for doing a piece of<br />
work which most agents would willingly and<br />
gladly do 50 per cent. cheaper. In the case of<br />
composers whose mechanical instrument fees<br />
do not amount to a very high figure, the<br />
expenses of collection may leave them in a very<br />
poor position, indeed. Even with the best<br />
intentions in the world, without reference to<br />
the publisher’s windfall of 30 per cent., any<br />
firm collecting fees on this basis can hardly<br />
fail to do injustice to the composer, as to appor-<br />
tion the expenses of collection fairly among all<br />
the composers affected would be a herculean<br />
task.<br />
<br />
The fairest offer, so far, which has been made<br />
to composers, is the offer made by a certain<br />
company, mentioned in a previous number of<br />
The Author, to pay the whole of the balance to<br />
the composer after deducting 25 per cent.,<br />
but in both these cases, that is, in the case of<br />
the publishers and in the case of the company,<br />
it is made a sine qua non that the composer<br />
shall assign all his rights of mechanical<br />
reproduction. Quite apart from the fees which<br />
are claimed, this condition is unsatisfactory<br />
<br />
and absurd.<br />
0<br />
<br />
THE REY. PROF. W. W. SKEAT.<br />
<br />
— +> +—_<br />
<br />
EATH has removed the Rev. Professor<br />
<br />
W. W. Skeat, Professor of Anglo-<br />
<br />
Saxon at the Cambridge University<br />
<br />
since 1878, and one of the most distinguished<br />
members of this Society.<br />
<br />
Professor Skeat had obtained a deservedly<br />
high reputation as an authority on the English<br />
language, and his Etymological Dictionary<br />
had shown him to be a scholar in the very<br />
first class. His edition of Chaucer is, in its<br />
way, a classic of a classic, and students, and,<br />
indeed, the English public generally, have<br />
suffered a great loss in the death of one so<br />
erudite and so sincere in every subject that<br />
he made his own.<br />
<br />
The Press has drawn attention to the fact<br />
that as a student of Pickwick he obtained<br />
the second prize in Calverley’s examination,<br />
58<br />
<br />
held so long ago as 1857. We well remember<br />
the good founder of the Society, Sir Walter<br />
Besant, telling the story of that examination,<br />
for he was the winner of the first prize when<br />
his friend the Professor took the second.<br />
<br />
The Society of Authors owes a deep debt of<br />
gratitude to Professor Skeat for the warm<br />
support which he always gave it. He joined<br />
the Society in 1884, being one of the first of<br />
that small band who willingly stood by their<br />
old friend in the good cause which sometimes,<br />
in those days, appeared to be a lost cause.<br />
The death of an original member brings back<br />
recollections, full of sadness, for there are<br />
very few left now. It was due entirely to<br />
that small body of men of strong purpose and<br />
unselfish ideals, which met together in that<br />
year that the Society owes its present pros-<br />
perous position.<br />
<br />
The Author also has lost a good friend.<br />
The Professor was a constant reader of the<br />
magazine, and contributed many articles to<br />
its columns, dealing with points in classical<br />
English which were of interest. The thorough-<br />
ness and accuracy of his knowledge of the<br />
English language cannot be exaggerated, and<br />
the wideness and depth of the range of his<br />
studies makes it indeed difficult to replace<br />
such an ardent and cultivated scholar.<br />
<br />
—————1+—>—+ —___<br />
<br />
THE COLLECTION BUREAU.<br />
<br />
1<br />
<br />
fF\HE committee, with the approval of the<br />
<br />
Council of the Society of Authors, have<br />
<br />
decided that a bureau for the collection<br />
of members’ royalties might with ad vantage<br />
be started for the members. Some of the<br />
members of the Society have delegated such<br />
collection to literary, dramatic and musical<br />
agencies, but it is believed that there must be<br />
others who would value an organisation which,<br />
for a moderate commission, would collect<br />
their royalties under contracts entered into<br />
with publishers, theatrical managers, amateur<br />
dramatic societies, ete. Under the new Copy-<br />
right Act some such bureau is required if<br />
authors, dramatists, and composers, are to<br />
receive the full benefit of the increased protec-<br />
tion which that act affords. There is no<br />
intention whatever to extend the work of<br />
the Society to embrace the scope of the<br />
usual literary agency. The committee have<br />
definitely sanctioned the collection of fees on<br />
mechanical reproductions under Clause 19 of<br />
<br />
THE AUTHOR.<br />
<br />
the new Copyright Act, on behalf of any<br />
composers, members of the Society, who care<br />
to entrust the collection of these fees to the<br />
Society. This was an urgent matter. The<br />
question of the commission to be charged,<br />
they have referred to the Composers’ Sub-<br />
Committee, but, in the meantime, any composer<br />
who chooses to put his work into the hands of<br />
the Society, can have his mechanical instru-<br />
ment fees collected at a less commission,<br />
pending the fixing of the exact percentage.<br />
Under that section it is necessary that stamps<br />
should be provided for sale at fixed prices,<br />
to the producers of mechanical instruments.<br />
It must be understood, therefore, that the<br />
composer will have to pay for the cost of the<br />
stamps. The question of the collection of fees<br />
for dramatists has been referred to the<br />
Dramatic Sub-Committee, which body will, in<br />
due course, report to the Committee of Manage-<br />
ment. The question of the commission to be<br />
charged on sums collected under other contracts<br />
will be considered at the next meeting of the<br />
Committee of Management. It is hoped that,<br />
before the end of the year, it will be possible to<br />
give to the members of the Society fuller details<br />
of the work which the Society has taken in<br />
hand. Meanwhile, if any member has any<br />
suggestions to make, the Committee of Manage-<br />
ment will be pleased to receive and to consider<br />
letters sent to the Society’s offices, while they<br />
would also like to draw the attention to the<br />
guarantee fund. It is proposed to call up<br />
25 per cent. of the guarantee immediately,<br />
but it is hoped to make the bureau self-<br />
supporting in the course of two or three years<br />
at the outside. The sum already guaranteed<br />
<br />
<br />
<br />
is £670.<br />
<br />
EGE Ue<br />
PUBLISHERS’ ROYALTY AGREEMENTS.<br />
LIMITATIONS.<br />
<br />
I.<br />
<br />
T is the habit of publishers in their printed<br />
| forms of contract to ask for various rights.<br />
Some ask for the copyright, some an<br />
unlimited licence to publish, some a limited<br />
licence, some one thing and some another.<br />
Each one will ask for as much as he thinks he<br />
can get and, if the author is ignorant of the<br />
methods of dealing with his property, he<br />
generally yields up much more than is either<br />
necessary or right.<br />
But it would not be fair to leave the author<br />
with this statement only.<br />
No author should transfer his copyright to a<br />
<br />
<br />
<br />
<br />
<br />
<br />
ee,<br />
<br />
<br />
<br />
THE AUTHOR. 59<br />
<br />
publisher while he preserves a continuing in-<br />
terest in his work.<br />
<br />
This being the case, he grants to the pub-<br />
lisher a licence to publish in book form.<br />
<br />
This article, therefore, proposes to explain<br />
what limitations can be placed on a publisher<br />
so far as book publication is concerned. It<br />
must never be forgotten that the publisher is<br />
the agent of the author and not the principal.<br />
<br />
Book publication, then, can be limited as<br />
follows :—<br />
<br />
1. As to country.<br />
<br />
2. As to time.<br />
<br />
8. As to edition.<br />
<br />
4. As to price and format.<br />
<br />
1. Limitation as to country.<br />
<br />
Publication in the English language is<br />
generally limited to (1) Great Britain and<br />
Ireland, the Colonies and Dependencies thereof<br />
(sometimes Canada excepted); (2) The United<br />
States and Canada; (8) Tauchnitz editions<br />
which cover most of the Continent and a great<br />
many of the non-copyright countries of South<br />
America, Russia, Turkey, ete.<br />
<br />
To the English publisher it is sufficient to<br />
grant a licence to publish in Great Britain and<br />
Ireland, the Colonies and Dependencies thereof.<br />
<br />
It is possible, however, if the English pub-<br />
lishers continued to handle the Colonial markets<br />
so badly, that some different arrangement may<br />
be forthcoming by stimulating the Colonial<br />
publishers to enter into contracts direct with<br />
the English authors. Already the English<br />
publishers have in most cases lost the Canadian<br />
market, and complaints are coming in from<br />
all sides. The authors complain that their<br />
Colonial sales are small, and the Colonial pub-<br />
lishers and booksellers state that they find<br />
no push and enterprise among the English<br />
publishers.<br />
<br />
The United States publishers, owing, no<br />
doubt, to local conditions, have secured the<br />
Canadian market, but there is no reason what-<br />
ever why, with their American goods, they<br />
should be pushing out the work of British<br />
authors in Australia and New Zealand. If<br />
<br />
they continue their energetic career, it may<br />
pay the English author best to get the<br />
American publishers to take over his Colonial<br />
market. One English author has already done<br />
so with success.<br />
<br />
At present, however, speaking generally, it is<br />
best to license the English publisher to take<br />
the Colonial market, with the exception of<br />
Canada, but he should undertake to publish in<br />
the Colonies, and should not merely take the<br />
licence and then let the market lie idle.<br />
<br />
In regard to Canada, if a suitable arrange-<br />
<br />
ment can be made with a Canadian publisher,<br />
it would be better for the author to make the<br />
contract direct. If the United States pub-<br />
lisher or the English publisher holds the<br />
licence for this market some percentage of the<br />
profits will go into his pockets, which might<br />
well be shared in just proportions between the<br />
author and the Canadian publisher.<br />
<br />
If it should prove impossible, owing to the<br />
lack of Canadian enterprise, to make a contract<br />
direct, then, with some regret, it must be stated<br />
that it will be best to leave the matter with the<br />
publisher in the United States. Many of these<br />
enterprising gentlemen have already got offices<br />
in Montreal and Toronto, and nearly all of<br />
them have busy agents working over the<br />
Dominion.<br />
<br />
These remarks refer to the book trade under<br />
the present Colonial laws. What advice it may<br />
be necessary to give if the self-governing<br />
Dominions legislate for themselves it is impos-<br />
sible at present to say. It may be necessary<br />
to contract, in every case, direct with a Colonial<br />
publisher, or it may be an author’s misfortune<br />
to be the victim of licensed piracy, when no<br />
contract will be of any avail.<br />
<br />
When the time comes the proposition will<br />
be met.<br />
<br />
So much for Colonial book rights. It is now<br />
necessary to consider the question of a licence<br />
to publish in the United States. Again we<br />
should like to repeat the formula.<br />
<br />
No author should transfer his copyright to<br />
a publisher while he preserves a continuing<br />
interest in his work.<br />
<br />
Under the peculiarly unfair arrangement at<br />
present existing between Great Britain and the<br />
United States it is necessary, first, that the book<br />
should be printed from type set up in the<br />
<br />
United States, and then published within a sixty |<br />
<br />
days’ limit of the publication within the British<br />
Empire. This is a general statement. For<br />
fuller details and other technicalities further<br />
reference must be made by the reader. It has<br />
been stated by one author in a book of advice<br />
to his brethren that it is not worth while to<br />
bother about the American market. To this<br />
dictum we would raise the strongest objection.<br />
The United States publishers are already push-<br />
ing the books of English authors out of Canada<br />
and Australia, and it is of the utmost import-<br />
ance that the United States copyright should<br />
be preserved, if possible.<br />
<br />
The agent is, to some degree, responsible for<br />
this slackness with regard to the States, and<br />
the author should insist upon greater effort and<br />
alacrity. Some authors, indeed, whose books<br />
appear to suit the taste of the American public,<br />
<br />
<br />
60<br />
<br />
obtain a greater sale there than they obtain<br />
in Great Britain. It requires, no doubt, more<br />
trouble to negotiate these rights, but this is no<br />
reason why they should be neglected.<br />
<br />
Now, owing to the fact that publication must<br />
be approximately simultaneous and_ that<br />
everything must be done by correspondence,<br />
an author should be ready and begin to nego-<br />
tiate these rights at least six months before he<br />
attempts the English market. :<br />
<br />
His negotiations should be carried on by him-<br />
self or his agent, and should never be left with<br />
the publisher.<br />
<br />
The reason for this is simple. First, as has<br />
already been mentioned, a publisher is not a<br />
literary agent. Secondly, a publisher will<br />
generally only negotiate with one or two<br />
United States houses with whom he may have<br />
personal connection instead of going steadily<br />
through all ‘the responsible United States<br />
firms. Thirdly, when the publisher has the<br />
business in hand the English author has gener-<br />
ally made his contract for publication in Great<br />
Britain, and the publisher is therefore anxious<br />
to get the book on the market, and chafes at<br />
what he may consider the author’s unreason-<br />
able demands and delays. Fourthly, the author<br />
is generally bound to share some of his profit<br />
with the publisher, who will ask considerably<br />
more than the usual agent’s charges. Lastly,<br />
it often pays the publisher better to sell sheets<br />
or stereos to the United States, losing the<br />
copyright for the author, than to gain the<br />
copyright and share the profits.<br />
<br />
An author, therefore, cannot be urged too<br />
strongly to endeavour to obtain these rights<br />
for himself, and to make his effort at least six<br />
months before he offers to an English publisher.<br />
Besides, if he has placed his work in the States,<br />
an English publisher will almost certainly take<br />
the work without demur. The argument for<br />
one is an argument for the other.<br />
<br />
He must not wake up suddenly when he has<br />
completed all his arrangements for the Empire,<br />
and discover that he has other rights, and<br />
valuable rights, that he might have cbtained.<br />
<br />
English authors must remember the United<br />
States market is a valuable market, in some<br />
cases, and with some books more valuable than<br />
the English.<br />
<br />
If, however, for one reason or another, no<br />
American publisher will handle the work, then<br />
it is as well to have a clause in the English<br />
agreement allowing the publisher to sell sheets<br />
or stereos to the United States, but at a<br />
moderate profit to himself and not in accord-<br />
ance with the usual exorbitant demand. He<br />
can send these out before any pirate can get<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the book and copy it, and the United States<br />
publisher can get the first run of the States<br />
market and secure his profit. Indeed, there<br />
appears to be a sort of unwritten understanding<br />
among the best class publishers in the States<br />
not to interfere with this kind of publication<br />
from another firm. If the book, however, is<br />
extraordinarily successful then the unscru-<br />
pulous pirate will, of course, step in.<br />
<br />
The last publication in book form in the<br />
English language is the publication by Baron<br />
Tauchnitz.<br />
<br />
This form of publication is best negotiated<br />
through a literary agent, if the author employs<br />
one, or by the author himself. It should not<br />
be left in the hands of the publisher, who<br />
is not a literary agent. If, however, an<br />
offer comes from Tauchnitz consequent on<br />
the action of the publisher, if, in other<br />
words, he has worked successfully for the<br />
author as a literary agent, then the author<br />
should give him the usual agency fee of 10 per<br />
cent. In no circumstances should he allow<br />
these rights to be exclusively in the hands of<br />
the publisher to make whatever contract he<br />
thinks fit, and in no circumstances should he<br />
allow the publisher to take 59 per cent. of the<br />
profits, for writing, perhaps, to letters.<br />
<br />
A warning should be given here of a serious<br />
difficulty that has arisen under the contracts<br />
for the purchase of the cheap 7d. rights put<br />
forward by the firm of Messrs. Nelson & Son.<br />
These contracts are limited—and rightly so,<br />
when the Tauchnitz rights are so valuable—to<br />
Great Britain, her Colonies and Dependencies<br />
and to the production in book form at the price<br />
of 7d. The contract is in most cases thus<br />
strictly limited. But Messrs. Nelson, having<br />
prepared a special paper cover, proceed to<br />
export the books to France and to sell them at<br />
one frane. Such action is, of course, a distinct<br />
breach of contract. Messrs. Nelson have<br />
endeavoured to justify their action. The<br />
author, must, therefore, be put on his guard. If<br />
he is offered a contract from a firm of publishers<br />
for a cheap reproduction, unlimited as_ to<br />
country, he may be selling his Tauchnitz rights<br />
and may lose a chance of a further market.<br />
This should not be, for, as a rule, Tauchnitz<br />
can cover a much wider area abroad than any<br />
English publisher, and can, therefore, pay a<br />
better price.<br />
<br />
If the English publisher is limited as to<br />
country and price, then the English author<br />
must see that the contract is adhered to, or<br />
must obtain equivalent damages for loss of the<br />
Tauchnitz market.<br />
<br />
It is possible that this important question<br />
<br />
<br />
<br />
<br />
ee ee a apes ee<br />
<br />
<br />
<br />
/ rights in foreign languages.<br />
sold for a sum down, or for a sum down in<br />
<br />
<br />
<br />
THE AUTHOR. 61<br />
<br />
of cheap edition rights may be dealt with<br />
more fully in another article.<br />
<br />
Next come the translation rights or book<br />
These are usually<br />
<br />
advance of royalties.<br />
<br />
They are sometimes limited as to country,<br />
but generally only limited as to language.<br />
<br />
The serial rights are not infrequently<br />
included in the sale, and if there is any chance<br />
of the work meeting with success in this form<br />
when translated, then the author should get a<br />
just portion of the returns.<br />
<br />
Finally, now that copyright in translations<br />
runs for the whole period of copyright, if<br />
published within ten years from the date of<br />
publication in the country of origin, an author<br />
who takes any pride in his work should either<br />
retain to himself some right of approving the<br />
translation before it is placed on the market,<br />
or be very sure of the capacity of his translator<br />
before he makes the assignment.<br />
<br />
(To be continued.)<br />
—<br />
COLONIAL PUBLICATION,<br />
<br />
—+-—~<>—+ —<br />
<br />
N article under the above title in the<br />
October number of The Author,<br />
contains the statement that English<br />
<br />
works—in comparison with American—do not<br />
get a fair circulation on the Colonial markets.<br />
My own experience in the matter may be of<br />
interest. When my first novel was published,<br />
jast autumn, I happened to be in Australia,<br />
and naturally I took a paternal interest in my<br />
first-born. Before it arrived in the Common-<br />
wealth a Sydney literary agent warned me<br />
that it would have little chance of success in<br />
competition with the new American books.<br />
He added the amazing explanation that<br />
Australian buyers disliked English books on<br />
account of their pornographic tendency. The<br />
agent probably did not know a great deal<br />
about the contents of the books he handled—<br />
he was agent for everything that came in his<br />
way, from fire insurance to sheep dip—but<br />
it was certainly true that English paper-<br />
covered books, with suggestive covers and<br />
titles, occupied prominent positions on the<br />
bookstalls.<br />
<br />
I did not believe that the pornographic<br />
portion of the English output could be large<br />
enough to affect the reputation of the whole.<br />
A more credible explanation was _ forth-<br />
coming when my own book arrived. Wishing<br />
to see a copy of the Colonial edition I asked<br />
<br />
for it at one of the leading shops. The book-<br />
seller told me that he had not got it, was not<br />
likely to get it, and knew nothing about it.<br />
He added that the book could not be worth<br />
reading, or his London agents would have sent<br />
him some copies of it. When I meekly told him<br />
that I was the author of the book he made<br />
amends by explaining how it was that he knew<br />
nothing of it. He left the purchase of<br />
English books, he said, entirely to his London<br />
agents, who sent him out whatever they<br />
thought best. He never replaced books that<br />
he sold, except under exceptional circumstances,<br />
as a book that had been in brisk demand might<br />
be forgotten during the three months that must<br />
elapse before fresh stocks could be obtained<br />
from England. He bought American books<br />
because the representatives of American<br />
publishers called on him and were able to tell<br />
him all he needed to know about the contents<br />
of the books that he sold. To stock American<br />
books was therefore less of a speculation than<br />
to stock English ones. A New Zealand gentle-<br />
man, a large buyer of books, told me that he<br />
bought all his books from a London bookseller,<br />
as the choice among those offered for sale<br />
<br />
- locally was so limited.<br />
<br />
Though many Australasian booksellers are<br />
men with literary tastes, some bring to their<br />
business qualifications that would serve them<br />
equally well if they sold candles or mousetraps.<br />
A Sydney lady who read my book was so<br />
sporting as to order twenty-four copies of it,<br />
to be sent to twenty-four of her friends as<br />
Christmas presents. The bookseller, not<br />
having my novel in stock, without consulting<br />
his customer, sent out twenty-four copies of<br />
a new American novel instead. When the<br />
lady remonstrated with him, he pleaded that<br />
as the two books were equally new and were<br />
sold at the same price, there was nothing to<br />
choose between them. He knew nothing, of<br />
course, about the contents of either work.<br />
I was credibly informed afterwards by a<br />
publisher’s agent that his profit on the<br />
American book was double what he would have<br />
got by selling mine. The same gentleman told<br />
me that in order to capture the Australasian<br />
market American publishers allow Australasian<br />
booksellers a profit so large that they have<br />
none left for themselves; that, in fact, they<br />
practically let the bookseller get them at the<br />
price it costs to produce them. The buyer,<br />
however, pays the same price as he would for<br />
an English book.<br />
<br />
So far my complaint has been against the<br />
Australasian bookseller. English publishers,<br />
too, must share the responsibility of allowing<br />
62<br />
<br />
American books to shoulder English ones out<br />
of the market. One New Zealand bookseller<br />
ordered thirty copies of my book on the<br />
strength of a notice of it that he had seen in<br />
a trade journal. He sold these out in three<br />
weeks and applied to the Melbourne representa-<br />
tive of my publisher for more copies. Tle<br />
was referred to the London house. Before<br />
leaving Australasia I called on my publisher’s<br />
local representative, and asked if it were true<br />
that he could not supply my book. He told<br />
me that he had originally received only twelve<br />
copies of my book, that he had disposed of all<br />
these to one bookseller soon after they had<br />
arrived, and had never replaced them. He<br />
had had a number of applications for the book,<br />
but had referred each applicant to the London<br />
house. He admitted that he could have sold<br />
a hundred copies if he had had them.<br />
<br />
It is necessary to add that as I know of one<br />
English publishing firm that is admirably<br />
represented in Australasia, and as others may<br />
be equally well represented for anything I<br />
know to the contrary, my remarks must not<br />
be applied too generally. My evidence shows<br />
that there is something wrong with the<br />
Australasian book trade—so far as it concerns<br />
the English author—but it does not show the<br />
extent of the evil.<br />
<br />
<br />
<br />
——__+_>__+—__—__<br />
<br />
WRITING THE SHORT STORY.*<br />
<br />
<br />
<br />
HE above work has been written by<br />
J. Berg Esenwein, editor of a monthly<br />
magazine. The publishers, in a preface,<br />
<br />
state as follows :—<br />
<br />
“This treatise is confidently recommended<br />
for class-room use because of several important<br />
considerations. Its inspirational method and<br />
logical order are based upon the best pedago-<br />
gical approach.”<br />
<br />
There is no doubt that certain points<br />
in the technical development of the short<br />
story may be taught, just as certain points<br />
in the technical development of the essay,<br />
but no class-book will make a person capable<br />
either of writing a short story or a read-<br />
able essay. Indeed, in our humble opinion,<br />
the machine-made short story is likely to be<br />
a considerably worse production than the<br />
machine-made essay. The author writes with<br />
the experience resulting from a lifetime of<br />
observation, and we do not wish to decry the<br />
<br />
<br />
<br />
* “Writing the Short Story,’ by J. Berg Esenwein.<br />
Andrew Melrose.<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
value of the book so far as such a book is<br />
valuable.<br />
<br />
If any author thinks that he or she may<br />
fail in placing short stories, through lack of<br />
power to master the technical difficulties, it<br />
will certainly be worth while to purchase a<br />
copy of this book and to peruse its contents.<br />
<br />
<br />
<br />
Op de<br />
<br />
THE AUTHOR AS PUBLISHER.<br />
<br />
—+—~ + —<br />
<br />
LITTLE book*has been produced entitled<br />
“The Author as Publisher.” The<br />
publishers of the book are :—Messrs.<br />
<br />
Grant and Woods, of 31, Ampton Street, Grays<br />
Inn Road, W.C., and the price of the book is<br />
1s. net.<br />
<br />
The book is a small one of some fifty pages<br />
but will hardly repay the reading. It is full<br />
of theories, but has not come down to definite<br />
figures and practical issues except on one<br />
or two occasions, and then the figures are<br />
misleading and inaccurate and the statements<br />
contradictory.<br />
<br />
The writers of the book put forward three<br />
objections to the production of books by the<br />
authors themselves.<br />
<br />
(1) The author is not a man of business.<br />
<br />
(2) He needs capital.<br />
<br />
(8) He has no experience in the distribu-<br />
<br />
tion of books.<br />
<br />
These are all weighty and sound objections,<br />
especially the second one. They then endeav-<br />
our to show that these are really no objections.<br />
<br />
The writers of the book state that the average<br />
cost of production of a book, even including<br />
‘pushing,’ may be roughly estimated at<br />
about £50. The Society of Authors, as a<br />
general rule, has no inclination to bolster up<br />
publishers’ prices, but could hardly accept<br />
this figure as a fair one. Indeed, as will be<br />
shown later, the writers themselves seem to<br />
contradict this figure.<br />
<br />
The advantages they mention are, that an<br />
author would bear his own losses and enjoy<br />
his own profits, and that, most probably, such<br />
a system would tend to diminish, to a con-<br />
siderable extent, the enormous output of<br />
worthless books. The writers also state that<br />
the author of a technical book very often knows<br />
his own market better than the publisher, and,<br />
therefore, he could reach it so much easier.<br />
Again we are inclined to differ, for the pub-<br />
lishers of technical books, if they know their<br />
business, must make it a point that their<br />
distributing agents should have the necessary<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 63<br />
<br />
knowledge of how to obtain the technical<br />
markets.<br />
<br />
The writers propose to get over the difficulty<br />
of the publisher by the union of several authors<br />
together for the publication, each paying the<br />
cost of production of his own book and his own<br />
proportion of advertisement, but, they go on<br />
to say, that when the books are bound and<br />
ready for delivery there must be of necessity<br />
a distributing office in the Metropolis; there<br />
must be also a clerk to do the accounts ; there<br />
must be also a responsible manager, and, in<br />
time, they state, an advertising department<br />
would be necessary, perhaps also a foreign<br />
department. Personally, we should have<br />
included all these details in the term “* push-<br />
ing ”’ mentioned above, and if these details are<br />
taken into consideration, and there were ten<br />
people joined together, they would find that<br />
the ultimate cost per book was considerably<br />
over £50.<br />
<br />
Until the writers of the book come down to<br />
figures, hard and fast, so long will it be useless<br />
discussing any further the proposition they<br />
put forward. It is true, and the writers have<br />
touched the point, that in some cases authors<br />
of technical subjects can sell their own books<br />
as well as, if not better than, the publisher.<br />
There are authors of technical subjects doing<br />
a great deal of lecturing to students, who<br />
find that by keeping the printing and produc-<br />
tion of their own books in their own hands,<br />
they can obtain larger profits and as good a<br />
circulation as they may want. This example<br />
must not be quoted as illustrative of the rule,<br />
but as an exception.<br />
<br />
The advantages of going to a publisher are<br />
evident, they arise from the fact, that the<br />
publisher’s travellers can handle a hundred<br />
books at a time, whereas, the author who has<br />
only one book, has to go to the same expense<br />
for handling one book as the publisher goes to<br />
for handling a hundred. In the same way,<br />
in the matter of advertisements, a publisher<br />
can easily obtain a reduction for large and<br />
frequent advertisements that an author of one<br />
book cannot obtain. Again, if a really capable<br />
manager for the Authors’ Union business, was<br />
obtained, the manager would certainly, as<br />
soon as he had found his own power, set up<br />
publishing himself. The writers quote the<br />
<br />
© + case of Mr. Ruskin as an author who published<br />
uf | | his own works, but has not the result been the<br />
1 | firm of Messrs. George Allen and Son.<br />
<br />
There is no doubt that if an author has the<br />
<br />
<br />
<br />
“| power and the capacity and the knowledge,<br />
‘© only obtained after long years of training, he<br />
<br />
might be able in exceptional cases, to do much<br />
<br />
better by publishing his own books, than he<br />
would do if they were produced through a<br />
publisher, but we do not advocate the system<br />
at the present time, while authors remain<br />
artists, and publishers remain tradesmen.<br />
<br />
We have written at some length on this<br />
question, at greater length than is justified by<br />
the contents of the book, because the subject<br />
has been brought forward on two or three<br />
occasions recently. The arguments against<br />
co-operative publishing are many and fatal,<br />
but it is impossible to gather them all within<br />
the compass of a short review.<br />
<br />
—————__ e ~»>_ + —__ —_—<br />
<br />
CORRESPONDENCE.<br />
<br />
—— +e<br />
CO-OPERATIVE PUBLISHING.<br />
LE:<br />
<br />
Sir,—I have just arisen from a dream;<br />
kindly allow me the pleasure of relating it<br />
to you. It was a reforming sort of utopian<br />
fantasy concerning a young author, whose<br />
name did not transpire and is matterless; but<br />
for the sake of clearness, let us speak of him<br />
as Needful. Usually it is not the man who<br />
matters, it is what he does. So it was with<br />
my dream character.<br />
<br />
Now Needful’s lines had not been cast in<br />
pleasant places. The forces of necessity and<br />
inclination had combined in a nefarious plot<br />
to make of him an author, with the result of<br />
a plentiful crop of disappointments, scattered<br />
illusions, some sourness, and enough strengthen-<br />
ing of character to make for the betterment of<br />
the man. Being unsure of himself, he had, at<br />
the outset, followed the example of some other<br />
writers, by submitting his MSS. to certain<br />
eminent litterateurs. These had accorded him<br />
more than sufficient praise to send him hope-<br />
fully forth on the rough road of authorship ;<br />
they had dubbed his work “‘ distinctive,” ‘‘ of<br />
a fine literary flavour,’ ‘‘ with character,<br />
humour, ability in dialogue,’ ete. He was |<br />
also a maker of verse and plays which won him<br />
equally kind remarks from prominent members<br />
of his adopted profession.<br />
<br />
This is the position that Needful appeared<br />
to me to possess at the opening of my dream.<br />
*“ Alas for the frailty of human hopes,” especi-<br />
ally youthful literary ones. He had sent his<br />
MSS. to publishers, and had them returned to<br />
him, some with polite letters of rejection ; some<br />
with regrets that the work was not sufficiently<br />
sensational, not ‘‘ popular’? enough; and<br />
some with requests to see other efforts. But<br />
64<br />
<br />
most of the rejections were accompanied by<br />
offers to publish his work at his own expense,<br />
and some of the offers came from the front<br />
rank of long-established firms. My friend, of<br />
the dream, had a shelfful of sad reminders that<br />
there are more things in the realm of publica-<br />
tion than are imagined in a young author's<br />
philosophy. Of his three published books—<br />
the first, a critique, had died of the malady<br />
known as clever mystification ; the second,<br />
a volume of verse, had occasioned a storm of<br />
abuse, which he—forgetting the similar cases<br />
of Keats, Byron, Shelley, Tennyson, ete.—<br />
omitted to take as praise, and thereon swore<br />
an eternal severance from every thought akin<br />
to poetry ; whilst of his royalties on the third,<br />
a romance, he was robbed by a fraudulent<br />
publisher, with whom he had signed an agree-<br />
ment that completely tied his hands in the<br />
matter of retaliation.<br />
<br />
Thus much for the making of Mr. Needful.<br />
But now came a change: just after the begin-<br />
ning of my dream Needful was startled<br />
almost out of his wits by being left half a<br />
million pounds by a relative who had gone<br />
out to the Colonies and been forgotten.<br />
Having gained possession of the money he<br />
spent a week in close thought on one subject.<br />
Then (and here comes the peculiar part of the<br />
dream) he came to you with the idea that had<br />
cost him seven days in bringing to a workable<br />
conclusion. Roughly, this was the uniting<br />
of all British authors in a publishing company.<br />
Well, as might be expected in the face of such<br />
a radical innovation, those who were most to<br />
benefit by the project held dubiously aloof.<br />
But that did not deter Needful. He was<br />
determined to save them even in spite of them-<br />
selves. So he, with your practical help,<br />
founded, and endowed in a way, a sort of<br />
Syndicate of British Authors. Entirely at<br />
his expense a huge building was put up in<br />
the W.C. district, a part of it being fitted with<br />
all the necessary machinery, etc., for a very<br />
large printing and publishing business, the<br />
remainder was a club room, library, theatre,<br />
restaurant and sleeping rooms. ‘This place,<br />
stored and supplied to the last detail, Needful<br />
gave to the Committee of the Syndicate, to be<br />
held in perpetuity by them and their successors<br />
for the sole use of the Syndicate. As to the<br />
benefits of this institution, the membership<br />
was one guinea per year; for which the mem-<br />
ber was supplied with a club, a private theatre,<br />
ete., and had his books published, the whole<br />
solely at working cost, he receiving every penny<br />
of clear profit on his work.<br />
<br />
Of course, what had kept the authors from<br />
<br />
THE AUTHOR.<br />
<br />
putting their money (such as had any) into the<br />
project was the fear that it would not pay.<br />
Now, with a free gift of the whole concern and<br />
a level start at no more cost than a guinea<br />
each, in they came—necessity-driven animals<br />
into the ark of self-protection. In a short<br />
time every author in Britain, whose work would<br />
pay for its publication, was a member of the<br />
Syndicate. Each book was issued on its<br />
merits, and, in the case of the more literary,<br />
cleared its cost partially owing to the good<br />
repute of the Syndicate. Outside publishers<br />
of books became practically nil; such as did<br />
survive lived on publishing for the dead, and<br />
on ‘‘ commission ” work for wealthy scribblers<br />
of no merit.<br />
<br />
Thus ended my dream, and I awoke sadly<br />
to realise that I had but dreamt, and to sink<br />
back on my pillow, murmuring—“ If this be<br />
dreaming, let me sleep and dream it o’er again.”<br />
<br />
Under the impression that this will interest<br />
you, and all authors who would help to form<br />
a co-operative publishing concern,<br />
<br />
I am, Sir,<br />
Faithfully yours,<br />
A. DREAMER.<br />
1 ——<br />
<br />
Il.<br />
<br />
Sir,—Disraeli remarks in his “‘ Calamities ”<br />
that authors are the most ingenious and the<br />
most enlightened class of the community, and<br />
the least remunerated. .. Some are forced<br />
to exist by means that are painful to describe,<br />
while others end their lives in apathy and<br />
despair.<br />
<br />
This is terribly true, and there is ample<br />
evidence to prove that one of the causes of<br />
these dire struggles with penury is the flagrant<br />
evil of the unsatisfactory publishing arrange-<br />
ments, from which there seems no escape at.<br />
present.<br />
<br />
If authors would but co-operate and bring<br />
their ‘‘ ingenuity and enlightenment ” to bear<br />
upon this most distressing state of affairs, we<br />
fully believe that they could obtain redress of<br />
their grievances. The remedy is in their own<br />
hands, and we venture to suggest that authors<br />
should formulate a system by which the<br />
publishing business would be more under their<br />
personal control, and thus prevent further<br />
* calamities.”” We suggest that this is possible,<br />
and in view of establishing, say, The Authors’<br />
Publishing Association, we should like to hear<br />
any objections against it, and shall be pleased<br />
to communicate with those who are in favour<br />
and willing to assist.<br />
<br />
ANNABEL GRay. | https://historysoa.com/files/original/5/522/1912-11-01-The-Author-23-2.pdf | publications, The Author |
| 523 | https://historysoa.com/items/show/523 | The Author, Vol. 23 Issue 03 (December 1912) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+03+%28December+1912%29"><em>The Author</em>, Vol. 23 Issue 03 (December 1912)</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> | 1912-12-01-The-Author-23-3 | | | | | 65–96 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1912-12-01">1912-12-01</a> | | | | | | | 3 | | | 19121201 | Che Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
VoL. XXTII.—No. 3.<br />
<br />
DECEMBER 1, 1912.<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
Se ee<br />
<br />
NOTICES.<br />
<br />
++<br />
<br />
- the opinions expressed in papers that<br />
_ are signed or initialled the authors alone<br />
<br />
"are responsible. None of the papers or<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 39, Old<br />
Queen Street, Storey’s Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability. ‘<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
ee<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
— +<br />
<br />
‘T\ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done<br />
<br />
for them. The Committee, acting on the<br />
<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
<br />
The Author in order that members may be<br />
<br />
cognisant of those funds to which these con-<br />
<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund, This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
+2<br />
THE AUTHOR.<br />
<br />
THE PENSION FUND.<br />
<br />
—1-—<—+ —<br />
<br />
N January, the secretary of the society laid<br />
before the trustees of the Pension Fund<br />
the accounts for the year 1911, as settled<br />
<br />
by the accountants, with a full statement of<br />
the result of the appeal made on behalf of<br />
the fund. After giving the matter full con-<br />
sideration, the trustees instructed the secretary<br />
to invest the sum of £500 in the purchase of<br />
Antofagasta and Bolivian Railway 5% Pre-<br />
ferred Ordinary Stock and Central Argentine<br />
Railway Ordinary Stock. The amounts pur-<br />
ehased at the current prices were £237 in the<br />
former and £232 in the latter stock.<br />
<br />
The trustees desire to thank the members of<br />
the society for the generous support which they<br />
have given to the Pension Fund. The money<br />
now invested amounts to £4,454 6s.<br />
<br />
Later in the year, at a meeting of the Com-<br />
mittee of Management, a question concerning<br />
the funds of the society was brought up for dis-<br />
eussion, and it was suggested that it would be<br />
a good thing for the Pension Fund trustees, if<br />
they had power, to sell out the Fund’s holding of<br />
-Consols and to invest in some more satisfactory<br />
-security. The suggestion was placed before the<br />
trustees of the Pension Fund, and a meeting<br />
was called, when the chairman of the Committee<br />
ef Management, the trustees, and Mr. Aylmer<br />
Maude, the member of the Committee of<br />
Management who had made the suggestion,<br />
were present. The figures were very closely<br />
eonsidered, and it appeared clear that altera-<br />
tions in the investment of the funds could be<br />
earried out with advantage to the Fund’s<br />
income. It was decided by the trustees, with<br />
the approval of the Committee of Management,<br />
to ‘sell out the holding of Consols.. With the<br />
amount realised, were purchased—<br />
<br />
$2,000 (£400) Consolidated Gas: and Elec-<br />
tric Company of Baltimore 44% Gold<br />
Bonds ; — —<br />
<br />
30 Buenos Ayres Great Southern Railway<br />
<br />
~ 4° Extension Shares, (1914) £8 paid ;<br />
<br />
£250 Edward Lloyd, Ltd., £1 5% Prefer-<br />
ence Shares.<br />
<br />
These amounts are fully set out and added<br />
in the nominal value to the Pension Fund<br />
investments, below.<br />
<br />
The trustees have also, in view of the option<br />
extended to them as holders of £282 Central<br />
Argentine Railway Ordinary Stock, subscribed<br />
for 8 Central Argentine Railway £10 Preference<br />
Shares, New Issue.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
<br />
to £4,454 6s., details of which are fully set out<br />
in the following schedule :—<br />
Nominal Value,<br />
<br />
Local Loans<br />
Victoria Government 3% Consoli-<br />
dated Inscribed Stock ........<br />
London and North-Western 3%<br />
Debenture Stock<br />
Egyptian Government Irrigation<br />
Trust 4% Certificates ........<br />
Cape of Good Hope 33% Inscribed<br />
Stock 0.665. a<br />
Glasgow and South-Western Rail-<br />
way 4°% Preference Stock ....<br />
New Zealand 34% Stock........<br />
Trish Land 23% Guaranteed Stock<br />
Corporation of London 24%<br />
Stock, 1927-57... ......5..5.<br />
Jamaica 34% Stock, 1919-49<br />
Mauritius 4% 1937 Stock ......<br />
Dominion of Canada, C.P.R. 34%<br />
Land Grant Stock, 1938 ......<br />
Antofagasta and Bolivian Railway<br />
5% Preferred Stock .......5...<br />
Central Argentine Railway Or-<br />
dinary Stock -. 2.2.5. 5.50.5<br />
$2,000 Consolidated Gas and<br />
Electric Company of Baltimore<br />
44% Gold Bonds ............<br />
250 Edward Lloyd, Ltd., £1 5%<br />
Preference Shares<br />
80 Buenos Ayres Great Southern<br />
Railway 4°% Extension Shares<br />
1914 (£8 paid) .......55.2,5%<br />
8 Central Argentine Railway £10<br />
Preference Shares New Issue .<br />
<br />
291 19 11<br />
250 0 O<br />
200<br />
200<br />
228<br />
247<br />
258<br />
438<br />
<br />
132<br />
120<br />
<br />
Oo oac o °<br />
<br />
198<br />
<br />
237<br />
<br />
o o eo Nob ooo eo ¢<br />
<br />
(a ” )<br />
<br />
232<br />
<br />
ig C4454<br />
<br />
Total<br />
<br />
PENSION FUND.<br />
<br />
— oe<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
April 1st, 1912.<br />
<br />
‘ It does not include either donations given<br />
prior to April 1st, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it. :<br />
<br />
<br />
<br />
<br />
‘Oct.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Subscriptions.<br />
1912.<br />
April 6, Bland, J. O. P. :<br />
April 6, Taylor, Mrs. Basil .<br />
April 6, Forrester, J. Cliffe . :<br />
June 6, Probert, W. S. Q .<br />
June 6, Wheelhouse, Miss M. V.<br />
June 6, Acland, Mrs. C. D. Z<br />
June 6, Spurrell, Herbert (from<br />
1912 to 1915).<br />
June 6, Spens, Archibald B. .<br />
<br />
July 18, Liddle, S.<br />
<br />
Aug. 7, Joseph, L. : A ;<br />
<br />
Sept. 6, Garvice, Charles (in addi-<br />
tion to present sub-<br />
scription of £1 Is.)<br />
<br />
2, Todhunter, Dr. John.<br />
<br />
10, Escott, T. H. S. . ‘<br />
<br />
10, Henderson, R. W. Wright<br />
<br />
10, Knowles, Miss M. W. :<br />
<br />
11, Buckley, Reginald .<br />
<br />
12, Walshe, Douglas<br />
<br />
12, ‘‘ Penmark’”’ . :<br />
<br />
15, Sinclair Miss Edith .<br />
<br />
16, Markino, Yoshio :<br />
<br />
Oct. 20, Fiamingo, Carlo. “<br />
<br />
Oct. 29, Henley, Mrs. .<br />
<br />
Nov. 8, Jane, L. Cecil .<br />
<br />
Noy. 14, Gibb, W.<br />
<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
<br />
Oct.<br />
<br />
Oct.<br />
Oct.<br />
<br />
1912. Donations,<br />
<br />
April 2, XX. Pen Club<br />
‘April 6, Taylor, Mrs. Basil . :<br />
April 6, Cameron, Mrs. Charlotte .<br />
April 10, Kenny, Mrs. L. M. Stac-<br />
poole : . :<br />
April 10, Robbins, Alfred F..<br />
April 10, Harris, Emma H. .<br />
April 11, Ralli, C. Searamanga<br />
April 11, Aitken, Robert . :<br />
April 16, L. M. F. (£1 per month,<br />
: February, March, April)<br />
April 22, Prior, Mrs. Melton ‘<br />
May 2, Baden-Powell, Miss Agnes<br />
‘May 25, Koebel, W. H. : :<br />
May 28, Harland, Mrs. Henry ‘<br />
May 28, Wood, Mrs. A. E. . .<br />
June 4, Hornung, E. W. i<br />
June 4, Ward, Dudley<br />
June 6, Worrall, Leehmere .<br />
June 13, Robbins, Miss Alice E.<br />
July 5, Hain, H.M. . . :<br />
Aug. 16, Shipley, R. H. . ‘<br />
Sept. 20, Willcocks, Miss M. P..<br />
Sept. 23, Peacock, Mrs. F. M.<br />
Oct. 2, Stuart, James . :<br />
Oct. 14, Diblee, G. Bonney .<br />
<br />
oormooowh<br />
<br />
SOF OF COCOOOCOHH oooo<br />
<br />
noo<br />
<br />
aHwoOom oS<br />
<br />
SCrermnoceroouncoooon<br />
<br />
H<br />
<br />
_<br />
So Ot GOS &<br />
<br />
—<br />
<br />
Or Or Or Or<br />
<br />
Sr or oro ©<br />
<br />
10<br />
10<br />
10<br />
<br />
Or Or = OT<br />
<br />
eeceecscec<br />
<br />
eocococoaccococooeco ooco<br />
<br />
oocoo ooo<br />
<br />
@ASCoancoococooosoaso<br />
<br />
o><br />
~J<br />
<br />
tw<br />
—<br />
a<br />
<br />
Oct. 14, Michell, The Right Hon.<br />
Sir Lewis, C.V.O.<br />
<br />
Oct. 17, Ord, H. W. . i<br />
<br />
Oct. 20, Yorke-Smith, Mrs. .<br />
<br />
Nov. 10, Hood, Francis . i<br />
<br />
Nov. 20, Kennard, Mrs. N. H.<br />
<br />
wood uo<br />
~<br />
<br />
Cure © Ot<br />
<br />
coonanas<br />
<br />
1+<br />
<br />
COMMITTEE NOTES.<br />
<br />
—<br />
<br />
Tue Committee met at the offices of the<br />
Society on Monday, November 4th, and after<br />
the minutes of the previous meeting had been<br />
read and signed, proceeded to the election<br />
of members. Twenty-three were elected,<br />
bringing the total elections for the current<br />
year up to 313. There were two resignations.<br />
<br />
The solicitor reported on the cases with<br />
which he had dealt during the month.<br />
<br />
In two County Court cases judgment had<br />
been obtained, but as the judgments had<br />
not been satisfied he was proceeding to<br />
issue execution. In another case—against a<br />
music publisher—judgment had been obtained<br />
and the publisher had to pay the costs of the<br />
action. A curious case, chronicled in last<br />
month’s Author, against a book publisher, had<br />
arisen, in which the publisher, although the<br />
cost of production of the book had been<br />
defrayed by the author, refused to deliver the<br />
balance of the stock. As it was impossible<br />
to come to any agreement the solicitor<br />
reported he was about to issue process.<br />
In three other cases where no satisfactory<br />
replies could be obtained from the offenders,<br />
the solicitor had issued process. One case<br />
had sone very curious points, for the editor<br />
of a magazine had printed a story as by a well-<br />
known author, who had not, in fact, written<br />
it. The Society is commencing an action<br />
for literary libel and passing off. Two cases<br />
had been settled satisfactorily, the sums<br />
duz to the authors having been paid without<br />
the necessity of going into court, but in two<br />
other claims, as the defendants disputed the<br />
issues, it had become necessary to issue writs.<br />
Another action has had to be taken up against<br />
an American magazine on behalf of a member.<br />
<br />
Two cases involving the bankruptcy of<br />
publishers have occurred during the past<br />
month. In one ease the Society of Authors<br />
was given representation on the Com-<br />
mittee of Inspection, as representing the<br />
interests of authors. It is impossible to deal<br />
with these cases further until the liquidator<br />
68<br />
<br />
has been able to issue a report, but the com-<br />
mittee regret that quite a dozen members<br />
are involved in each bankruptcy, and perhaps<br />
more. In one other case in which a question<br />
had arisen concerning cinematograph rights<br />
the committee gave authority to take counsel’s<br />
opinion, upon which the author will no doubt<br />
act.<br />
<br />
The report of the Copyright Sub-Committee<br />
on the Australian Copyright Bill was laid before<br />
the committee, who authorised the secretary<br />
to present the report to the Premier of the<br />
Australian Commonwealth in the hope that<br />
the Society’s suggestions might meet with<br />
consideration, and, thereby, that the rights,<br />
not only of the Australian, but also of British<br />
authors, might be strengthened imperially<br />
and internationally.<br />
<br />
An important question of United States<br />
Copyright was laid before the committee by<br />
one of the Society’s correspondents in New<br />
York, and the secretary was instructed to<br />
obtain counsel’s opinion on the difficulty<br />
raised, and advice as to what action should be<br />
taken to bring the matter to the notice of the<br />
proper authorities.<br />
<br />
The secretary reported that Newfoundland<br />
had accepted the Copyright Act of 1911, and<br />
also called attention to some difficulties which<br />
had arisen owing to the fact that that Act had<br />
not as yet been proclaimed in India. He<br />
was authorised to take the necessary steps<br />
to draw the attention of the India Office to<br />
the difficulties in question.<br />
<br />
The working of the Copyright Act of 1911<br />
in its relations to our Colonies and Dependencies<br />
will bring, and is bringing, many difficult and<br />
important questions before the committee.<br />
<br />
Matters connected with the new branch of<br />
the Society, the Collection Bureau, were then<br />
discussed. It was decided to accept the<br />
recommendation of the Composers’ Sub-<br />
Committee, to collect the mechanical instru-<br />
ment fees under the Act of 1911, at the rate of<br />
15 per cent. commission, subject to the com-<br />
posers paying for the manufacture of their<br />
stamps. It was also decided to accept the<br />
recommendation of the Dramatic Sub-Com-<br />
mittee to collect the fees under contracts<br />
already entered into by those dramatists who<br />
were.members of the Society. for a commission<br />
of 5 per cent. It was further decided to keep<br />
a register of stamps to he placed on mechanical<br />
instruments at the Society’s office.<br />
<br />
The Composers’ Sub-Committee appointed<br />
two delegates to discuss important questions<br />
<br />
resulting from composers’ contracts with music<br />
publishers.<br />
<br />
THE AUTHOR.<br />
<br />
Mr. Maurice Hewlett, who has been a member<br />
of the committee for some years, and was<br />
chairman of that body’ from 1909 till 1911,<br />
having resigned from the committee owing to<br />
pressure of other work, the committee accepted<br />
his resignation with great regret, and instructed<br />
the secretary to write to him. Mr. Stanley<br />
Leathes, C.B., was elected to fill the vacancy,<br />
and has expressed his willingness to undertake<br />
the work.<br />
<br />
The committee then decided on_ the<br />
nominees to be put forward under the constitu-<br />
tion of the Society for election at the end of<br />
the year. The names of these nominees will”<br />
appear in The Author according to the regula-<br />
tions and rules laid down.<br />
<br />
Mr. E. J. MacGillivray was elected a member<br />
of the Council of the Society of Authors.<br />
Mr. MacGillivray has undertaken a_ great<br />
amount of. gratuitous work for the Society<br />
during the passing of the Copyright Bill, and<br />
has freely given his help to the Society on<br />
difficult copyright questions which have arisen.<br />
<br />
The next matter arose in connection with<br />
the advertisements in The Author. This was<br />
carefully considered by the committee, and the<br />
secretary was instructed to take the necessary<br />
steps to give effect to their decision. :<br />
<br />
Certain proposals laid before the committee<br />
by the Associated Booksellers of Great Britain<br />
and Ireland were. next considered, and it was<br />
decided to appoint a small sub-committee to<br />
confer with the Booksellers’ representatives,<br />
and to discuss the matters which their Associa-<br />
tion had raised. Mr. Aylmer Maude and Mr.<br />
G. Bernard Shaw kindly consented to act<br />
as a sub-committee, and the secretary was<br />
instructed to write to the Booksellers’ Associa-<br />
tion and to report progress at another meeting.<br />
<br />
A difficult matter arising out of multiple<br />
book-reviewing was discussed at some length,<br />
and the secretary was requested to write to<br />
the member who had introduced the matter,<br />
stating that the committee were considering it<br />
sympathetically but desired fuller information.<br />
<br />
The committee’s thanks were expressed to<br />
Mr. Thomas Common for a donation of £1 Is.<br />
to the Capital Fund of the Society, as a return<br />
for work accomplished by the Society on his<br />
behalf.<br />
<br />
—<br />
<br />
Dramatic SuB-COMMITTEE.<br />
<br />
Tur November meeting of the Dramatic<br />
Sub-Committee was held at the offices of the<br />
Society on the 15th. 2<br />
<br />
After reading the minutes of the previous<br />
<br />
meeting, the sub-committee considered a<br />
<br />
<br />
THE AUTHOR.<br />
<br />
proposal placed before them by a gentleman<br />
who is not a member of the Society, for<br />
the re-organization of the dramatic section of<br />
the Society, under certain new articles and<br />
rules that he had drafted for their con-<br />
sideration. These articles and rules had<br />
been circulated to the members of the sub-<br />
committee prior to the meeting. The sub-<br />
committee came to the conclusion that it was<br />
impossible to consider the suggestions and,<br />
after discussion, decided that the matter<br />
should be adjourned sine die.<br />
<br />
The secretary read to the sub-committee<br />
the answer he had received from the Society<br />
of West End Managers in regard to the<br />
Managerial Treaty.<br />
<br />
-- The question of twice-nightly performances<br />
of plays in Music Halls was then discussed,<br />
and the secretary reported information he<br />
had received in regard to the prices which<br />
could be charged for these performances. All<br />
possible information was placed by the<br />
members present at the secretary’s disposal,<br />
that he might be able to advise dramatic<br />
authors who should apply to him for informa-<br />
tion on their contracts.<br />
<br />
~The Translator’s Agreement was next con-<br />
sidered, and, with it, the question of the<br />
appointment of agents in foreign countries to<br />
deal with the work of members of the Society.<br />
<br />
Subject to confirmation by the committee<br />
of management an agent was appointed in<br />
Holland, and another in the United States.<br />
The secretary was instructed, also, to get into<br />
communication with an agent in Germany.<br />
<br />
The names of the agents will be published in<br />
The Author in full, after they have been duly<br />
appointed by the Committee of Management.<br />
<br />
A letter was read from a correspondent in<br />
Portugal who desired to act as agent of the<br />
Society, and the secretary was instructed to<br />
obtain information as to his standing and<br />
position. :<br />
<br />
The arrangements for the election of the<br />
Dramatic Sub-Committee for 1913 were next<br />
consideréd, and the secretary received instruc-<br />
tions to carry out the usual steps in due<br />
course.<br />
<br />
It was decided to hold the next meeting on<br />
the second Friday in December, as the third<br />
Friday brought the date too close to Christmas.<br />
<br />
— 1<br />
Composers’ SuB-CoMMITTEE.<br />
<br />
I.<br />
<br />
A SPECIAL meeting of the Composers’ Sub-<br />
Committee was held on Saturday, October 26th,<br />
<br />
69<br />
<br />
in order to re-discuss the relations between the<br />
Society of Authors and the Mechanical-<br />
Copyright Licences Co., and the question of<br />
mechanical instrument fees. The secretary<br />
read to the sub-committee certain letters<br />
which he had written to the representative<br />
of the Mechanical Copyright Licences Co. in<br />
the spring of the year, and the secretary<br />
received instructions to draft a further letter<br />
dealing with the terms of contract.<br />
<br />
The question of performing rights was also<br />
dealt with, and the secretary read a letter he<br />
had received from the Music Publishers’<br />
Association. It was decided not to drop<br />
negotiations, but to persevere in the hope that<br />
some good might, in the end, be achieved by<br />
joint action.<br />
<br />
IT.<br />
<br />
Tue Composers’ Sub-Committee met again<br />
on Saturday, November 16th, at the offices of<br />
the Society.<br />
<br />
The first matter under discussion referred to<br />
a publisher’s agreement and the clauses which<br />
it contained. The secretary laid a letter he<br />
had_reecived from the publishers in answer to<br />
a communication from the Society of Authors,<br />
written under the instructions of the sub-<br />
committee, and the secretary was instructed to<br />
reply to the same, drafting a letter which should<br />
be approved by the chairman.<br />
<br />
The secretary then laid a letter before the<br />
committee that he had received from one of<br />
the directors of the Mechanical-Copyright<br />
Licences Co., Ltd. It was decided, as it was<br />
important for the Society to have agents for<br />
the collection of fees in foreign countries, to<br />
write to those persons who represented the<br />
Society in’ other matters and enquire what<br />
provision was made in France, Germany, and<br />
elsewhere, for the collection of fees on<br />
mechanical instrument reproductions, and the<br />
secretary was instructed, when the information<br />
came to hand, to lay the whole matter again<br />
before the sub-committee with a view to<br />
appointing reliable agents.<br />
<br />
The question of a united combination with<br />
the publishers in order to establish fees<br />
on performing rights was again considered.<br />
The secretary informed the sub-committee<br />
that he had had a conversation with Mr. Dixey,<br />
secretary of the Music Publishers’ Association.<br />
It was finally proposed that the secretary<br />
should write to the secretary of the Music<br />
Publishers’ Association, putting before him<br />
certain matters which could, with benefit to<br />
both parties, be discussed between the com-<br />
posers and the Music Publishers’ Association,<br />
<br />
<br />
@ _Adey, More<br />
<br />
70<br />
<br />
in the hope that the Music Publishers’ Asso- ~ Burnett,<br />
<br />
ciation would be willing to form a small sub-<br />
committee to consider the matter, The four<br />
main points put forward were :—<br />
<br />
1. The main principles of contract.<br />
<br />
2. Performing right fees,<br />
<br />
3. Mechanical instrument reproductions,<br />
<br />
4, Cost of production.<br />
<br />
Finally, the secretary laid a series of letters<br />
from the companies which were reproducing<br />
the composers’ works on mechanical instru-<br />
ments, promising their assistance in cases of<br />
infringement of copyright.<br />
<br />
—_1—~>+ —<br />
<br />
Cases.<br />
<br />
Tue number of cases taken up during the<br />
past month still keeps up the average.<br />
<br />
There have been four cases dealing with the<br />
question of the settlement of the exact terms of<br />
contract. These cases generally involve a<br />
certain amount of negotiation. One case has<br />
been satisfactorily settled, and correspondence<br />
is still going on with regard to the others.<br />
<br />
There have been five cases for the return of<br />
MSS. In three cases the MSS. have been<br />
returned. One case in Australia is necessarily<br />
not yet completed, and the last one has come<br />
only recently into the hands of the secretary.<br />
<br />
There have been five claims for accounts and<br />
money. Three of these have been settled,<br />
one has been placed in the hands of the Society’s<br />
solicitors and the other has only recently come<br />
to hand.<br />
<br />
Of two cases for money one is still in the<br />
course of negotiation and the other has been<br />
placed in the hands of the solicitors.<br />
<br />
Out of sixteen cases, therefore, six have been<br />
settled. This is a good average for one<br />
month.<br />
<br />
The cases still left over from past months<br />
are slowly closing up. Where the secretary<br />
has been unable to deal with them they have<br />
been handed over to the solicitors.<br />
<br />
a oo<br />
<br />
Elections.<br />
<br />
The Burlingion<br />
Magazine, 17, Old<br />
Burlington Street,<br />
W.<br />
<br />
‘* Hillside,” Strath-<br />
cona Park,<br />
Ottawa, Canada ;<br />
Royal Societies<br />
Club, S.W.<br />
<br />
Ami, Henry M., M.A.,<br />
D.Sc., F.R.S. (Canada)<br />
<br />
THE AUTHOR.<br />
<br />
Miss Olive<br />
Compton<br />
De Rehyn, Cyril .<br />
Ferguson, Dugald<br />
Florian, A.R., M.A.<br />
<br />
Haig, Kenneth George .<br />
Hare-Dean, Mrs. N.<br />
<br />
Harris, Clement Antro-<br />
bus.<br />
<br />
Lee, George ‘“ Wing-<br />
shaft.”<br />
<br />
MacDonald, Mrs..<br />
<br />
Moore, Edith Mary<br />
<br />
Nesfield, Miss Frances<br />
Emily<br />
<br />
Percival, Archibald<br />
<br />
Stanley<br />
Picciotto, Cyril<br />
Rawlence, Guy<br />
Sichel, Miss Edith<br />
Theobald, Harry.<br />
<br />
Wenyon-Samuel Alex-<br />
ander<br />
<br />
Wriothesley, William,<br />
<br />
Wyton, Mrs. Alice<br />
<br />
Lyceum Club, Pieca-<br />
dilly, W.<br />
<br />
Edinburgh.<br />
<br />
Tapanui, Otago, New<br />
Zealand.<br />
<br />
Priory Lodge,<br />
Shrewsbury.<br />
<br />
7, Brook Street,<br />
Hanover Square,<br />
W.<br />
<br />
Writers’ Club, 10,<br />
Norfolk Street,<br />
<br />
Strand, W.C.<br />
Ellangowan, Crieff, ©<br />
<br />
8, Vale<br />
Spital,<br />
field.<br />
<br />
80, Auckland Road,<br />
Tiford. :<br />
<br />
Glan Aber, Purley;<br />
Surrey.<br />
<br />
c/o Messrs. Edghill<br />
Soulby, Clarence<br />
Park, Weston-<br />
super-Mare.<br />
<br />
17, Claremont Place,<br />
<br />
Newcastle-on-Tyne.<br />
<br />
54, Warrington Cres-<br />
cent, W. :<br />
<br />
The Chantry, Wilton<br />
Salisbury.<br />
<br />
42, Onslow Gardens,<br />
S.W<br />
<br />
37, Essex Street,<br />
Strand, W.C.<br />
<br />
22, Lissenden Man-<br />
sions, Highgate<br />
Road, N.W.<br />
<br />
c/o. Messrs. Brown,<br />
Shipley & Co.<br />
123, Pall Mall,<br />
S.W.<br />
<br />
145, Woolstone<br />
Road, Forest_Hill,<br />
S.E. a<br />
<br />
Terrace,<br />
Chester-<br />
<br />
1 —_—___ —<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
—_t——+ ——<br />
<br />
While every effort is made by the ccmpilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i es ee a ty a es<br />
<br />
THE AUTHOR. 71<br />
<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
AGRICULTURE.<br />
<br />
By Frepsrick No&kt-Paton, Director-<br />
Calcutta<br />
<br />
Burma Rice.<br />
General of Commercial Intelligence, India.<br />
Superintendent Government Printing. 94.<br />
<br />
ANTHROPOLOGY.<br />
<br />
THE ORIGIN OF CIVILISATION AND THE PRIMITIVE ConpI-<br />
TION or Man. By Tue Ricutr Hon. toe Lorp AVEBURY.<br />
Seventh Edition. 9 x 6. 484 pp. Longmans.<br />
7s. 6d. n.<br />
<br />
ART.<br />
<br />
A History or Enctisn Grass Paryrinc. By Maurice<br />
Drake. Ilustrated by 36 plates from drawings by<br />
Wirrep Drake. 133 x 8. 226 pp. Werner<br />
Laurie. £2 2s. n:<br />
<br />
BIOGRAPHY.<br />
<br />
Tae Diaries or Wiriaam Cuartes Macreapy (1833<br />
ag Edited by Wiutiam Toynser, Chapman &<br />
all.<br />
Scenes anp Memories. By Warsurca Lapy Pacer.<br />
8 x 54. 325 pp. Smith Elder. 7s. 6d. n.<br />
Mary QUEEN oF Scots. By Hirpa T. SKar.<br />
204 pp. Foulis. 5s. n.<br />
<br />
BOOKS FOR THE YOUNG.<br />
<br />
SWEETHEARTS aT Home. By S. R. Crockert.<br />
311 pp. Hodder & Stoughton. 6s.<br />
<br />
Tue Macic Wortp. By E. Nessrr. Illustrations by<br />
H. R. Mintar & Spencer Pryse. 73 x 5}. 280 pp.<br />
Macmillan. 6s.<br />
<br />
Tue Brrv’s Curistmas Carot. By Kare Dovcuas<br />
Wiecin. Illustrated. by Karuartne RB. WISEMAN.<br />
82 x 6}. 90 pp. Gay & Hancock. 3s. 6d. n.<br />
<br />
<br />
<br />
7% x +54.<br />
<br />
8i x 6.<br />
<br />
DRAMA,<br />
<br />
Tur Tria or JEANNE D’Arc, an Historical Play in Five<br />
Acts. By Epwarp Garnerr. 74 x 5. 79 pp.<br />
Sidgwick & Jackson. 3s. 6d. n.<br />
<br />
Wacner’s Tristan und Isoxpz, An Essay on the<br />
Wagnerian Drama. By G. A. Hicur. 8} x 53.<br />
281 pp. Stephen Swift. 5s. n.<br />
<br />
ECONOMICS.<br />
<br />
Szasonat Traps. By various writers. Introduction<br />
by Stpyey Wess. Edited by SipNey Wess AND<br />
Agnotp Freeman. 8} x 5}. 410 pp. Constable.<br />
“Ts. 64. n. ,<br />
<br />
ENGINEERING.<br />
<br />
A Primer on THE INTERNAL ComBUSTION ENGINE. By<br />
H. E. Wimperis. 73 x 5. 143 pp. Constable.<br />
2s. 6d. n.<br />
<br />
FICTION.<br />
Come Rack! Come Ropz. By R. H. Benson. Ti Xx 5,<br />
<br />
Alston Riyers. 6s. 7 yay<br />
<br />
Barriers. By Tar Hon. Mrs. Juuian Byna. 7% X 5h.<br />
380 pp. Holden & Hardingham.<br />
<br />
Tue Distant Lame. By Harotp Bzcsre. 12 xX 6,<br />
294 pp. Hodder & Stoughton. 6s.<br />
<br />
Tue Private Lire op Henry Maituanp. A Record<br />
Dictated by J. H. Revised and edited by Moruzy<br />
Roperts. 74 x 5. 316 pp. Nash. 6s.<br />
<br />
Mratam Lucas. By Canon Suuguay, D.D. 7% x 5.<br />
<br />
By ANATOLE<br />
9 x 6.<br />
<br />
ASPIRATIONS OF JEAN SERVIEN.<br />
Translation by ALFRED ALIINSON.<br />
Lane. 6s.<br />
<br />
By Frorence L. Barcuay.<br />
3s. 6d. n.<br />
<br />
ConstaANCE SMEDLEY (Mrs.<br />
343 pp. Religious Tract<br />
<br />
TE<br />
FRANCE.<br />
234 pp.<br />
<br />
Tue Upas TREE.<br />
246 pp. Putnam.<br />
<br />
Ruty’s Marriace. By<br />
Maxwell Armfield), 8 < St.<br />
Society. 6s.<br />
<br />
THe Woornc oF Miranwy. By Eprru C. Kenyon.<br />
7} x 5}. 344 pp. Holden & Hardingham. 6s.<br />
<br />
Taines THAT Pass. By Atice E. Ropsins. 7} x 5}.<br />
319 pp. Melrose. 6s.<br />
<br />
A Grove or Noster Dames AND THE WetL Betovep. A<br />
Sketch of a Temperament. By Tuomas Harpy.<br />
9 x 6. Macmillan. 7s. 6d. n. each.<br />
<br />
Tue Broap Hignway. A Romance of Kent. By<br />
JEFFREY Farnov. Illustrations by C. E. Brook.<br />
9} x 63. 493 pp. Sampson Low. 10s. 6d. n.<br />
<br />
Fotrowinc Darkness. By Forrest Rerp. 7? x 5.<br />
320 pp. Arnold. 6s.<br />
<br />
St. L6 By Dororny Marcarer Sruart. 337 pp.<br />
Holden & Hardingham. 6s.<br />
<br />
Tur Mystertovs Monstrur Dvuvant.<br />
(Author of “ John Merridew,” &c.).<br />
THe JUNE Lapy. By R. E. VeRNEDE. 7} x 5.<br />
<br />
Constable. és.<br />
<br />
Tue Rest Presence. By Una L. SmBERRAD.<br />
55 pp. Hodder & Stoughton. Is. 6d. n.<br />
<br />
Sesarorp’s Snake. By Berrram Mrrrorp.<br />
320 pp. Ward Lock. 6s.<br />
<br />
Corn in Ecypr. By E. Newrox BunNGEY.<br />
286 pp. Lynwood. 6s.<br />
<br />
THe Canusac Mystery. By K. anp HESKeETa<br />
Pricnarp. 74 x 43. 340 pp. Heinemann. 6s.<br />
<br />
At Waat Sacririce? By Annre O. Trppits. 74 x 5,<br />
286 pp. Digby, Lone. 6s. The Caszr or RicHaRD<br />
Meynett. By Mrs. Humenry Warp. New Edition.<br />
7} x 5. 525 pp. Smith Elder. 2s. n.<br />
<br />
No Surrenper. By Constance ExizapetH Mavp.<br />
7k x 5. 328 pp. Cheaper re-issue. Duckworth.<br />
28. 1.<br />
<br />
WINAFRINT, VIRGIN.<br />
Ham Smith. 6s,<br />
<br />
Tue House Opposits.<br />
Eveleigh Nash. 6s.<br />
<br />
Tae Man with tHE Briack FEATHER.<br />
Leroux. Translated by Epaar Jepson. 7}<br />
314 pp. Hurst & Blackett. 6s.<br />
<br />
A Recutar Mapam. By Arice Witson Fox. 7} x 5,<br />
348 pp. Macraillan. 6s.<br />
<br />
Tue Jew or Pracun. By A. Witson Barrert.<br />
31ll pp. F. V. White. 6s.<br />
<br />
A Base iy Bonemia. By FranK Dansy.<br />
288 pp. Stanley Paul. 6s.<br />
<br />
Tar ENLIGHTENMENT oF Sytyrs. By A. D. PrckmRinea.<br />
74 x 5. 310 pp. John Murray. 6s.<br />
<br />
GARDENING.<br />
<br />
Tue Rock GarpEN. By Rearnayp Farrer.<br />
(Present Day Gardening). 84 6}. Jack.<br />
<br />
HYGIENIC,<br />
<br />
Thr PrincipLEs oF HEALTH AND<br />
Mrs, Huns H. Cuapwick. 7} x 5.<br />
& Sons. ls. 3d. n.<br />
<br />
JUVENILE.<br />
<br />
Aunt Pex. A Book for Young Girls. By L. E.<br />
TippEMAN, S.P.C.K. 2s. 6d.<br />
<br />
A Crry Scnoon Girt anp Her Frienps. By May<br />
Batpwin. 74 x 5}. 370 pp. Campers Heart 0’<br />
Gotp, or Tar Lirrte Princess. By KaraaRine<br />
TyNnAN. 7} x 5}. 344 pp. Partridge. 3s. 67.<br />
<br />
72 x Bh.<br />
<br />
By F. ARTHUR<br />
John Murray.<br />
304 pp.<br />
8 x 5h.<br />
72 x SE<br />
<br />
7k x 43.<br />
<br />
By W.SHerReN. 7} x 5. 318 pp.<br />
<br />
By “ Reva.” 72 xf. 306 pp.<br />
<br />
By Gaston<br />
x 4.<br />
<br />
72 x 5.<br />
72 =< Sh.<br />
<br />
Illustrated.<br />
ls. 6d. n.<br />
<br />
TeMPeRANCE. By<br />
Sir Isaac Pitman<br />
72<br />
<br />
A Story of Adventure<br />
<br />
Tue Bravest Boy IN THE CAMP. i re<br />
7% x 5.<br />
<br />
on the Western Prairies. By R. Letcuton.<br />
285 pp. Jarrold. 2s. 6d. n.<br />
Tne Prrate AEROPLANE. By CaprarNn CHARLES GILsoNn.<br />
71 x 5}. 327 pp. Frowde & Hodder & Stoughton. ~5s.<br />
Grayxt Tur Grenapier. His Adventures in the Fighting<br />
Fifth in the Peninsula. By Wattrr Woop. 326 pp.<br />
Routledge. 3s. Gl.<br />
Prerer THE PowpEr-Boy.<br />
of the Days of Nelson.<br />
THE ComMINnG oF CARLINA.<br />
to Twelve. By L. E. TIDDEMAN.<br />
<br />
By Water Woop. A Tale<br />
317 pp. Routledge. 3s. 6d.<br />
A Book for Children from Ten<br />
<br />
Jarrold. 2s. 6d.<br />
<br />
Waerpe THE Ratnsow Enps. A_ Fairy Story. By<br />
Clifford Mills. 7 x 43. 160 pp. Hodder & Stoughton.<br />
1s. n.<br />
<br />
Currosrry Kats. By Frorence Bonz. 7} x 54.<br />
320 pp. Partridge. 2s. 6d.<br />
<br />
ANGELIQUE. By Constance ExizapeTH Maup. 7} x 9.<br />
265 pp. Duckworth. 6s.<br />
<br />
Tue ADVENTURES OF SitveRsuIT. Pictures by ANGUSINE<br />
<br />
Macarecor. Verses by Jxesste Porr. 9} x 7.<br />
Blackie. 1s. 6d.<br />
<br />
Tue Turee Joviat Purrres. By J. A. SHEPHERD.<br />
Rhymes by E. D. Cumtna. 10} x 7}. Blackie.<br />
3s. 6d. n.<br />
<br />
Tue Brrps’ Curistmas Caron. By Kate Doveras<br />
Wiccry. 72 pp. Illustrated by F.E. Hiruy. 6} x 4.<br />
Gay & Hancock. 1s, 6d. n. each.<br />
<br />
LAW.<br />
Tre Law or Copyricut. By L. C. D. OLprigLp. Second<br />
<br />
Edition. 350 pp. Stevens & Sons. 26s.<br />
<br />
LITERARY.<br />
<br />
Portraits AND SkETcHES. By Epmunp Goss, C.B.<br />
73 x 5}. 296 pp. Heinemann. 6s. n.<br />
<br />
Persian LIrERATURE. By CLaup FIELD.<br />
Herbert & Daniel. 3s. 6d. n.<br />
<br />
LETTERS FROM SOLITUDE AND OTHER Essays. By Fitson<br />
Younc. 73 x 5. 317 pp. Chapman & Hall. 5s. n.<br />
Smrpuiciry anp Torstoy. By G. K. Caesrerton. A<br />
Rocur’s Memorrs, &c. By AvGUSTINE \BrRRELL.<br />
Bexsonrana. By E. F. Benson. 6 x 43. Hum-<br />
<br />
phreys. 2s. 6d. n. each. 4<br />
Srupres anp Apprectations. By Darreut. 3 Freats.<br />
83 x 53. 258 pp. Dent. 5s. n. ;<br />
Tur AcapEmMIc CommiTrer. Browning’s Centenary,<br />
Edmund Gosse, Sir Arthur Pinero, Henry James.<br />
Tuesday, May 7th, 1912. Reprinted from ‘Trans-<br />
<br />
7 x 5. 363 pp.<br />
<br />
actions ot the Royal Society of Literature. Vol.XXXI<br />
Part IV. 8} x 53. 50 pp. Asher. 3s.<br />
Sampnrre. By Lapy Sysm Grant. 7} x 5. 307 pp.<br />
<br />
Stanley Paul. 3s. 6d. n.<br />
ScortisH Lire anpD Porrry. By Lavuciuian MacLean<br />
Warr. 9 x 53. 509 pp. Nisbet. 12s. 6d. n.<br />
MacatLay’s Essay on Appison. By N. L. Hattwarp.<br />
<br />
Lonemans’ Brivisu Ciassics.FoR Inpra. Longmans.<br />
MILITARY.<br />
Can, Germany Invape Enctanp? By Con. H. B.<br />
Hanna. 71 Xx 43. 159 pp. Methuen. 1s. n.<br />
Turiuine Tares oF Great Events. Re-told from<br />
Survivors’ Narratives. By Waurer Woop. 332 pp.<br />
Routledge. 3s. 6d.<br />
MISCELLANEOUS.<br />
UNEMPLOYMENT AND DrsEasus. Caused by Decay and<br />
<br />
Loss of ‘Teeth. Wm. Dawson &<br />
<br />
Sons. 6d. n.<br />
<br />
By a Dental Surgeon.<br />
<br />
THE AUTHOR.<br />
<br />
NATURAL<br />
<br />
NERVATION or Pants.<br />
<br />
Illustrated. 74 x 5.<br />
3s. 6d. n.<br />
<br />
Basy Brrps at Home. By Ricnarp Kmarton. TIllus-<br />
<br />
trated from Photographs. By CnHEerry and Graok<br />
<br />
HISTORY.<br />
<br />
By Francis Guorce Heats.<br />
186 pp. Williams & Norgate.<br />
<br />
Kearton. 8} x 53. 128 pp. Cassell. 6s.<br />
Tue Brrps or Austrauia. By 8. L. Marnews. Vol. IL.<br />
Part TV. 144 x 10. 359—476 pp. Witherby.<br />
NAVAL.<br />
Tue Barrizsuir. By Waiter Woop. Crown quarto.<br />
309 pp. Kegan Paul. 12s. 6d. n.<br />
POETRY.<br />
<br />
Rivostes of Ezra Pounp. Whereto are appended the<br />
complete poetical works of T. E. Hume, with prefatory<br />
note. 73 x 54. 63 pp. Swift. 2s. 6d. n.<br />
<br />
Aw IpyLt AND OTHER Poems. By E. Hamitron Moors.<br />
74 x 5. 112 pp. Melrose. 2s. n.<br />
<br />
Eaypt AND OTHER Porms. By Francis Courts.<br />
122 pp. Lane. 3s. 6d. n/<br />
<br />
Fatvuous FaBies AND OTHER VERSES.<br />
(X.Y,X.).<br />
<br />
Tk x 5.<br />
<br />
By Denis TURNER<br />
6} x 44. 94pp. Fifield. 2s. 6d. n.<br />
<br />
REPRINTS.<br />
<br />
Porste VoLGARI DI Lorenzo De®’ MeEpict.<br />
Janet Ross e di Epwarp Huuton. Two volumes,<br />
83 x 6}. 221 + 240 pp. Dent. 2ls. n.<br />
<br />
SeLecteD Waritincs or Wituiam Swarr. Vol. V.<br />
Vistas. THe Gresy Carist, and other Prose Imaginings.<br />
Selected and arranged by Mrs. Witniam SHarRp.<br />
73 x 54. 484 pp. Heinemann. 5s. n.<br />
<br />
SCIENCE.<br />
<br />
Tur Story oF THE Heavens. By Sir Roperr §. Bani.<br />
Illustrated. 93 x 6}. 48 pp. Part. I. To be<br />
completed in 14 fortnightly parts. Cassell. 6d. n.<br />
<br />
Crramic CuEmistry. By H. H. Stepnenson. 10 x 6}.<br />
91 pp. Davis Bros. 6s.<br />
<br />
SOCIOLOGY.<br />
Woman anp To-Morrow. By W. L. Grorcez.<br />
<br />
A Cura di<br />
<br />
72 x 5h.<br />
<br />
187 pp. Herbert Jenkins. 2s. 6d. n.<br />
Tur Servite State. By Hmarre Betioc. 8 X 5}.<br />
189 pp. Foulis. 1s. n.<br />
Wacrs. By A. J. Cantyiz, D.Lirr. 7} x 5. 125 pp.<br />
Mowbray. 2s. n.<br />
SPORT.<br />
Huntinc in THE OtpEn Days. By Witusam ScarTe<br />
Dixon. Constable. 21s, n.<br />
TECHNICAL.<br />
<br />
Tar Businrss oF BooKBINDING.<br />
7k x 4%. 223 pp. Stanley Paul.<br />
<br />
THEOLOGY.<br />
<br />
Mrprrations on Portions or St. Jonn’s Gosprn. By<br />
Mrs. Romanes. 5% x 44. 49 pp. Mowbray. 6d. n.<br />
<br />
Everyman’s History oF THE Prayer Boox. By Tus<br />
Rev. Percy Drarmer, D.D. 74 x 5}. 256 pp.<br />
Mowbray. ls. 6d. n.<br />
<br />
TOPOGRAPHY.<br />
<br />
A Votume on Exeter. Described by Smpney Heats,<br />
with pictures by E. W. Hastenurst. (Black’s<br />
“ Beautiful England’? Series of Colour books.) 9/x 7.<br />
64 pp. A. & C. Black. 2s. n.<br />
<br />
By A. J. Pui.<br />
6s. n. :<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 73<br />
<br />
[Tur CoTTAGERS AND THE VILLAGE Lire or RURAL<br />
Enetanp. By P. H. Dircurietp. With coloured and<br />
line illustrations by A.R. Quinton. 10} x 8}. 185 pp.<br />
Dent. 21s. n.<br />
<br />
Exurer. By Smyey Huars. Prepared by E. H.<br />
HastEnurst. 9 x 64. 64pp. Blackie. 2s. n.<br />
<br />
TRAVEL.<br />
<br />
THe OLp GarpENs oF ITraty. How to Visit Them. By<br />
Mrs. AvBrEy LE Bronp. 72 x 5. 171 pp. Lane<br />
5s. n,<br />
<br />
————————_+——_—__<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
—<br />
<br />
Some three or four years ago it might have<br />
been said that the day of the essay was over.<br />
No publisher would produce a collection in book<br />
form, because it did not pay, and that is the<br />
main point in a properly conducted business ;<br />
but now the book of essays seems to have come<br />
again into popular favour, and we are pleased<br />
to see two volumes from such old friends and<br />
well-known essayists as Mr. Austin Dobson and<br />
Mr. Edmund Gosse. Mr. Dobson’s book is<br />
entitled ‘“‘ At Prior Park and other Papers,”<br />
and is published by Messrs. Chatto & Windus.<br />
It deals in matters of interest in the 18th<br />
century, a period of which the author has made<br />
himself a master. Mr. Gosse’s book is entitled<br />
“* Portraits and Sketches,”’ and is published by<br />
Mr. Heinemann. Its title explains itself. The<br />
author draws with a strong pen portraits and<br />
sketches of some of the famous men he has met.<br />
<br />
Messrs. Methuen & Co. have published<br />
“* Perfect Health for Women and Children,” by<br />
Elizabeth Sloan Chesser, at the moderate price<br />
of 3s. 6d. Whilst in no sense a medical text<br />
book, the book aims at supplying intelligent<br />
women with useful information about health<br />
and sickness. Some of the subjects dealt<br />
with, such as “Nerves and their Cure,”<br />
“Health and .Open Air,” ‘“ Infectious<br />
Diseases,”’ ‘“‘ Winter Ailments,”’ will show the<br />
scope of the work.<br />
<br />
The same publishers have issued a volume<br />
of poems by Mrs. L. F. Wynne Ffoulkes entitled<br />
** Poems of Life and Form.”’ She has repro-<br />
duced most of the old French metres, such<br />
as Roundels, Roundeaux, Triolets, Virelais,<br />
Villanelles, etc. One form, however, is not<br />
present, the “ Chante Royale,”’ perhaps the<br />
most difficult of any of the French metres.<br />
The subjects of her poems vary from poems<br />
of love to poems of mysticism ; from- poems<br />
written in dialogue, such as “ Joe’ and ‘‘ The<br />
Old ’oss,’’ to descriptive verse such as ‘* Ruth,”<br />
a setting of the Bible story.<br />
<br />
Mrs. Walford, the well-known novelist,<br />
has written her ‘‘ Memories of Victorian<br />
London,” and the book has been published by<br />
Mr. Arnold. It deals with certain aspects of<br />
London social life during the latter part of the<br />
last century. Mrs. Walford has new things to<br />
tell us about people like Laurence Oliphant,<br />
Charles Reade, George Macdonald, Wilkie<br />
Collins, and Coventry Patmore.<br />
<br />
Among the most notable of the present<br />
season’s publications, are ‘“‘ The Diaries of<br />
William Charles Macready (1833—1851), edited<br />
by William Toynbee,” which has been issued<br />
by Messrs. Chapman & Hall, Ltd., in two<br />
large volumes, with numerous portraits. These<br />
Diaries contain a considerable amount of<br />
interesting material, hitherto unpublished,<br />
and shed new light not only on Macready him-<br />
self, but on many of his famous contemporaries<br />
in the literary and dramatic world.<br />
<br />
* Our Alty,” by M. E. Francis (Mrs. Francis<br />
Blundell), author of ‘‘ The Tender Passion,”<br />
etc., is the title of a new novel which Messrs.<br />
John Long will shortly publish. Mrs. Blundell<br />
here returns to rural Lancashire, where many<br />
of her readers deem her at her best. The story<br />
deals with the adventures of a typical North-<br />
country lass. The description of the old-world<br />
customs and quaint characters of this corner<br />
of England adds an interest to the tale.<br />
<br />
Mr. Arnold Bennett states in his book,<br />
“Those United States,” published by Martin<br />
Secker, ‘‘ the one possible justification of them<br />
[his views] is that they offer to the reader the<br />
one thing that, in the very nature of the case,<br />
a mature and accustomed observer could not<br />
offer, namely an immediate account (as<br />
accurate as I could make it) of the first tre-<br />
mendous impact of the United States on a<br />
mind receptive and unprejudiced.”” But sure<br />
this view-point put forward as an apology is<br />
after all a great recommendation, when it is<br />
frankly stated by the author. A reader may<br />
object to the dogmatic assertions set down<br />
so often by those whose knowledge is superficial,<br />
and whose study is of the slightest ; but when<br />
he is met by this frank statement, the book<br />
gathers to itself a greater interest, as all those<br />
who have perused the book will readily allow.<br />
<br />
Mr. Morley Roberts will gladden the hearts<br />
of his admirers by the production of ‘“ The<br />
Private Life of Henry Maitland,’”’ published<br />
by Eveleigh Nash. It is presumably a-novel,<br />
but it is an open secret that it is a study of<br />
the life of his old friend George Gissing. There<br />
are no doubt dangers surrounding the writing<br />
a life of a close friend. If the author is<br />
<br />
over-critical or over-conscientious, he may<br />
74<br />
<br />
convey to the world a portrait exactly opposed<br />
to that he may wish to convey, if he is over-<br />
enthusiastic he may idealise. Those interested<br />
in George Gissing as a writer and a man<br />
should certainly read the book. The author<br />
of ‘‘ The Private Papers of Henry Ryecroft ”<br />
deserves a just appreciation.<br />
<br />
Among the illustrated books we are pleased<br />
to see Mr. Rackham’s annual appearance with<br />
a volume of Ausop’s Fables. There is no need<br />
to praise, for Mr. Rackham’s Christmas books<br />
have become an institution. The get-up of the<br />
book in the limjted edition is excellent, and the<br />
new translations of the classicare commendable.<br />
<br />
At the present season of the year fairy<br />
stories sprout up like snowdrops in the grass.<br />
We gladly welcome Mrs. E. Nesbit’s ‘‘ The<br />
Magic World,” published by Messrs. Mac-<br />
millan & Co., with illustrations by H. R.<br />
Millar and Spencer Pryse; and Miss Helen<br />
Margaret Dixon has produced, through Cornish<br />
Brothers, Ltd., Birmingham, “‘ Little Wander-<br />
ing Gil,” and other stories, prettily illustrated<br />
by photogravure reproductions from original<br />
photographs. This effective method of illus-<br />
tration is too seldom utilised. Much, however,<br />
must depend on the artistry of the original.<br />
<br />
Mr. Forbes Dawson has a series of articles<br />
running through the Era entitled ‘‘ Who<br />
wouldn’t be an Actor?’’ He portrays in a<br />
humorous manner the scenes in the life of an<br />
actor who has been stormed, has helped to<br />
build the stage on which he performed, has<br />
written dramas for production, and worked his<br />
way through the French Canadian towns and<br />
along the line to California. They will most<br />
probably be published in book form subse-<br />
quently.<br />
<br />
The relation between modern science and<br />
present day Christianity is a theme of peren-<br />
nial interest. The Rev. Luther W. Caws’ book,<br />
just published by James Clarke & Co. : “‘ The<br />
Unveiled Glory, or Sidelights on the Higher<br />
Evolution,” has come at an opportune moment<br />
when the origin of life discussed at the British<br />
Association meetings has aroused a fresh<br />
public interest in the life-long drama of<br />
evolution.<br />
incredible that the evolution of life, if it really<br />
is so, from the lowest and simplest forms up<br />
to the highest animals, including man, could<br />
possibly have been the offspring of blind<br />
chance.<br />
<br />
We regret an error in our announcement of<br />
Messrs. Everett’s sevenpenny reprint of Miss<br />
Amy McLaren’s novel. The title of the novel<br />
is ‘* Bawbee Jock,” and not as given in our<br />
previous notice.<br />
<br />
The author maintains that it is.<br />
<br />
THE AUTHOR.<br />
<br />
Mrs. Wilson Fox’s new story, “A Regular<br />
Madam,” is a tale of the eightecnth century.<br />
Messrs. Macmillan & Co. are the publishers.<br />
<br />
Miss Lillias Campbell Davidson’s new novel,<br />
“Houses of Clay,’ published by Messrs.<br />
Partridge & Co. at 6s., is now out. The<br />
Lady is running its second serial by her this<br />
year: entitled ‘“‘ A Tangled Inheritance,” and<br />
another serial, ‘The Primitive Law,” is<br />
announced to appear in The Lady’s World<br />
in April next.<br />
<br />
Miss L. G. Moberly’s latest novel, ‘‘ Violet<br />
Dunstan,”’ has just been published by Messrs.<br />
Ward, Lock & Co. It ran serially last year in<br />
the Daily Chronicle. Miss Moberly has now<br />
written several serials for the Daily Chronicle<br />
and Lloyd’s Weekly ; and new novels, “‘ Diana ”’<br />
and “ A Very Doubtful Experiment,” both ran<br />
serially in The Lady. She is now writing a<br />
novel for Messrs. Methuen. Many of ther<br />
novels have been translated into the Scandi-<br />
navian languages, and some into French and<br />
German,—amongst the latter, ‘“‘ The Cost,” and<br />
“* Angela’s Marriage.”<br />
<br />
Mr. Charles T. Jacobi, of the Chiswick Press,<br />
whose “ Printing ” is a text book on its subject,<br />
is bringing out a new, revised (fourth) edition of<br />
his guide for Authors, Publishers, and others<br />
—‘‘ Some notes on Books and Printing.”<br />
<br />
At a most opportune moment a book is<br />
announced by Mr. John Lane on “ Austria,<br />
Her People and their Homelands.” It is a<br />
work cn the whole of Austria, and its complex<br />
population, by one who has for over thirty<br />
years studied the country through its<br />
entirety. Mr. James Baker, F.R.G.S., has<br />
already written much on various parts of<br />
Austria, and now this work, which is illustrated<br />
by forty-eight water colours by Donald Max-<br />
well, and completed by a map and full index,<br />
will help many to elucidate the real Austria and<br />
her people.<br />
<br />
Among the many colonial and foreign<br />
criticisms which have appeared on Mr. John<br />
Bloundelle-Burton’s historical work, ‘‘ The Fate<br />
of Henry of Navarre,” France is now con-<br />
tributing her opinions. The latest appears in<br />
the October number of La Science Sociale, a<br />
well-known magazine devoted to_ literary<br />
criticism, and covers three columns. It is<br />
signed Pierre Galichet, and the writer plainly<br />
tells his readers that they will glean a con-<br />
siderable amount of knowledge frcm the book<br />
about the matter in hand, as well as their own<br />
history—restée assez ohscure—which they have<br />
not possessed hitherto. He also laments that<br />
such a livre d'histoire de grande valeur should be<br />
only known at present to those acquainted<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. "5<br />
<br />
with the English language, and expresses the<br />
hope that a French translation will not be long<br />
delayed. ;<br />
<br />
“Ayrshire Idylls” is the title of a book<br />
about to be published by Messrs. A. and C.<br />
Black. It is the affectionate and patriotic<br />
work of two Scottish artists—of Dr. Neil Munro,<br />
whose pen, diverted, for the moment, from the<br />
romance of Highland life and character, redis-<br />
covers the spirit of Ayr as it was in another<br />
and more dramatic age, and of George Houston,<br />
the Scottish landscape painter, who has made<br />
the scenery of Ayr his life-long study. The<br />
author’s sketches reconstruct certain notable<br />
scenes in Ayrshire history, wherein such figures<br />
as Burns, Boswell and the Covenanters are dis-<br />
played at a modern angle ; the artist’s draw-<br />
ings represent, in the main, those landscape<br />
features which remain very much the same<br />
to-day as they have been for centuries.<br />
<br />
The subject of stained glass in England has<br />
never been dealt with in an exhaustive manner.<br />
It is a subject of interest to the public as well<br />
as to artists and antiquarians. It is with<br />
pleasure, therefore, that we see “‘ A History of<br />
English Glass Painting,’ by Morris Drake,<br />
published by Werner Laurie. The work—<br />
illustrated by photographs and drawings in<br />
colour and _half-tone—at the price of £2 2s.<br />
net, attempts to deal with the evolution of the<br />
subject in detail and from every point of view.<br />
<br />
Messrs. Holden & Hardingham have pub-<br />
lished a novel ‘“‘ St. Lé6,’? by Dorothy Margaret<br />
Stuart. Itis aromanceof the fifteenth century,<br />
introducing several historical characters, such<br />
as Maximilian of Austria, Louis XI., and<br />
Margaret of Burgundy. The details as to<br />
costume, heraldry and mise-en-scéne are<br />
derived from French and Flemish sources not<br />
accessible to most English students.<br />
<br />
We have received an announcement from<br />
Mr. Gerald Christy, of the Lecture Agency, Ltd.,<br />
that he is adding a literary agency to his<br />
business. The literary portion is to be under<br />
the conduct of Mr. Leonard P. Moore, who has<br />
had eleven years practical experience of<br />
agency work. The Agency will conduct its<br />
business from the old address, The Outer<br />
Temple, Strand, W.C.<br />
<br />
“* Mrs. Fauntleroy’s Nephew ”’ is the title of<br />
a story of Oxford life, by Beatrice Braithwaite-<br />
Batty. The hero is an undergraduate of<br />
Magdalen, whose pretty sister comes to stay<br />
with an old aunt during the summer term.<br />
During the festivities and gaicties, the sister<br />
draws around her a bewildering number of<br />
admirers. It must be left to the reader to<br />
discover the successful candidate. 5.<br />
<br />
“The Gods of Pegana,” by Lord Dunsany,<br />
for some while out of print, has been re-issued,<br />
and can now be obtained only from Mr. W.<br />
Johnson, The Pegana Studio, 86 Newman<br />
Street, Oxford Street, W.<br />
<br />
A copy of Mr. C. L. Freestons “‘ The Passes<br />
of the Pyrenees,’ has been accepted by<br />
His Majesty the King.<br />
<br />
Monsieur Georges Bazile is translating into<br />
French Mr. Robert Sherard’s ‘‘ The Story of<br />
an Unhappy Friendship,” for publication in<br />
serial form in Gil Blus, the great Parisian<br />
literary daily.<br />
<br />
Dramatic NOTES.<br />
<br />
- Towards the end of October, but too late<br />
for the November issue of this magazine, a<br />
piece entitled ‘“‘ Tantrums,” by Mr. Frank<br />
Stayton, was produced at the Criterion. The<br />
three acts turn around the tantrums of the<br />
spoilt Virginia Halstead. Miss Marjorie Day<br />
takes the part of Virginia, and Mr. Charles<br />
Maude plays the part of wooer and husband.<br />
<br />
Mr. J. T. Tanner’s ‘‘ The Dancing Mistress ”’<br />
was also too late for announcement. The<br />
piece was produced at the Adelphi, backed by<br />
the musie of Lionel Monckton; while Adrian<br />
Ross and Perey Greenbank were responsible<br />
for the lyrics. Miss Gertie Millar and Mr.<br />
Joseph Coyne took the chief parts. To hint<br />
at the plot will be sufficient to show the lines<br />
on which this musical comedy runs, for Naney<br />
Joyce (Miss Gertie Millar) is the dancing mistress<br />
at a finishing school for girls near Brighton.<br />
<br />
At the Garrick Theatre a one-act piece<br />
entitled ‘t Phipps,’”’ by Stanley Houghton, was<br />
produced on the 20th of last month, the<br />
characters were a butler and a recently married<br />
couple, The fact that the husband before<br />
marriage had met a certain young lady whom<br />
the butler had also fallen in with, affords the<br />
author an opportunity of giving the audience<br />
an enjoyable half-hour. Mr. Arthur Bourchier<br />
acted capitally as Mr. Phipps. The same<br />
author on the same night had a longer piece,<br />
“The Younger Generation,”’ produced at the<br />
Haymarket. It represents the eternal quarrel of<br />
the old and the new. The subject is set in a<br />
middle-class Manchester setting. The story is<br />
told with plain directness that carries convic-<br />
tion, and ends, as it was bound to end, in the<br />
triumph of the younger generation. Two<br />
pieces of a very different character were per-<br />
formed on the same night at the same theatre—<br />
““An Adventure of Aristide Pujol,” by W. J.<br />
Locke, which needs no introduction ; and “‘ The<br />
Golden Doom,” by Lord Dunsany, a fantastic<br />
allegory in a legendary kingdom.<br />
76 THE AUTHOR.<br />
<br />
On the 19th, Miss Marie Tempest produced<br />
three short plays for a series of Tuesday<br />
and Friday matinees. The first entitled<br />
‘‘An Imaginary Conversation,” by Norreys<br />
Connell, represented Kate, a sister of Tom<br />
Moore, endeavouring to turn Robert Emmet<br />
from the thoughts of rebellion to those of love.<br />
Miss Tempest as Kate, though unsuccessful as<br />
a lover, was most successful in her representa-<br />
tion of the part.<br />
<br />
“The Play Boy of the Western World,” by<br />
J.M. Synge, has been translated into German by<br />
Mr. G. Sil-Vara, a Viennese author, journalist<br />
and playwright, who has made London his<br />
second home. Mr. Sil-Vara_ succeeded in<br />
placing ‘The Playboy’ at Professor Rein-<br />
hardt’s ‘‘ Kammerspiele’’ in Berlin at the<br />
‘‘Neue Wiener Buchne ” in Vienna, and at the<br />
‘“‘ Stadttheater”” in Muenster. The German<br />
version, published by George Mueller in Munich,<br />
has just appeared in book form.<br />
<br />
Mr. Sil-Vara has also translated into German<br />
and possesses the German rights of ‘‘ Prunella,”<br />
by Granville Barker, “The Gods of the<br />
Mountain,” by Lord Dunsany, and ‘“‘ 98 and 9,”<br />
by C. B. Fernald, and other plays which have<br />
not yet heen produced; and Mr. Gals-<br />
worthy has just transferred to Mr. Sil-Vara the<br />
German rights of his future plays. Mr.<br />
Galsworthy’s play, a dramatic version of his<br />
novel “ The Eldest Son,” is produced at the<br />
Kingsway under Mr. Granville Barker’s<br />
management.<br />
<br />
““The Triumph,” a play by Florence Eaton<br />
and William Crossing, founded on Florence<br />
Eaton’s book, ‘‘ The White Demon,” was<br />
produced at the Royal Court Theatre. It is<br />
a fairy play, the main motif being the pursuit<br />
of health, and the triumph over the all-<br />
powerful demon “* Consumption.”<br />
<br />
A short play, written by special request of<br />
the Evening News, for their Santa Claus<br />
Doll Fund, entitled ‘‘ The House of Dolls,”<br />
from the pen of Mrs. Irene Osgood, has been<br />
produced at the Opera House, Northampton.<br />
<br />
“* Kitty of Ours,” a military comedy in four<br />
acts, by Emily Taylor, was produced at the<br />
Opera House, Harrogate, on October 30th.<br />
It deals with the love of the Quartermaster’s<br />
daughter for one of the handsomest officers<br />
of the regiment, and her subsequent dis-<br />
illusionment. It has a happy ending, however.<br />
The piece was produced by Mr. Charles<br />
Grattan and played by Miss Haidee Gunn,<br />
Mr. Frank Royde, and a capable company.<br />
A three-act comedy by Leonard Inkster<br />
entitled “The Emancipation ’’ was produced<br />
on October 9th and 11th in Sheffield.<br />
<br />
PARIS NOTES.<br />
ogee<br />
HE new literary convention between<br />
France and Russia came into force<br />
on November 13th.<br />
<br />
For the International Book Exhibition,<br />
which is to take place in Leipzig, in 1914, the<br />
first million is already subscribed. Austria,<br />
Hungary, France, England, America, the<br />
Netherlands, Sweden and Belgium are all to<br />
be represented, and it is believed that China<br />
and Japan will also exhibit.<br />
<br />
Holland has now joined the Berne Conven-<br />
tion with certain restrictions and, at present,<br />
only for European Holland. The Dutch<br />
colonies will be considered later on. The new<br />
arrangements came into force on November Ist,<br />
1912.<br />
<br />
The Nobel prize for Chemistry is to be<br />
awarded to two French chemists : M. Sabatier,<br />
of Toulouse, and M. Grignard, of Nancy.<br />
<br />
** Pages de Critique et de Doctrine,” by Paul<br />
Bourget, is the title of two volumes of studies<br />
on various subjects. The author writes of<br />
Taine, Brunetiére, Lamartine, Sully Prud-<br />
homme, Michelet, Barbey d’Aurevilly.. He<br />
analyses a novel by Léon Daudet and one<br />
by M. Barrés, and gives us portraits of the<br />
Duc d’Alencon, and Madame Taine. He also<br />
compares the past history of France with its<br />
present history. In these pages we have<br />
Paul Bourget’s opinions on matters literary,<br />
psychological, sociological, and political.<br />
<br />
‘“* La Nouvelle Journée’’ is the title of the<br />
latest and last volume by Romain Rolland<br />
relating to Jean-Christophe. Rarely have<br />
we heard so many details of the life of<br />
any individual. This is the tenth volume<br />
which the author has given us concerning his<br />
protégé.<br />
<br />
Madame Marcelle Tinayre’s new novel. is<br />
entitled ‘‘ Madeleine au Miroir.”<br />
<br />
‘Le Maitre des Foules”’ is the title of the<br />
latest novel by Louis Delzons. It will be<br />
remembered that this author was awarded an<br />
Academy prize for his novel “* L’Affaire Nell.”<br />
The present story is a very stirring account of<br />
the love affair of a professor, whose theories<br />
gradually lead him on to action and who is<br />
carried away by his success as an orator.<br />
<br />
An unpublished manuscript of the Goncourt<br />
brothers has been discovered and will shortly<br />
be published. It is a series of notes, giving us<br />
their impressions of Italy on the occasion of<br />
their first visit to that country during the<br />
winter of 1855—1856. The manuscript is<br />
illustrated with about 200 sketches by Jules de<br />
Goncourt.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
The second part of the ‘“‘ Lettres sur ]a Cour<br />
de Louis XIV. (1671—1673) du Marquis de<br />
Saint-Maurice,”” published by Jean Lemoine,<br />
has just appeared.<br />
<br />
‘‘Autour de Saint-Simon ”’ is an interesting<br />
study, by M. Alfred Pereire, of the Saint-<br />
Simon unknown to the general public.<br />
<br />
It is now fourteen years since the Marchand<br />
Mission won its fame, and Dr. Emily, who<br />
accompanied it, now gives his diary in a<br />
volume entitled ‘Le Journal de Route.”<br />
M. Etienne Lamy writes the preface of this<br />
‘* Odyssey, in which are pages of the Ihad.”<br />
<br />
A book by M. Gustave Lanson, entitled<br />
‘“‘ Trois Mois d’Enseignement aux Etats-Unis ”<br />
is most instructive, and will probably be read<br />
by Americans with as much interest as it has<br />
been read by the French. M. Lanson has been<br />
lecturing in America, and he gives us his<br />
impressions and the results of his observation.<br />
<br />
Another book by the Abbé Jules Claraz,<br />
ex-vicaire of Saint-Germain I’ Auxerrois, cannot<br />
fail to attract attention. His ‘‘ Mariage des<br />
Prétres ’’ caused a great sensation, and the new<br />
volume is entitled ‘* La Faillite des Religions.”<br />
<br />
‘‘La Protection internationale des Oeuvres<br />
cinematographiques,’’ by M. F. Potin, is a book<br />
that authors will do well to consult.<br />
<br />
“La Rénovation de VEmpire Ottoman<br />
(Affaires de Turquie),” by Paul Imbert, is a<br />
book which appears at the right moment.<br />
<br />
** La Querelle des Communes et des Lords,”’<br />
by Paul Hamelle, with a preface by M. Augustin<br />
Filon, helps us to see ourselves as others see us.<br />
<br />
** Du Cubisme,” by Albert Gleizes and Jean<br />
Metzinger, the two most notorious artists of<br />
the group of Cubists. The volume contains<br />
thirty illustrations, and may serve as a guide to<br />
those who are still seeking to discover the<br />
raison @étre of this extraordinary departure.<br />
<br />
‘*La Coopération neutre et la Coopération<br />
socialiste ’’ is a book that will be read with<br />
interest by all who know the previous works of<br />
M. E. Vandervelde.<br />
<br />
** Aux Pays Balkaniques, Montenegro, Serbie,<br />
Bulgarie,’”” by Alphonse Muzet, is a volume<br />
just published in the collection ‘“‘ Les Pays<br />
Modernes.”’<br />
<br />
Among the recent translations into French,<br />
we would specially mention a volume of essays<br />
and criticisms by Oscar Wilde: ‘‘ Noveaux<br />
Essais de Littérature et d’Esthétique,”’ trans-<br />
lated by Albert Savine, and ‘“ Parmi les<br />
Cheminots de I’Inde,” by Rudyard Kipling, by<br />
the same translator.<br />
<br />
‘“* Prométhée délivré ” is the French title of<br />
Shelley’s fine drama, which has just been given<br />
to the public by Tola Dorian. No poet could<br />
<br />
><br />
<br />
7<br />
<br />
be more difficult to translate than Shelley, and<br />
we must congratulate the well-known writer,<br />
who, under the pseudonym of Tola Dorian, has<br />
given French readers the opportunity of<br />
becoming acquainted with this poem.<br />
<br />
M. Pierre Berton’s death is sincerely regretted<br />
in the theatrical world. He was an excellent<br />
actor and a successful dramatic author. He<br />
came of a family of artistes, as he was the<br />
grandson of Samson of the Comédie Frangaise,<br />
and his father also belonged to the Théatre<br />
Francais. Some of Pierre Berton’s plays are<br />
as well known in England as in France.<br />
Among others, he wrote ‘“‘ Zaza’ with M.<br />
Charles Simon, and the ‘‘ Deux Gosses ”’ with<br />
Pierre Decourcelle.<br />
<br />
At the Renaissance, ‘“‘ L’Idée de Francoise,”<br />
by M. Paul Gavault, is now being played. It<br />
is an excellent piece, with plenty of incident<br />
and dramatic situations.<br />
<br />
The Athenée has become one of the favourite<br />
theatres. The new play, “‘ Le Diable ermite,”<br />
seems likely to have as long a run as its<br />
predecessor.<br />
<br />
Arys HALLARD.<br />
<br />
<br />
<br />
* Pages de Critique et de Doctrine.” (Plon.)<br />
<br />
“La Nouvelle Journée.”’ (Ollendorff.)<br />
<br />
‘Madeleine au Miroir.” (Calmann-Lévy.)<br />
<br />
“Le Maitre des Foules.” (Calmann-Lévy.)<br />
<br />
“Lettres sur la Cour de Louis XIV. (1671—1673) du<br />
Marquis de Saint-Maurice.’’ (Calmann-Lévy.)<br />
<br />
“La Faillite des Religions.’ (Flammarion.)<br />
<br />
“La Protection internationale des Oeuvres cinemato-<br />
graphiques ’’ (Gauthier-Villais. )<br />
<br />
“La Rénovation de PEmpire Ottoman.<br />
Turquie). (Perrin.)<br />
<br />
“La Querelle des Communes et des Lords.”’ (Plon.)<br />
<br />
“Du Cubisme.” (Figuiére.)<br />
<br />
“La Coopération neutre et la Coopération socialiste.’<br />
(F. Alcan.)<br />
<br />
“* Aux Pays Balkaniques, Montenegro, Serbie, Bulgarie.””<br />
(Roger.)<br />
<br />
*Prométhée délivré.”’ (Lemerre.)<br />
<br />
(Affaires de<br />
<br />
————_+—_+___—_-<br />
<br />
REGISTRATION OF DRAMAS IN THE<br />
UNITED STATES.<br />
<br />
—<br />
<br />
INSTRUCTIONS FOR SECURING COPYRIGHT<br />
REGISTRATION IN THE UNITED STATES<br />
UNDER THE UNITED STATES COPYRIGHT<br />
Act or Marcu 4, 1909.<br />
<br />
(Published with the kind permission of the Register<br />
of Copyrights of the Library of Congress).<br />
<br />
N order to secure the registration of a claim<br />
to copyright in the United States for any<br />
dramatic composition, the following pro-<br />
<br />
cedure is required under the copyright law of<br />
the, United States.<br />
78<br />
<br />
I. If the drama is a new work which has<br />
been printed and sold as a book :<br />
<br />
1. Print upon the back of the title page the<br />
copyright notice in the form prescribed by the<br />
eopyright statute. The usual and a correct<br />
form is the word “ Copyright ” ; the year date<br />
of publication (i.e. the year when copies were<br />
first sold, offered for sale, or publicly<br />
distributed) ; and the name of the person who<br />
claims the copyright ; e.g.<br />
<br />
“ Copyright, 1912, by John Smith.”<br />
<br />
2. Promptly after such publication of the<br />
play send by post prepaid two (2) copies<br />
addressed :<br />
<br />
Register of Copyrights,<br />
Library of Congress,<br />
Washington, D.C., U.S.A.<br />
<br />
3. These copies must be accompanied by a<br />
<br />
claim to copyright in the work, setting out<br />
<br />
(a) The full title of the play.<br />
<br />
(b) The name of the person who claims<br />
the copyright, his nationality and<br />
address.<br />
<br />
[This must be the real name and not the<br />
pen-name, stage name, or pseudonym. It is<br />
this name which must appear in the printed<br />
notice, and the form of the name in the printed<br />
notice should exactly agree with the name<br />
stated in the application for record.]<br />
<br />
(c) The nationality of the author or authors<br />
(i.e. the name of the country of which they are<br />
at the time of making the application citizens<br />
or subjects) must be given, or if permanent<br />
residents of the United States, that fact should<br />
be stated.<br />
<br />
[If the dramatic work is an adaptation or<br />
translation, then it is the name of the country<br />
of which the author of the adaptation or trans-<br />
lation is a citizen or subject that must be<br />
stated. |<br />
<br />
4. The name of the author or authors should<br />
also be given, if printed in the book; or, if<br />
not so printed and no objection exists to placing<br />
the names on record. But it is not obligatory<br />
to disclose the name of the author.<br />
<br />
5. The application must state the exact date<br />
of publication, i.e. “‘ the earliest date when<br />
copies of the first authorised edition were<br />
[ on sale, sold, or publicly distributed<br />
<br />
y the proprietor of the copyright or under<br />
his authority.”<br />
<br />
This application can be made by letter,<br />
provided all the essential facts are clearly set<br />
out. It would, however, be more conveniently<br />
supplied to the Copyright Office by using the<br />
<br />
THE AUTHOR.<br />
<br />
application form called “D1,” which will be<br />
sent upon request.<br />
<br />
6. With the application must be sent an<br />
international post-office money order to pay<br />
the statutory registration fee of $1 (= about<br />
4s. 2d.). This fee includes a certificate of<br />
registration under seal of the Copyright Office,<br />
which will be posted free of further charge to<br />
the address indicated in the application. The<br />
money order should be made payable to the<br />
REGISTER OF Copyricuts. Personal cheques<br />
or domestic British money orders or British<br />
postal notes cannot be received.<br />
<br />
The copyright is for a first term of twenty-<br />
eight years from publication, with a right of<br />
renewal for twenty-eight years more. Old<br />
plays which are now first printed as books<br />
cannot be registered to secure the statutory<br />
copyright. The law does not require that the<br />
drama be printed in the United States.<br />
<br />
II. If the drama is a new work and has not<br />
been printed and published, it may be registered<br />
as a dramatic composition “ not reproduced in<br />
copies for sale ” by proceeding as follows :—<br />
<br />
(a) Deposit in the Copyright Office one<br />
clean and complete copy, either manuscript or<br />
type-written ;<br />
<br />
_ (6) Send with it an application for registra-<br />
tion of claim to copyright exactly as above,<br />
omitting only the date of publication. (Appli-<br />
cation form “D2” can beused for this purpose.)<br />
<br />
[If it is the intention presently to print and<br />
sell the drama, there would seem to be no<br />
advantage in registering the manuscript, as<br />
the law expressly requires a second deposit<br />
of two printed copies, and registration when<br />
ay ae has been “‘ reproduced in copies for<br />
sale.”’<br />
<br />
Address all matter to THz REGISTER OF<br />
Copyricuts, CopyricHtT OFrricr, LIBRARY OF<br />
Coneress, Washington, D.C., U.S.A.<br />
<br />
THORVALD SOLBERG,<br />
Register of Copyrights.<br />
<br />
Mopeu or Buank “D1,” Request rok REGISTRATION OF<br />
A PuBLISHED Dramatic COMPOSITION: :<br />
<br />
Rucister or Copyricuts, WasHineTon, D.C.<br />
Date<br />
<br />
Of the Dramatic Composition named herein, two com-—<br />
plete copies of the best edition first published on the date<br />
stated herein are hereby deposited to secure copyright<br />
registration, according to the provisions of the Act of<br />
March 4, 1909. $1 (statutory fee for registration) is also<br />
inclosed. The copyright is claimed by the undersigned :<br />
Name and address of i<br />
<br />
copyright claimant { ee eee eee<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTIIOR.<br />
<br />
Name of Author, but if a trans-<br />
lation, then name of the Translator<br />
<br />
Country of which the author<br />
or translator is a citizen ee<br />
<br />
[An alien author domiciled in the United States should<br />
write here in addition to citizenship “domiciled in U. 8.”’]<br />
<br />
Brief title of work _<br />
Exact date of publication _ __ [Must be stated]<br />
<br />
[Date (day, month, and year) when placed on sale, sold,<br />
or publicly distributed].<br />
<br />
<br />
<br />
Send certificate of (<br />
registration to | eee ak sia<br />
<br />
Name and address {<br />
of remitter t<br />
<br />
<br />
<br />
THE COLONIAL BOOK TRADE.<br />
<br />
— +<br />
<br />
M* who are acquainted at first hand<br />
with the conditions of modern indus-<br />
try maintain that the problem of<br />
production has been, so far at least, as is<br />
necessitated by existing facts, solved; the<br />
difficulty lies in distribution. To try to deal<br />
in any exhaustive sense with the question I<br />
have raised would be outside my present<br />
purpose. Let me, however, illustrate my<br />
meaning by a concrete example. I use in my<br />
office certain articles which cost me half a<br />
guinea when, as often happens, I have to buy<br />
them, and the manufacturer of which happens<br />
to be an intimate friend. I told him I paid<br />
half a guinea; he replied that he only realised<br />
half a crown, and that on the half-crown he<br />
made a profit of 30 per cent. Where then, do<br />
the other 8s. go ? In trade discounts, travellers’<br />
commissions and advertising. The particular<br />
trade in which my friend is engaged is a lucra-<br />
tive trade; it is highly capitalised and pays<br />
considerable dividends. It fulfils all the<br />
conditions laid down by those who manufacture<br />
under present-day conditions. It produces<br />
but a few articles; it has standardised them,<br />
it employs highly-paid experts to control its<br />
processes, and its principal travellers and<br />
finance men earn large incomes. How does<br />
all this compare with the publishing trade ?<br />
Iwill admit, of course, that the analogy is not,<br />
and cannot be, complete; books will not, they<br />
refuse to, be treated as commodities, and<br />
<br />
49<br />
<br />
disaster awaits, in the long run at least, any<br />
publisher who fails to draw a sharp distinction<br />
between books and pounds of butter. But I<br />
do suggest that the publishing trade fails. in<br />
many important particulars, to satisfy the<br />
conditions met by the manufacturing firm of<br />
which I have just spoken. The publishing<br />
trade is, to my thinking, and to the best of my<br />
knowledge, under-capitalised, and consequently<br />
fails both in production and in distribution ;<br />
in the large commercial sense, it has no<br />
existence. No man who sets out to make<br />
money, as the City, Manchester, or even Fleet<br />
Street understands the word, would waste<br />
time in publishing. The difference between<br />
cost and selling prices is too small.<br />
<br />
And yet—if only the distribution problem<br />
could be solved—publishing should be lucrative<br />
enough ; lucrative enough for the author as<br />
well as the publisher. If the publisher is not<br />
a rich main, then certainly the remuneration<br />
received by the authors of the great majority<br />
of books is ludicrously small. The writing of<br />
books is not a trade, but a form of art, and, like<br />
all artists, the author must take his chance of<br />
finding what he has written to be to the general<br />
liking. Quite true; these things are so. But<br />
the circulation of even the successful author<br />
is not, I suggest, what it might and ought to<br />
be. His publisher breaks down when he comes<br />
to distribution. Despite a dictum of Mr. Wells<br />
to the contrary, publishers would rather<br />
publish good books than bad, the sifting of<br />
manuscripts is close and continuous, and only<br />
a proportion of the books that are written<br />
reach the stage of being printed. It may fairly<br />
be said that production is, allowing for under-<br />
capitalisation, reasonably near the best of<br />
which we, as a nation, are at present capable,<br />
even though much is not written that should<br />
be written, because the publisher cannot afford<br />
to offer the author a pecuniary temptation<br />
strong enough to induce him to abandon other<br />
activities. Here I speak, of course, only of<br />
certain kinds of books. The publisher cannot<br />
afford to pay enough because he has not the<br />
money and he has not, and cannot procure,<br />
the money, because the nation’s book-con-<br />
suming capacity is insufficient to attract<br />
capital.<br />
<br />
Can this capacity be increased? The impor-<br />
tant social changes through which we are<br />
passing so rapidly affect the book trade as they<br />
affect other enterprises. ‘The rich man used<br />
to be the publisher’s main support. Can it be<br />
said that heis sonow? ‘The landed gentry and<br />
the country parson, are, relatively to the rest<br />
of the community, poorer than they were. And<br />
<br />
<br />
<br />
<br />
<br />
<br />
80<br />
<br />
the rich man generally has means of spending<br />
his income that formerly did not exist ; he<br />
motors, he golfs, he spends much of his time<br />
in restaurants and other places of amuse-<br />
ment. He is abandoning the family mansion<br />
that used to be his pride, in which he passed<br />
most of his time and which usually con-<br />
tained a well-filled library. We may almost<br />
eliminate the rich man from our calculations ;<br />
the West End supports no bookshop com-<br />
parable with the establishments of New York<br />
“and the other American cities. It is, truly,<br />
only the rich man who can buy the very expen-<br />
sively produced volume, and for de luxe<br />
editions there will always be a demand. But<br />
the publisher should cease to think in terms<br />
of the income-tax paying class. and recognise<br />
the existence of the new public that has been<br />
called into being by compulsory education.<br />
One may approve or disapprove of the social<br />
evolution through which we are passing, but<br />
it is not going to stop because of our dislike,<br />
and the people who write and publish books<br />
will do well to recognise the fact that the<br />
national centre of intellectual gravity has<br />
shifted. Mr. Dent made the discovery some<br />
years back, and Messrs. Williams and Norgate,<br />
if report speaks truthfully of the success of<br />
The Home University Library, have bettered<br />
his example. But to produce books in large<br />
numbers at a cheap price for popular reading<br />
requires two things—more capital than most<br />
publishers can control, and a much more<br />
efficient book-selling machinery. The circu-<br />
lating library, important factor in distribution<br />
asit is, comes rather outside my present purpose ;<br />
let me only say that, if it is to last, its present<br />
unsound economic foundation must be changed<br />
radically, and that its profits should, as is the<br />
case with other middlemen, bear some relation<br />
to the degree of usefulness with Which it<br />
performs its functions. The future is not with<br />
the book specifically aimed at the libraries,<br />
but with the book that is meant to be bought,<br />
and is worth buying. The means of produc-<br />
tion are ready, or practically ready; for the<br />
capital necessary would be forthcoming if the<br />
publisher could sell what he published. At<br />
present he cannot. Most people have never<br />
acquired the bookshop habit. There are,<br />
indeed, not enough bookshops in which they<br />
can learn it. Large areas of London have no<br />
bookshops worth serious consideration, just<br />
as they have no schools other than those<br />
provided by the County Council. Some day,<br />
<br />
perhaps, the middle-class Englishman will be<br />
as sensible as the American, and send his chil-<br />
dren to the ‘ public ’<br />
<br />
?<br />
<br />
schools ; he may then,<br />
<br />
THE AUTHOR.<br />
<br />
too, learn to buy books. But the books that<br />
the working, or even middle-class man can<br />
afford to buy must be cheap, and the provision,<br />
both as to production and distribution, must<br />
be far better than anything that is offered now.<br />
<br />
We may leave the future to grapple with its<br />
own problems, though the future is not so very<br />
far distant and wisdom suggests that we do what<br />
lies in our power to hasten its advent. Mean-<br />
time, we seem to be losing our hold on the book<br />
markets of our own Colonies. The American<br />
book—particularly the American novel—is<br />
ousting us. Assuming the truth of the pro-<br />
position, it is as well to consider the reasons.<br />
In the first place, the American book publisher<br />
is helped very considerably by the American<br />
magazine publisher. American magazines are,<br />
it is generally agreed, incomparably better<br />
than ours, and the Colonial prefers McClure’s<br />
and Everybody's to what is offered him from<br />
London. So he gets the American view of<br />
things. And in the second place, when he<br />
comes to choose his books, he finds that the<br />
conditions of life set forth by the American<br />
writer are nearer to what he himself knows<br />
and understands, than the pictures done by the<br />
English novelist, who gathers his material in a<br />
complex civilisation, very remote from New<br />
Zealand or South Africa. It is a common-<br />
place to say that books reflect the intellectual<br />
life of their time, yet the publisher, who must<br />
always be something more than a tradesman,<br />
pays heavily if he forgets it. Here in England<br />
the author has to struggle against a book-selling<br />
machinery which has broken down; in the<br />
Colonies he has to face the invasion of men<br />
who write under conditions more nearly<br />
approximating to Colonial than to English life.<br />
The position at home can be improved, is, in<br />
fact, better than it was a few years ago; the<br />
nett book system has helped the bookseller<br />
materially. As far as the Colonies are con-<br />
cerned, some English writers will always find<br />
a Colonial circle of readers: the others must<br />
wait till America and the Colonies grow up.<br />
<br />
C, F. CAzENOVE.<br />
<br />
——————_1-— > o—__—_<br />
<br />
UNITED STATES OF AMERICA AND<br />
HUNGARY.<br />
<br />
— oo<br />
<br />
E understand from the Copyright Office<br />
of the Library of Congress that the<br />
following short convention has been<br />
<br />
agreed to between the United States and<br />
Hungary, and came into force on October 16th<br />
of this year.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THB AUTHOR. 81<br />
<br />
Article 1.<br />
<br />
Authors who are citizens or _ subjects<br />
of the two countries or their assigns shall enjoy<br />
in the other country, for their literary, artistic,<br />
dramatic, musical and photographic works<br />
(whether unpublished or published in one of<br />
the two countries) the same rights which the<br />
respective laws do now or may hereafter grant<br />
to natives.<br />
<br />
The above provision includes the copyright<br />
control of mechanical musical reproductions.<br />
<br />
Article 2.<br />
<br />
The enjoyment and the exercise of rights<br />
secured by the present Convention are subject<br />
to the performance of the conditions and<br />
formalities prescribed by the laws and regula-<br />
tions of the country where protection is claimed<br />
under the present Convention; such enjoy-<br />
ment and such exercise are independent of<br />
the existence of protection in the country of<br />
origin of the work,<br />
<br />
Article 3.<br />
<br />
The term of copyright protection granted<br />
by the present Convention shall be regulated<br />
by the law of the country where protection<br />
is claimed.<br />
<br />
Article 4.<br />
<br />
The present Convention shall be ratified<br />
and the ratifications shall be exchanged at<br />
Washington as soon as possible.<br />
<br />
Article 5.<br />
<br />
The present Convention shall be put in<br />
force one month after the exchange of ratifica-<br />
tions, and shall remain in force until the<br />
termination of a year from the day on which<br />
it may have been denounced.<br />
<br />
In faith whereof the Plenipotentiaries have<br />
signed the present Convention in two copies,<br />
each in English and Hungarian languages,<br />
and have affixed thereto their seals.<br />
<br />
Done at Budapest, the 30th day of January,<br />
1912.<br />
<br />
(Seal) Ricuarp C. Krrens<br />
(Seal) Esternazy Pau<br />
(Seal) Tory Gustav<br />
<br />
| Norr.—Ratification advised by the Senate,<br />
July 238, 1912; ratifications exchanged,<br />
September 16, 1912 ; in force October 16,<br />
1912.]<br />
<br />
A CRIMINAL PROSECUTION OF A<br />
LITERARY AGENT.<br />
<br />
——— + —<br />
<br />
OR a good. many years past a Literary<br />
Agency has been carried on in the<br />
City at 34, Paternoster eae under<br />
the name of ‘“‘ A. M. Burghes.”” A. M. Burghes<br />
himself was made a bankrupt it in July, 1911,<br />
as the result of proceedings taken by a ‘member<br />
with the assistance of the Society, and he has<br />
been during the present month found guilty<br />
at the Old Bailey of fraudulently converting to<br />
his own use a sum of £50 paid to him by an<br />
author for the purpose of making a payment<br />
to a publisher. The Recorder postponed<br />
sentence to next Sessions.<br />
<br />
C. M. Burghes, son of A. M. Burghes,<br />
appears to have carried on the literary agency<br />
for some time past in his father’s name.<br />
C. M. Burghes has also been found guilty of<br />
fraud at the Old Bailey during the present<br />
month. He was convicted of obtaining a<br />
sum of £10 from a firm of publishers by f false<br />
pretences. He represented to the publishers<br />
that he was entitled as agent for an author to<br />
receive this sum and transfer the copyright of<br />
the author’s book, whereas he had no such<br />
authority, and in fact made no communication<br />
to the author at all. The Judge bound him<br />
over to come up for sentence when called<br />
upon.<br />
<br />
Se ee<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
+—>—+-——<br />
<br />
<br />
<br />
CONTEMPORARY.<br />
Letters of George Meredith. By Mrs. Sturge Gretton.<br />
Grimm’s Fairy ales: By Miss Constance ‘Spender.<br />
The Relationship Between Music and Life. By Gerald<br />
Cumberland.<br />
CoRNUILL.<br />
<br />
The Poetry of Sir Alfred Lyall. By<br />
MacMunn, D.S.O.<br />
<br />
Andrew Lang and “ X”’:<br />
<br />
Major G. F.<br />
A Working Man.<br />
<br />
EnouisH REVIEW.<br />
<br />
Malthus and the Publishing Trade.<br />
August Strindberg.<br />
<br />
By P. P. Howe.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENIS,<br />
<br />
<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
Frout Page nak Ne £4 0 9<br />
Other Pages : ae ing ios — ee ae ies : 0 0<br />
Half of a Page ... ae ae ise 28 ae es xe L 10 Y<br />
Quarter of a Page sek ies ce or ee ee so 0 16<br />
Eighth of a Page = 07 °<br />
Single Column ‘Advertisements : per inch 060<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent, foT<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
Betmont & Co., 29, Paternoster Square, London, E.C.<br />
<br />
<br />
<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—-—~<—4—_<br />
<br />
1, PSV VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and |publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors, Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7, Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution,<br />
Secretary will undertake it on behalf of members,<br />
<br />
This<br />
The<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s.<br />
<br />
per<br />
annum, or £10 10s. for life membership.<br />
<br />
SRN eres os, ee<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS,<br />
<br />
ro<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
obtained. But the transaction should be managed by a<br />
<br />
competent agent, or with the advice of the Secretary of<br />
the Society,<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation,<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
ses Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher,<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author,<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
ee<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
a<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2, It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale: outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
<br />
play-bills,<br />
<br />
<br />
(2.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4. Plays in one act are often sold outright, but it 18<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event, It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration,<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
<> +_ _____<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
—<br />
<br />
we typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant, One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
<br />
oa that a play will be charged for<br />
at the price of 2s. 6d. per act,<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
83<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
te<br />
<br />
A ee authors should seek the advice of the<br />
<br />
Society before putting plays into the hands of<br />
<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
<br />
——_-—~<—_ —____<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
ees<br />
ITTLE can be added to the warnings given fur the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
—— 5 Se<br />
<br />
STAMPING MUSIC.<br />
<br />
a aaa<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society’s<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
—__-_—s —___<br />
THE READING BRANCH.<br />
BA ae<br />
<br />
EMBERS will greatly assist the Society in this<br />
| branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
<br />
fee is one guinea,<br />
<br />
<br />
<br />
see<br />
<br />
REMITTANCES.<br />
<br />
1<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only,<br />
<br />
<br />
84<br />
<br />
GENERAL NOTES.<br />
<br />
—_-—~— + —<br />
<br />
The Editor would be obliged if any<br />
members who do not file the magazine<br />
- could return copies of the last issue, which<br />
is now out of print.<br />
<br />
ANNUAL DINNER.<br />
<br />
Tue Annual Dinner of the Society will take<br />
place on Thursday, December 5th, at the<br />
Hotel Cecil. Mr. Maurice Hewlett will preside.<br />
<br />
AUSTRALIAN CopyriIGuT BILL.<br />
<br />
We understand that this Bill has now<br />
passed into law. As stated elsewhere in these<br />
columns, a report on the Bill had been drafted<br />
by the Copyright Sub-Committee and, with<br />
the approval of the Committee of Management,<br />
was to have been despatched to the Australian<br />
Premier. Unfortunately, the fact that it was<br />
only possible a few weeks ago (and then only<br />
with some difficulty) to procure a copy of the<br />
Bill, has prevented the committee from present-<br />
ing their report in time for it to be of any<br />
practical value. It is satisfactory, however<br />
to state that the Bill, even as originally drafted,<br />
was in many ways favourable to the interests<br />
of authors and dramatists, and unless it has<br />
been considerably altered during its passage<br />
through the Australian House, members of<br />
the Society will have gained stronger protec-<br />
tion for their property in the Australian<br />
Commonwealth than they have hitherto<br />
enjoyed. As soon as a copy of the Act is to<br />
hand we shall hope to publish it in The Author.<br />
<br />
SeconpAry RicuTs IN AUSTRALIA.<br />
<br />
We desire to warn members of the danger<br />
which they run in sending out MSS, to distant<br />
parts of the earth, in response to requests from<br />
agents and others, of whose standing and<br />
position they may know nothing.<br />
<br />
It ought not to be necessary to issue such a<br />
warning at this period of the Society’s existence,<br />
when most authors have learnt the necessity<br />
for prudence, but a case has recently come to<br />
our notice which seems to render a repetition<br />
of the Society’s warning desirable. The mem-<br />
ber in question—a prolific writer of short<br />
stories—was approached by a correspondent<br />
in Melbourne, who expressed a desire to be<br />
furnished with all the member’s published<br />
short stories, and a promise to pay £1 1s. each<br />
<br />
THE AUTHOR.<br />
<br />
for any he accepted for publication in<br />
Australian magazines. The writer did not<br />
send all his short stories, but forwarded<br />
half-a-dozen, requesting his correspondent,<br />
if he found three suitable, to forward the money<br />
for these and to return the remaining three.<br />
He also mentioned the terms on which he would<br />
be prepared to continue to deal if further<br />
stories were desired.<br />
<br />
The correspondence took place and the MSS.<br />
were sent early in 1911. Since then the author<br />
has heard nothing of the MSS., and has received<br />
no payment for any of the stories.<br />
<br />
The Society is doing what is possible, but the<br />
distance makes action a little difficult.<br />
<br />
If any of our members have had similar<br />
experiences in the Australian market, we shall<br />
be glad to hear from them, as it is possible that<br />
the Melbourne correspondent referred to may<br />
have been inviting other authors to supply<br />
him with stories, and in that case, some com-<br />
bined action might be possible. But in any<br />
event, the information will be useful in that<br />
it will provide the secretary with evidence<br />
justifying him in warning other writers from<br />
sending their work to the same quarter.<br />
<br />
The Australian magazine market may not<br />
be a very lucrative one to the British author,<br />
but that makes it still more necessary that he<br />
should not lower the rates by supplying<br />
‘copy ” free, and this seems likely to be the<br />
practical result of yielding to the persuasions<br />
of the gentleman whose methods have been<br />
brought thus to our notice.<br />
<br />
“MALTHUS AND THE PUBLISHING TRADE.”<br />
<br />
Ix the November issue of the English Review<br />
an article of some discernment is published<br />
under the above title from the pen of P. P.<br />
Howe. Among the correspondence in_ this<br />
month’s issue will also be found a letter, “ The<br />
Latter Day Novel,” dealing with the same<br />
subject. Both writers are inclined to blame the<br />
publisher for over-production. We do not<br />
think this deduction is entirely correct, for<br />
although the publisher no doubt is responsible<br />
to some extent for the size and the spirit of the<br />
output, there is also the auther’s agent who,<br />
anxious to secure a firm commission on &<br />
number of books without the trouble involved<br />
in placing each one, leads on the author with<br />
specious arguments to bind himself to the<br />
publisher for a_ series of sometimes four,<br />
sometimes six. He then proceeds, with the<br />
least possible labour, to draw in the commis-<br />
sion. If the agent can sell the serial rights<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
as well to the publisher—rights which, of<br />
course, he himself ought to place separately—<br />
he may even succeed in gaining a double<br />
commission, first from the author and secondly<br />
from the publisher, who presently asks him to<br />
sell on his (the publisher’s) behalf the rights<br />
which he has just sold on behalf of the author.<br />
We should put the limit of the agent on the<br />
question of over-production at one-third, and<br />
that of the publisher at two-thirds of the<br />
whole.<br />
<br />
CopyRIGHT QUESTIONS.<br />
<br />
We understand from the Board of Trade<br />
that the Copyright Act of 1911, under sec-<br />
tion 37 (2) (d), has been proclaimed in Ceylon,<br />
but that the proclamation of the act in India,<br />
including Burmah, is still under consideration.<br />
We trust that the Government will carry the<br />
matter through as quickly as possible, as the<br />
matter for certain technical reasons is of vital<br />
importance to all English authors.<br />
<br />
We understand also that there has been some<br />
difficulty about Crown copyright in The Board<br />
of Trade Journal, and that Mr. Sydney Buxton<br />
has decided that the journal shall be issued in<br />
future with the following notice attached :<br />
‘“* Crown Copyright Reserved : extracts may be<br />
published if the source is duly acknowledged.”<br />
<br />
We also have much pleasure in reporting<br />
that Newfoundland, as a self-governing Colony,<br />
has passed a short Act which came into force<br />
on July Ist, 1912, practically incorporating<br />
in the Statute Book of Newfoundland the<br />
Act of Great Britain of 1911. We should have<br />
been glad if the Newfoundland Government had<br />
passed some severer penal clauses for infringe-<br />
ment of dramatic and other rights, as some of<br />
the Colonies propose to do.<br />
<br />
———_ +§ —~< ¢<br />
<br />
PUBLISHERS’ ROYALTY AGREEMENTS.<br />
<br />
—_+— +<br />
LIMITATIONS.<br />
II.<br />
<br />
‘FAST month we dealt with the first point<br />
of the Limitations set out in that article,<br />
namely, the limitation ‘‘as to country,”<br />
<br />
in this article the remaining limitations are<br />
<br />
dealt with.<br />
<br />
The second, then, for consideration when<br />
dealing with the book rights is limitation as<br />
to time.<br />
<br />
85<br />
<br />
It has been decided that apart from any<br />
express arrangement the publisher will have the<br />
right to sell any copies printed before the<br />
expiration of the time limit. It is possible,<br />
therefore, that in the last year the publisher<br />
might overprint. This would not matter much<br />
in a technical work that needed much altera-<br />
tion and supervision, for the old edition could<br />
hardly command an extensive sale, but it<br />
might possibly be inconvenient. In the case,<br />
however, of the writer of imaginative literature,<br />
who was anxious to regain control of his work<br />
after a certain time, the position would be<br />
impossible, and the time fixed in the contract<br />
would be really no limit at all. One well-<br />
known ease came before the courts in which an<br />
author, who had a time limit in his contract,<br />
was always confronted by his publisher making<br />
the statement that he was still selling books<br />
printed prior toits expiration. At last the author<br />
decided to take action, and found that the<br />
publisher’s assertion was incorrect. He had<br />
printed after the time limit was at an end and<br />
had continued to sell. The author got judg-<br />
ment accordingly.<br />
<br />
If the work is a technical work it is not likely<br />
that a large and prolonged sale of a book,<br />
admittedly out of date, would continue. Over-<br />
printing on the part of the publisher would<br />
therefore be a waste of money.<br />
<br />
But in the case of a novel the author would<br />
either have to buy up all the stock, or run the<br />
risk that his work in the hands of a new pub-<br />
lisher would be constantly undersold. Indeed,<br />
it is doubtful whether, in the circumstances, he<br />
would be able to get another publisher to<br />
produce the work.<br />
<br />
What remedy, then, is there against this<br />
dilemma ?<br />
<br />
The author must insert a clause by which<br />
the publisher can only print and bind a certain<br />
number of copies, and no more, without the<br />
author’s consent during the final years of the<br />
author’s contract.<br />
<br />
This number is generally determined by the<br />
number of sales in the previous year, supposing<br />
at the end of the previous year there are not<br />
sufficient copies still on hand to meet the<br />
demand.<br />
<br />
The author must have another clause giving<br />
him the right to purchase the sheets and bound<br />
copies at the termination of the contract at a<br />
valuation, the price in no case to exceed the<br />
cost of production.<br />
<br />
With these safeguards the clause with its<br />
time limitation is well worth the consideration<br />
of the author.<br />
<br />
Thirdly, there is the limitation as to edition.<br />
86<br />
<br />
This method of,limitation in the case of a<br />
book that is likely,to sell speedily is, no doubt,<br />
the best form of limitation, for the publisher’s<br />
right can easily be renewed by a letter for a<br />
further number of copies.<br />
<br />
But as the former method—limitation by<br />
time—was pointed out, except with proper<br />
protective clauses, to be a danger to the writer<br />
of imaginative literature, rather than to the<br />
technical writer, limitation by edition is likely<br />
to be more irksome to the writer of technical<br />
works whose books sell slowly.<br />
<br />
If the sales are slow it is possible that the<br />
writer may want to make alterations, additions,<br />
and emendations before the edition is sold,<br />
this he would be forbidden to do under his<br />
agreement. He ought, therefore, to protect<br />
himself so that he may be able to regain control<br />
of his work. This is sometimes done by a<br />
clause enabling him to purchase the stock on<br />
hand at a reasonable figure, or by putting an<br />
alternative limitation of edition and time by<br />
which, if the edition is not sold out within a<br />
fixed time from the date of publication, then<br />
the author may regain control.<br />
<br />
As we pointed out to technical writers, in<br />
Article No. I., this power to control their own<br />
work is of paramount importance. Yet,<br />
curiously enough, the publishers of technical<br />
books are less willing to grant it to them<br />
than the publishers of fiction.<br />
<br />
Lastly, there is the limitation by price and<br />
format.<br />
<br />
Limitation by format may, in some cases,<br />
be left to the publisher, but it is best that it<br />
should be settled mutually between author and<br />
publisher. The form and get-up of a book is<br />
of great importance to both parties.<br />
<br />
One very important point arises under this<br />
heading, namely the insertion of advertise-<br />
ments, either the publisher’s own, or general<br />
advertisements in the book. This point<br />
arises usually in the cheap reproduction of<br />
fiction, and is not likely to become prominent<br />
in other kinds of reproduction. Some pub-<br />
lishers have been known to insert advertise-<br />
ments in cheap 6d. reprints, opposite the last<br />
twenty or thirty pages of reading matter. If<br />
an author has no voice in the format he has<br />
no remedy, however strong may be his<br />
objection.<br />
<br />
There are two main causes for objecting,<br />
either that such a method is a degradation of<br />
Literature with a big L—a very reasonable<br />
objection—or that the publisher is making a<br />
profit in which the author should share. In<br />
the first case the author should have every<br />
<br />
_ Tight of control; in the second case he should<br />
<br />
THE AUTHOR.<br />
<br />
have every right to share the profit, for it is<br />
conceivable that in the second case an energetic<br />
publisher might obtain so many advertise-<br />
ments that the cost of production would be<br />
completely covered. Then the author should<br />
obtain a proportionately high financial return.<br />
<br />
From the point of view of format, therefore,<br />
the author should have the power to stop any<br />
unreasonable “ get-up.”<br />
<br />
Some authors object even to the insertion of<br />
advertisements of the publisher’s own publica-<br />
tions, all bound together at the end of the<br />
book. Again, they should have the power of<br />
control should they desire.<br />
<br />
Limitation as to price is by no means the<br />
least important limitation under consideration,<br />
for what royalty an author can ask must often /<br />
depend upon the price which the public give. |<br />
An author’s royalty will vary if a book is a<br />
<br />
nett book or a book published subject to<br />
<br />
discount. Again, some publishers, especially<br />
music publishers, state that they give a fixed<br />
sum per copy. The sum might be a fair<br />
royalty if the book was published at 1s., but<br />
a very unfair royalty if the publisher produced<br />
it at 5s.<br />
<br />
If the publisher has the right to publish in<br />
book form, unlimited as to price, he may not<br />
only produce at a high price, but after the issue<br />
at that price may then proceed to issue a cheap<br />
edition, without reference to the author at a<br />
most unseasonable time.<br />
<br />
The reasons against giving an unlimited<br />
licence as to price are many.<br />
<br />
First, in the matter of fiction it is often<br />
impolitic to issue cheap editions at all. It is<br />
certainly impolitic to issue them within two<br />
years from the publication of the original.<br />
Secondly, many authors, who do not mind<br />
republication in cheap paper-bound editions<br />
that are read and thrown away, object to the<br />
cheap cloth-bound edition which is read and<br />
then transferred to the book-shelves.<br />
<br />
Cheap editions sometimes ruin an author’s<br />
financial returns. 5<br />
<br />
Booksellers who know that an author will<br />
never appear in cheap form can afford to invest<br />
their capital by stocking and continuing to<br />
stock an expensive edition. They cannot do<br />
so if their investment will be robbed of its<br />
value by a cheap issue within six months.<br />
<br />
Again, some publishers who have made a<br />
speciality of the cheap issue get a wider market.<br />
It is well, therefore, for an author to be able to<br />
place his cheap issue in those publisher’s hands,<br />
as he will be able to get a higher price and<br />
larger returns.<br />
<br />
It is just as important to consider the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
expensive edition, ‘* the edition de luxe,” as the<br />
cheap edition. Many authors, writers of bio-<br />
graphies, histories, travels, “et hoc genus<br />
omne,’? may wish to have a more expensive<br />
edition produced with more numerous illus-<br />
trations, better print and paper, but, if the<br />
matter is left under the control of the pub-<br />
lisher, cannot insist.<br />
<br />
An author should always remember that it<br />
is easy to cheapen a work subsequently, but<br />
when it is once issued in a cheap form, it is<br />
almost impossible to raise the price.<br />
<br />
To sum up, then, an author should employ a<br />
publisher as his agent to produce his work in<br />
book form only in the English language. This<br />
licence can be further limited, and in many<br />
ceases should be,<br />
<br />
1. As to country.<br />
<br />
2. As to time.<br />
<br />
8. As to edition.<br />
<br />
4, As to price and format.<br />
<br />
To give a publisher an unconditional licence<br />
to publish in book form is in most cases silly,<br />
in some cases ruinous, and in any case shows a<br />
deplorable ignorance of the rights and powers<br />
an author holds.<br />
<br />
There are two main reasons why authors<br />
make bad contracts—ignorance and conceit.<br />
it is hoped that this article may to some<br />
extent dispel the former.<br />
<br />
FRENCH PUBLISHERS AND CIRCULATING<br />
LIBRARIES.<br />
<br />
By W. L. Grorce.<br />
<br />
YY DO not, in this article. give the exhaustive<br />
details of French publishing methods<br />
which some may hope to find in it, partly<br />
<br />
because the facts are jealously guarded, and<br />
<br />
partly because they are not, as facts, inter-<br />
esting to British authors. Our almost in-<br />
<br />
variable method is to sell foreign rights for a<br />
<br />
lump sum, and I do not think that a perusal of<br />
<br />
the following notes will induce any English or<br />
<br />
American writer to depart from the practice.<br />
<br />
My main object is to compare literary con-<br />
<br />
ditions in two countries with reference to the<br />
<br />
circulating library, of which it may almost be<br />
said that it does not exist in France. It is<br />
because I look upon the circulating library as<br />
<br />
a useful and beneficial link between author and<br />
<br />
reader that I ask my fellow authors to consider<br />
<br />
the régime under which books are issued in<br />
<br />
France.<br />
<br />
87<br />
<br />
Broadly speaking it may be said that in<br />
France many writers who have made a name,<br />
and all the new writers, must, if they wish to<br />
attain publication, lay down the cost of the<br />
first edition. For 1,000 copies of a novel<br />
(paper bound) at 2s. 10d. nominal, this amounts<br />
to £36 to £48.* The book is sold to the public<br />
at 2s. 74d., by a few enterprising booksellers at<br />
2s. 5d. The division of the selling price is<br />
approximately as follows :—<br />
<br />
Cost of the book,<br />
Bookseller’s discount<br />
Publisher’s commission<br />
Author’s profit<br />
<br />
about 10d. 10d.<br />
id 1<br />
» 3dkd.to 7d.<br />
» 8d. to 44d.<br />
<br />
In a few cases the publisher charges the author<br />
a small fee for warehousing, also postages on<br />
copies sold, but this is not usual among the<br />
best firms. Advertisements, if any, are, how-<br />
ever, paid for by the author.<br />
<br />
These terms must not be taken as rigid ;<br />
they are subject to variation from firm to firm,<br />
and are greatly influenced when the publisher<br />
controls a printing office; in those cases he<br />
often supplies the books at a little over cost<br />
price, which may save the author 2d. a copy.<br />
They are not, however, unusual terms, and<br />
show that the author must sell a considerable<br />
proportion of his first edition before he begins<br />
to make profits. For instance, when the<br />
publisher makes the minimum charge of 33d.<br />
the author must sell 55 per cent. of an edition<br />
of 1,000 copies to clear expenses, after which<br />
he makes Is. 6d. a copy clear profit; in the<br />
second case he must sell nearly 70 per cent.<br />
before he begins to earn 1s. 24d. a copy. The<br />
author’s profits are a little larger on dearer<br />
books, published at 4s. and 6s., for the cost of<br />
production is not much greater.<br />
<br />
It may appear surprising that the cost of<br />
production should be 10d. a copy, but it must<br />
be borne in mind that I refer exclusively to new<br />
books, of which very small editions are printed<br />
in the first instance. Few “ first books ”<br />
appear in first editions of over 1,000; 500 is a<br />
common. figure, while 200 is not unknown.<br />
This, and the high cost of paper (more or less<br />
trust-controlled) makes it difficult to bring the<br />
cost down. I may therefore point out in<br />
passing that we must not too readily be im-<br />
pressed when offered a French book for trans-<br />
<br />
* French novels are seldom bound in the first instance ;<br />
the paper ‘‘ yellow cover”’ is the rule. The author, there-<br />
fore, benefits slightly when copies go to pieces, but this<br />
advantage must not be exaggerated, for well-to-do house-<br />
holders willingly fill their libraries with novels broken up<br />
into two or three segments.<br />
88<br />
<br />
lation ; 23rd edition may mean 100,000 copies,<br />
but it may mean 10,000 to 15,000.<br />
<br />
When a book is issued at publisher’s risk,<br />
and I repeat that “ first books ” are not often<br />
taken up on these terms, it frequently happens<br />
that the book is sold outright, and it is sig-<br />
nificant that several of Zola’s early works, of<br />
which I understand ‘“ L’Assommoir ”’ was one,<br />
were sold for £80. Where the publisher grants<br />
a royalty he pays 34d. to 7d. a copy, but 7d. is<br />
a large royalty, which was paid Zola, and is<br />
to-day given only to the most popular novelists.<br />
These are, in my opinion, very bad terms, and<br />
they are not offset by particularly large-sales :<br />
it is true that Zola repeatedly attained 200,000,<br />
but Messrs. Mirbeau, Bourget, Prévost, Anatole<br />
France, have not yet touched this figure.<br />
They may earn £1,000 to £3,000 a book, which<br />
does not compare very favourably with the<br />
£7,500 which an English author may earn on a<br />
100,000 sale. French sales are not large; the<br />
figures I have quoted apply to a few favoured<br />
books, and they are not greatly exceeded by<br />
those of detective fiction, but the newcomer,<br />
however brilliant, very seldom attains them.<br />
It is true that about 90,000 copies of ‘‘ Marie-<br />
Claire ’” have, so far, been sold, but it is also<br />
Jamentably true that ‘“‘ a new author who has<br />
sold 1,000 copies has not done badly and is a<br />
rising man.” That statement was made to me<br />
by a French publisher, and, it seems to me,<br />
proves that the career of letters does not in<br />
France carry great material rewards.<br />
<br />
The newcomer is therefore not dissatisfied if<br />
he makes £30 to £40 on a first novel ; thus only<br />
can he become known and hope to begin to<br />
reprint his earlier works. There is nothing to<br />
help him, for the buying public of France is no<br />
larger than our own, while it is both avaricious<br />
and poor; it buys if it must, and it has of late<br />
years been corrupted by reprints at 94d., 63d.,<br />
6d., 4d. and 3d, The Frenchman, equally with<br />
the Englishman, will pay for two stalls at the<br />
theatre, but he does not readily part with<br />
2s. 74d. for a book; he buys as little as he can,<br />
and assiduously exchanges books with his<br />
friends, thus constituting a small circulating<br />
library, but he does not buy from the new-<br />
comer; that one must fight his way into<br />
success, by repeated failure and loss, by jour-<br />
nalistic prowess, by scandal or length of time,<br />
before the buying public takes him to its heart.<br />
The French do not, I think, read as much as the<br />
English ; their railway carriages and restaur-<br />
ants are filled with people who read, not the<br />
equivalents of Temple Classics or Sevenpennies,<br />
but newspapers.<br />
<br />
With such a system as this it is not wonderful<br />
<br />
THE AUTHOR.<br />
<br />
that new authors are crushed out, fleeced of<br />
their capital or driven into journalism. There<br />
are no circulating libraries to help‘ them, that<br />
is, nO great organisations to which well-to-do<br />
households subscribe as automatically as they<br />
order coal. The ‘‘ Cabinet de Lecture ” is not<br />
the splendid British institution, which so reck-<br />
lessly orders thirteen copies of a first book and<br />
several hundreds of a favourite; the Cabinet<br />
de Lecture is, as a rule, a wretched shop kept<br />
by an elderly spinster; it charges “‘ so much a<br />
book,” generally 1d. to 23d. for four days ; it<br />
buys one Marcel Prévost, two or three under<br />
popular pressure ; it buys one copy of certain<br />
reviews, and remainders, and the derelicts in<br />
second-hand bookshops! As for the new<br />
writer, the publisher’s traveller knows better<br />
than to waste time over him; the Cabinet de<br />
Lecture will buy his work only if pestered by<br />
ten subscribers. There are in Paris two or<br />
three fairly large Cabinets, but they are inter-<br />
ested mainly in science, philosophy, and artistic<br />
theory ; their purchases are not liberal and<br />
their membership is. small. I questioned a<br />
number of well-to-do persons, who informed<br />
me that they did not belong to a library and<br />
that they knew very few people who did.<br />
Beyond Paris is literary emptiness ;_ Versailles,<br />
55,000 inhabitants, equivalent to Lincoln, or<br />
Oxford, is said to have three Cabinets: I<br />
expect there are twenty in Lincoln; a reliable<br />
informant told me that in Bordeaux, 250,000<br />
inhabitants, the principal Cabinet was not<br />
likely to have purchased more than 10 copies of<br />
“Les Dieux ont Soif,” by Anatole France.<br />
That is an amazing statement, for it means<br />
that Mudie’s bought more of this foreigner’s<br />
book than the biggest Cabinet of a French town<br />
equivalent to Leicester or Nottingham. The<br />
object of the Cabinet is to level the demand, to<br />
prevent the public from having what it wants<br />
by trebling the reading fee; it might, for<br />
instance, charge 5d. for two days in the case of<br />
‘“Les Dieux ont Soif,’” so as to force its<br />
members to take “ something of our own.” In<br />
other words, the fraud of the label.<br />
<br />
The upshot of this enquiry is, therefore, that<br />
there are two sides to the library question. In<br />
France, where the people are poor, and in-<br />
credibly inhospitable and mean, it is clear to<br />
me that the literary profession is gravely<br />
hampered by the lack of libraries ;_ the libraries<br />
alone can help the young writer, in a country<br />
where books are not reviewed. There is<br />
practically no book-reviewing in France: let<br />
it not be urged against me that there are<br />
reviews in the Revue de Paris, the Mercure,<br />
the Revue des Deuxa-Mondes, etc., for these<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
deal mainly with ‘serious books,” and are<br />
inclined to favour their own publishing houses ;<br />
nor must the objector lay stress on the poor<br />
scraps of space granted on certain days by<br />
Le Temps, Le Matin, L’Ewcelsior, etc. There<br />
is not a single newspaper in Paris which can<br />
put forward a service to literature equal to the<br />
minimum ten columns a week of the Daily<br />
News, the full pages of the Morning Post and<br />
Daily Telegraph, the column of the Daily<br />
Chronicle.<br />
<br />
The new writer is, in France, absolutely<br />
helpless. Because there are no circulating<br />
libraries he has nothing before him but a<br />
desperate struggle : this would be our fate also<br />
if we could not sell half our first editions to the<br />
libraries. It may be said that, if there were in<br />
France a demand for libraries the libraries<br />
would arise: that I cannot answer, but the<br />
French are cautious speculators, and it may be<br />
that the project has often been considered and<br />
abandoned. Personally I do not think that a<br />
large circulating library would succeed in<br />
Paris; two-thirds of my life have been spent<br />
in that city, and I am not sure that there are<br />
many Parisians prepared to lay down for books<br />
even so small an annual sum as a guinea. The<br />
French have been grossly over-rated by the<br />
British ; if we exclude the intellectuals there<br />
is nothing to show that the great bourgeoisie is<br />
one whit more liberal or cultured than our own.<br />
It is perfectly well contented with social inter-<br />
course as an alternative to reading, and is<br />
taking to its heart the illustrated press ; it is<br />
given over to sensationalism, which is abun-<br />
dantly provided by the dailies, and it is not in<br />
the main inclined to accord its literary men a<br />
treatment much superior to that enjoyed by<br />
its bank clerks.<br />
<br />
<br />
<br />
Ope<br />
<br />
THE DISGRACE OF NOVEL WRITING.<br />
<br />
—+—~<—+—<br />
<br />
<br />
<br />
7 novelists are in disgrace; there can<br />
be no doubt about it. Some naughty<br />
ones have been writing foolish books<br />
<br />
and, for their fault, we are all being punished.<br />
For years we have been steadily losing favour<br />
and dignity, and now, unless we can manage<br />
to strike the taste of a large section of the<br />
public, or obtain some special press patronage,<br />
we have to take a very back seat indeed.<br />
<br />
There was a time, not so very many years<br />
ago, when a good novel received as much atten-<br />
tion from reviewers as any other well-written<br />
book. My own early work, for instance, far<br />
inferior to my later and more mature, was<br />
<br />
89<br />
<br />
taken seriously and criticised as fully as<br />
biography and essays are criticised to-day.<br />
But when a new novel of mine appears now<br />
it goes with a batch of pot-boilers (by all the<br />
nobodies who ere writing ‘slush’ novels for<br />
the uneducated) to some novice in the difficult<br />
and delicate art of criticism, who emasculates<br />
it, outlines vulgarly its mere story and washes<br />
out all its true colours in the few inches of print<br />
allowed ; side by side with crude sensationalism<br />
and sentimentalism.<br />
<br />
My fate is the fate of all novelists who strive<br />
after a high ideal. Their striving is never<br />
recognised by those who are set up to guide and<br />
lead literary taste. No distinction whatever<br />
is made between the best and the worst in<br />
fiction; indeed it is not rare to find obvious<br />
pot-boilers well reviewed at length, while<br />
sincere, talented works of art are practically<br />
ignored. For it has become a rule with editors<br />
to give a large amount of space to those<br />
novelists who have ‘arrived,’ whether their<br />
arrival be due to the excellence of their work<br />
or to the bad taste of the general public. In<br />
short, the critics of our day are led by public<br />
taste and follow the lead of the average reader<br />
rather than point the way.<br />
<br />
In arecent number of The Author, Mr. Harold<br />
Thomson drew a moving picture of the author<br />
who, to gain his daily bread, is obliged to “* write<br />
down” to the level of the lowest intelligence of<br />
readers. ‘* You must either,” he said, “ wait<br />
for long years before your work *‘ gets there,’<br />
or you must learn to tickle the palates of your<br />
masters in the gallery.” No doubt. But<br />
has he realised, I wonder, how much quicker<br />
the true artists eculd “get there.” if they<br />
received a little more assistance from those<br />
who ought to be willing and anxious to help<br />
such writers as strive to maintain a high<br />
standard of English fiction ?<br />
<br />
We know the excuse that is always given for<br />
treating all novels alike, that is, as beneath<br />
notice. Their enormous output and the lack<br />
of time and space. Hundreds of novels are<br />
dumped into newspaper offices every week,<br />
and one is not without sympathy for the<br />
harassed men who have to decide who shall<br />
review them. The average editor has no time<br />
to discriminate, we are told, and so the novels<br />
go out in batches, the good, bad and indifferent<br />
all well mixed up, to the young ladies and<br />
gentlemen who essay novel reviewing as a<br />
work of no importance, requiring no special<br />
training.<br />
<br />
Very true, of course, but surely it does not<br />
need much time to recognise a good book from<br />
a paltry one. A glance over the first pages,<br />
90<br />
<br />
or a dip anywhere, should be enough to tell an<br />
expert in literature what is the quality of the<br />
entire work, even when the name of the writer<br />
tells nothing. It is so very easy to distinguish<br />
Great A from a Bull’s Foot, handcraft from<br />
machine-made, art from rubbish? And this<br />
distinction should, in justice, be made. The<br />
well-written, the strongly-conceived and care-<br />
fully executed novel ought to have an assured<br />
place, to be treated seriously in criticism.<br />
<br />
For a novel is, at its best, no less a work of<br />
art than a picture, an opera, or a biography.<br />
<br />
There is always plenty of room in a paper for<br />
long reviews of biographies, of essays, historical<br />
works and travels. There is always room for a<br />
column about the novel of a popular favourite,<br />
irrespective of its merit. Such books are<br />
sent to expert reviewers at once, and receive<br />
the highest attention. But a novel by a<br />
comparatively unknown author—‘only a<br />
novel ’"—chuck it anywhere; let any tyro<br />
criticise it; shove it into some odd corner<br />
where it won’t be noticed ; lump it in with all<br />
the worst ‘slush’ that comes out at the same<br />
time, till it is buried under the mass of rubbish :<br />
and if any reader can dig it out, let him !<br />
<br />
This is the spirit in which the novelist is<br />
treated to-day, and I protest against the rank<br />
injustice of it.<br />
<br />
Is it any wonder that our chance of finding<br />
our own special public (which, though smaller<br />
than the mass public, is not very small and<br />
steadily increasing) diminishes year by year?<br />
Can anybody be surprised if we are tempted to<br />
‘write down’? We believe that our art isa<br />
noble one ; that it is inspiring and educational ;<br />
that it is conducive to a better understanding<br />
of our fellow-creatures in every part of the<br />
world. But a class that is treated con-<br />
temptuously tends to become contemptible.<br />
And what is to be our fate when publishers<br />
will no longer spend their capital on producing<br />
our despised and neglected books ?<br />
<br />
The present system is very hard on us; it<br />
is also very hard on those publishers who still<br />
cherish an ideal of becoming noteworthy<br />
through the high quality of the books they<br />
publish. And when they have printed, dis-<br />
persed and advertised a novel that they feel<br />
is worthy of their name as a firm, they naturally<br />
expect to be assisted in their enterprise by the<br />
papers to which they pay such huge sums for<br />
advertising. Must they not often despair at<br />
the press snippings sent to them concerning<br />
some novel they have ventured upon. And<br />
how long will they be able to publish ws—the<br />
unarrived but ardent strivers after the best.<br />
<br />
It is a pregnant question, my fellow-strivers.<br />
<br />
THE AUTHOR.<br />
<br />
Let us face our unhappy position frankly. It<br />
is no good blinding ourselves to it. Can we<br />
not make some appeal to the editors of literary<br />
papers, at least, for justice and discrimination ?<br />
We do not fear criticism, but we have a deadly<br />
fear of ‘ faint praise’ in an inch of print ; of<br />
being ignored or classed with the illiterate.<br />
<br />
We would be taught, corrected, shown the<br />
way to improve, to mend our many faults ;<br />
but we slacken and despair under the foolish<br />
reviews of ignorance. Give us back our old<br />
position. Let the novelist of quality again<br />
take his place in the world of letters, as the<br />
companion of biographists and essayists—<br />
“Else are we very wretched ! ”<br />
<br />
ONE OF THE D1IsGRACED,.<br />
<br />
<br />
<br />
<br />
<br />
—t$—— +<br />
<br />
THE LETTERS OF GEORGE MEREDITH.*<br />
<br />
+<br />
<br />
ne HE Letters of George Meredith” will be<br />
<br />
welcomed by all who appreciate the<br />
<br />
works of a great author as well as by<br />
those who find his style too severe for their<br />
taste. We venture to think they will come as<br />
a surprise to many who only knew him through<br />
the pages of his books, which are totally<br />
different in style from the letters.<br />
<br />
“Dulce est disipere in loco.” For pure<br />
bubbling fun and “ chaff ”’ it is difficult to beat<br />
those written to “Friar Tuck” (Sir W.<br />
Hardman) and other friends of early days.<br />
<br />
Full of humour, lightly tossed off, free from<br />
sting unde: the most exasperating cireum-<br />
stances, they make the most refreshing reading<br />
a man could wish for.<br />
<br />
A delightful description of a fellow-traveller,<br />
which will appeal to all who have gone abroad<br />
in un‘ongenial company: |<br />
<br />
“We walked from Innsbruck to Landek in three days.<br />
W. does not walk in rain, or when it’s to be apprehended,<br />
nor whea there’s a chance of nightfall; nor does he like<br />
it in the heat; and he’s not the best hand in the world<br />
at getting up in the morning, and he’s rather excitable.<br />
But still thoroughly kind and good. So we did not come<br />
at a great rate.<br />
<br />
“Somehow or other dear old W. isn’t at all the right<br />
sort of companion. He say’s he thinks it his stomach.<br />
{ tell him that it is not fair for a man to throw his stomach<br />
jn one’s face.”<br />
<br />
It is impossible to lay the volume down as<br />
letter follows letter—brimful of healthy, genial<br />
humour, trenchant criticisms and whole-<br />
hearted gencrous friendship.<br />
<br />
In the second volume they have lost some of<br />
<br />
<br />
<br />
* «The Letters of George Meredith,” in two volumes,<br />
Published by Messrs. Constable & Co. :<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
'<br />
‘<br />
<br />
eS ee. Lan of oe<br />
<br />
_ ©<br />
<br />
<br />
<br />
THE AUTHOR. 91<br />
<br />
the fresh buoyaney of youth, but they gain<br />
in interest with the wider outlook. So many<br />
subjects of public importance came under<br />
Meredith’s notice owing to his intimate friend-<br />
ship with such men as John Morley, Admiral<br />
Maxse, and others, that he is peculiarly fitted<br />
to write as the looker-on who sees most of the<br />
game.<br />
<br />
There are letters on the Irish question,<br />
Women’s Suffrage and French politics, which<br />
show how much he was in touch with the times<br />
whilst sufficiently aloof to be unhampered in<br />
his judgment.<br />
<br />
On all literary points he is doubly interesting,<br />
especially to those who know his works, for<br />
he writes freely of his difficulties and successes.<br />
His criticism of his fellow authors is marked<br />
by a generous appreciation of their merits.<br />
<br />
Throughout the two volumes we retain the<br />
impression of a vivid personality. The letters<br />
are so unstudied—so spontaneous—being<br />
written almost entirely to intimate friends—<br />
that the real man, tender-hearted, strong to<br />
bear, faithful and courageous, impresses one<br />
as few biographies can do.<br />
<br />
When we consider the storm his writings<br />
roused in religious circles when first published,<br />
the following extract from a letter written to<br />
his son Arthur, in 1872, is noteworthy. Few<br />
will cavil at such words as these.<br />
<br />
“Virtue and truth are one. Look for the truth in<br />
everything, and follow it and you will then be living<br />
justly before God. Let nothing flout your sense of a<br />
Supreme Being, and be certain that your understanding<br />
wavers whenever you chance to doubt that He leads to<br />
<br />
ood. We grow to good as surely as the plant grows to the<br />
ight. The school has only to took through history for a<br />
scientific assurance of it. And do not lose the habit of<br />
praying to the unseen Divinity. Prayer for worldly<br />
goods is worse than fruitless, but prayer for strength of<br />
<br />
soul is that passion of the soul which catches the gift it<br />
seeks.”<br />
<br />
It was long before his writings met with their<br />
due in England. They were received with<br />
more enthusiasm in America, and this fact<br />
doubtless helped him to bear the miscon-<br />
ceptions of his fellow-countrymen with more<br />
philosophy, though at no time did he show<br />
himself over-sensitive to their opinions. In a<br />
letter to G. P. Baker he sets forth his aims,<br />
and comments on the attitude of the public<br />
towards himself.<br />
<br />
“ For I think that all right use of life, and the one secret<br />
of life, is to pave ways for the firmer footing of those who<br />
succeed us. . . . In England I am encouraged but by a<br />
few enthusiasts. I read in a critical review of some verses<br />
of mine the other day that I was ‘a harlequin and a per-<br />
former of antics.’ I am accustomed to that kind of<br />
writing, as our hustings orator is to the dead cat, and the<br />
brickbat flung in his face—at which he smiles politely ;<br />
<br />
and I too; but after many years of it my mind looks else-<br />
where.”<br />
<br />
<br />
<br />
There is little reference in the letters to his<br />
connection with the society of which, after<br />
Lord Tennyson, he was the second President,<br />
but in his appreciation of Sir Walter Besant,<br />
at his death, July, 1901, he has written words<br />
that might with little alteration, well apply<br />
to himself. He gave a generous tribute to<br />
our founder’s character and force.<br />
<br />
“Tt is hard to speak of him within measure when we<br />
consider his devotion to the cause of authors and the con-<br />
stant good service rendered by him to their material<br />
interests. We have lost in him the very beating heart of<br />
our Society.”<br />
<br />
Yet in a different way the loss sustained<br />
by the death of George Meredith was as great.<br />
Though his health prevented the active union<br />
his wishes were always strong to support the<br />
efforts of his fellow toilers.<br />
<br />
It is difficult to realise at first what a long<br />
struggle his life must have been, but as time<br />
goes on it becomes fully apparent—not in<br />
weakness or complaint, but in the breadth<br />
and depth of his sympathy with others, his<br />
indifference to the world’s opinion, his stead-<br />
fast front under trials that would utterly have<br />
broken a weaker spirit.<br />
<br />
Through all the fun and frolie of his early<br />
letters, up to the quiet courage of the end,<br />
it is the living man that stands forth, no<br />
pranked out image set up by a partial bio-<br />
grapher. It is this which makes the two large<br />
volumes seem all too short, and gives them their<br />
fascination and their value. Jn the preface we<br />
are told that the collection is very incomplete.<br />
Nevertheless it is of wide range and far-reaching<br />
intertst, as must needs be when drawn from<br />
such a source. :<br />
<br />
‘** Verily there were giants in those days,”<br />
and George Meredith was not the least of them.<br />
<br />
<br />
<br />
THE GREEK GENIUS.*<br />
<br />
—_+-~ + —<br />
<br />
“rW\HE Greek Genius and its Meaning<br />
to us’? is a work which deserves<br />
che immediate attention not only of<br />
<br />
every one who reads, or ever has read, more or<br />
<br />
less Greek, but also of all to whom the word<br />
<br />
“Greek”? has a meaning of any kind. The<br />
<br />
author has been at so great pains to make all<br />
<br />
that he has to say lucid, not to classical scholars<br />
alone, but also to the many who make no<br />
<br />
<br />
<br />
and its<br />
<br />
* R. W. Livingstone. “The Greek Genius :<br />
vo.<br />
<br />
Meaning to us.” Oxford: Clarendon Press, 1912.<br />
92<br />
<br />
pretension to classical scholarship, that every-<br />
thing, from one end of the book to the<br />
other, is presented in a shape that brings it<br />
within the reach of any reader who may wish<br />
to understand what ‘‘ Greek Genius”? means.<br />
Above all, the very many who, in these days<br />
find a great deal of pleasure in putting forward<br />
their views about the value, or the want of<br />
value, of a Greek education, will be without<br />
excuse for the things which they are pleased<br />
to advance, if they have not taken the trouble<br />
to inform themselves from a work so luminous,<br />
and so replete with scholarship, before stating<br />
their opinions respecting the importance of<br />
Greek.<br />
<br />
So powerful is the presentation of the dif-<br />
ferent aspects of Greek genius in this book, that<br />
it may be asserted without hesitation that no<br />
plea for Greek has been yet put forward so<br />
cogent as the impression which Mr. Living-<br />
stone’s pages produce, nor any reply to those<br />
who object to “compulsory Greek” so<br />
absolutely crushing. Yet to write an adequate<br />
snotice of the book is difficult, or, to say the<br />
truth, impossible. Mr. Livingstone holds out<br />
his guiding hand at the same time to “* students<br />
or teachers of the classics,’ and to “ the<br />
considerable public who take a humane<br />
interest in what Greece has done for the world,”<br />
although they themselves may possess no<br />
Greek. Now, no one can be at the same time<br />
acquainted with Greek and not acquainted<br />
with Greek; and so no human being can<br />
justly say what impressions this book will<br />
make upon minds whose standpoints are so<br />
diverse. All that can be here noted must,<br />
therefore, be accepted as a part only of the<br />
just appreciation of a book of a widely extended<br />
significance.<br />
<br />
What the width of that significance is may<br />
at once be seen from the opening words of the<br />
preface. ‘‘ When I began to teach Latin and<br />
Greek,’ writes Mr. Livingstone, ‘‘ a friend<br />
asked me what I supposed myself to have<br />
learned from them, and what I was trying to<br />
teach others.”<br />
<br />
Does a man exist, who has all his life clung<br />
with affection to the Greek that is in him<br />
(though it be but little), who has not, times out<br />
of number, been assaulted with that same silly<br />
question; and has regretted his inability to<br />
answer it as he would have wished ; because,<br />
as Mr. Livingstone justly puts it, the reply is<br />
*““an arduous task.”’ From this arduous task,<br />
however, so far as Greek is concerned, the<br />
author has not shrunk.<br />
<br />
How the answer is planned, and how it deals<br />
successively with the notes of beauty, freedom,<br />
<br />
THE AUTHOR.<br />
<br />
directness, humanism, and others, can be under-<br />
stood only from the work itself, whose exhaus-<br />
tiveness and profundity would be merely<br />
misrepresented in epitome. The book is one<br />
to be read. In page after page the supremest<br />
problems of art and ethics rise spontaneously<br />
to view, and meet with a treatment worthy<br />
of a man whose culture has a Greek basis.<br />
<br />
Witness the significance of this: ‘‘ The<br />
Greeks were not esthetes .... yet they<br />
were the authors of the most beautiful statues,<br />
the most beautiful buildings, and the most<br />
beautiful poems in the world. In mere beauty<br />
their art and literature has never been<br />
equalled.”<br />
<br />
“Why ?” is the word that will instantly<br />
spring from the lips of the modern. But the<br />
author makes no attempt to reply to that<br />
unanswerable ““ Why?’ He contents him-<br />
self, more wisely, with unfolding the central<br />
phenomena of Greek beauty, and thereby<br />
awakens more reflections than could arise from<br />
any effort to define the indefinable. For until<br />
the modern can attain Greek beauty he cannot<br />
know what it is. ‘‘ He that is without an art<br />
cannot rightly know the things of that art.” *<br />
<br />
Of an entirely different description is the<br />
author’s treatment of a _ subject directly<br />
interesting to authors—the contrast between<br />
classical conciseness, and modern lavish<br />
amplification—the quagmire of words that<br />
renders much at present named “ literature ”<br />
so repulsive to the classical scholar. Respect-<br />
<br />
ing this, Mr. Livingstone remarks, ‘‘ The<br />
classic shows us the scene... . and leaves<br />
<br />
us to find the appropriate emotions; and<br />
because many readers have no emotions to<br />
supply, they are apt to find the classics unfeel-<br />
ing and cold.’’ We would like to add, ‘* And<br />
many modern books delightful, because they<br />
are written exactly to suit the people for whom<br />
it is waste of time to write.” ~<br />
<br />
Mr. Livingstone has also a happy knack of<br />
picking out plums. On Xenophon’s mention<br />
of ‘* physique eminently comely to the outward<br />
eye” as a qualification for high political office,<br />
he remarks, ‘‘ How few modern statesmen<br />
would satisfy this condition ! ”<br />
<br />
Of quotations from this book there would be<br />
no end; and they must be here foreborne for<br />
the sake of a few lines on the concluding<br />
chapters in which the author deals with<br />
‘* The Exceptions,” as he declares them to be,<br />
Plato and Euripides, and with “ The Fifth<br />
Century and afterwards.” Here, if the term<br />
may be permitted ‘“‘ The Greek Genius” is<br />
<br />
* Plato, Ion. IX.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
beginning to droop ; and we perceive a move-<br />
ment in the direction of the thought of other<br />
jands and other times. The supreme things of<br />
beauty, directness, and sanity are drifting<br />
into the past. Are they ever to be revived ?<br />
That appears to be beyond hope. The Greek<br />
had no sentimentality. He “stood on the<br />
earth’?; but he was not “ of the earth,<br />
earthy”; and this is just what the modern<br />
cannot achieve. Among the thoughts which<br />
Mr. Livingstone’s book awakens is a regret for<br />
the passing away of a sense of beauty and<br />
stability that can never be again; buta regret<br />
accompanied by an infinite thankfulness for<br />
the preservation of but a fragment of the<br />
marvellous Greek world; whilst on this the<br />
author is to be wholly congratulated, that he<br />
had built for the defence of Greek a bastion<br />
that ignorance may choose to disregard, but<br />
which no attack can demolish.<br />
<br />
—————_—$_$§_e— > ——__<br />
<br />
ANDREW LANG’S LAST BOOK.*<br />
<br />
—_—+<br />
<br />
TTAVUIS book is likely to be the more rather<br />
[' than the less popular because it is not<br />
exactly the sort of book that the title<br />
might seem to indicate, Andrew Lang did not<br />
approach his subject in the spirit of a professor,<br />
put rather in that of an artist of the impres-<br />
sionist school, who paints just what he sees,<br />
without troubling overmuch about the other<br />
things which he knows to be there, though they<br />
do not happen to catch his eye. Only a man<br />
of great natural gifts and wide reading could<br />
tackle so large a theme acceptably in that<br />
manner; but he possessed both qualifications<br />
jn an eminent degree. For pretentious syn-<br />
thesis we must go to other writers—there are<br />
many professors who excel him in that depart-<br />
ment of endeavour, and are more helpful to<br />
the student who desires to stock his mind with<br />
ready-made generalisations of the kind which<br />
discover and penctrate the weak points in the<br />
armour of examiners. Impersonal exposi-<br />
tion was foreign to the habit of his mind. In<br />
whatever he wrote, there was always quite as<br />
much of himself as of his subject, and some-<br />
times a good deal more. He travelled among<br />
books for his pleasure ;_ and this is the relation<br />
of his journey. We find him no Baedeker among<br />
guides, apportioning his space according to<br />
the requirements of the conventional, but one<br />
“who digresses when he chooses, and does not<br />
<br />
<br />
<br />
* «History of English Literature from ‘ Beowulf’ to<br />
Swinburne,” by Andrew Lang. Longmans.<br />
<br />
93<br />
<br />
hesitate to leave Yarrow unvisited if he fears<br />
that Yarrow will be tedious.<br />
<br />
There is no existing “History of English<br />
Literature ” which it is more pleasing to open at<br />
random, and dip into in the hope of pulling out<br />
a plum. On page after page, one is reminded<br />
of those delightful leading articles which Lang<br />
used to contribute to the Daily News in the<br />
days before the Dawn of the Cocoa Age, when<br />
English journalism was as yet neither brace<br />
to the strenuous life nor watered by the tears<br />
of sensibility. Apposite allusiveness was<br />
always the chief charm of those compositions ;<br />
and it is also the chief charm of the manual now<br />
under review. In the old days, it will be<br />
remembered, Lang could not write of Aristotle<br />
without dragging in John Lillywhite, or of<br />
John Lillywhite without dragging in Aristotle.<br />
One could always spot his essays without<br />
reading them, by looking out for the unlikely<br />
name—unlikely, that is to say, in other<br />
leaders—in small capitals. So now, in the<br />
present volume, the individuality of the<br />
handiwork is marked by constant references—<br />
unnecessary from the academic point of view,<br />
but none the less entertaining—to other matters<br />
in which the author has interested himself<br />
in the course of a life rich in the variety of his<br />
interests. The mention of “* Peregrine Pickle,”<br />
for instance, suggests a mention of Pickle the<br />
Spy. Resemblances are pointed out between<br />
the plots of modern novels and the legends<br />
prevalent among aboriginal savage tribes. A<br />
quotation illustrative of Macaulay's hammer-<br />
and-tongs prose style is further illuminated by<br />
a comment on William III.’s treatment of the<br />
Scots. The Covenanters are also incidentally<br />
characterised; an error in the printed report<br />
of Bryon’s score in the Eton and Harrow match<br />
is corrected ; doubts are suggested as to the<br />
exactitude of Charles Kingsley’s account of<br />
the training of the Cambridge cight in the<br />
fifties; and of course the Maid of Orleans is<br />
defended against those who have assailed her<br />
memoryand treated her visions as hallucinations.<br />
<br />
It is to be noted, moreover, that writers are,<br />
for Andrew Lang, almost always human beings<br />
as well as writers. They, as well as their books,<br />
have been the travelling companions of his<br />
literary pilgrimage. He gossips about them,<br />
and even quizzes them, especially when he<br />
approaches modern. times. Both his method<br />
and his point of view may be illustrated by<br />
his remark on the limitations of George<br />
Meredith’s popularity : ‘‘ The writer has seen<br />
quite unaffected young girls absorbed in The<br />
Egoist or Diana of the Crossways, while he,<br />
after gallant efforts, was defeated by both ina<br />
94<br />
<br />
very early round, tripped up on every page by<br />
the leg of Sir Wilfrid the Egoist. Too much<br />
seemed to be made of that limb.” All the<br />
characteristic flavour of the book is in those<br />
sentences.<br />
<br />
F. G.<br />
———_-+ > -<br />
THE PROBLEM OF EDWIN DROOD.*<br />
—— 1<br />
<br />
HE problem of Edwin Drood has been<br />
much discussed of late, and there is little<br />
reason why the discussion should not<br />
<br />
continue, inasmuch as a vast field of criticism<br />
iS now opened up by the statements and de-<br />
ductions of various writers in their attempts<br />
to elucidate the mystery. A whole literature<br />
may rise around not what Dickens wrote,<br />
but around the various and varying inter-<br />
pretations of both his words and his implica-<br />
tions. The moment criticism reaches this<br />
point Dickens’s personal equation as man and<br />
as worker comes into consideration, and Sir<br />
W. Robertson Nicoll’s book is largely made up<br />
of an enquiry into the methods of Dickens as<br />
a story-teller, so that the probability of his<br />
intentions with regard to his unfinished book<br />
may be estimated in the light of his other<br />
works. The result is an interesting essay<br />
both for those who love Dickens and those<br />
who feel the fascination of unravelling a riddle.<br />
<br />
“The Mystery of Edwin Drood ”’ is a triple<br />
one, as has often been pointed out. Assuming<br />
that all who care anything about the book<br />
know the story, it will be sufficient to say that<br />
the first unanswered question is—Has Edwin<br />
Drood been murdered at all? the second is<br />
—wWho is Datchery, the detective who is left,<br />
as the pen dropped from Dickens’s dying hand,<br />
engaged in bringing home either a murder or<br />
an unsuccessful attempt at murder to Jasper,<br />
Edwin’s uncle; and the third is (speaking<br />
generally )—How was the book planned to end ?<br />
Obviously the answer to the third question<br />
to some extent depends upon the answer to<br />
the first, for, insignificant a character as<br />
Edwin is, still he is the centre around which<br />
the book turns, and if he has not been mur-<br />
dered, his position on re-entering the drama<br />
has to be accounted for. Sir W. Robertson<br />
Nicoll takes the view that Edwin has been<br />
murdered, and sums up all the evidence,<br />
supplied by the book and its numerous com-<br />
mentators, to arrive at this conclusion. If<br />
Edwin is not murdered, Dickens, anxiously<br />
<br />
* «The Proklem of Edwin Drocd,” Ly Sir W. Robertson<br />
- ce —_ Icndon: Hedder & Stcugkton. 212 pp.<br />
s, Od, net.<br />
<br />
THE AUTHOR.<br />
<br />
reticent as he was about his plot, would seem<br />
to have unnecessarily deluded personal friends<br />
as to his intention, This argument alone<br />
seems to us to be conclusive in favour of the<br />
now popular view that Jasper actually accom-<br />
plished his design; in addition to which, if<br />
Edwin is not murdered, his silent absence,<br />
leaving the innocent Landless under suspicion,<br />
is inexplicable ; while the part that remains<br />
for him to play in the story is puzzling, as<br />
his hero’s right to the affections of the heroine<br />
has been taken from him by a subsidiary<br />
leading gentleman, Tartar. The second ques-<br />
tion, the identity of Datchery is settled by<br />
Sir W. Robertson Nicoll in favour of Helena<br />
Landless, disguised as a man. This is the<br />
fascinating suggestion which was made by<br />
Mr. Cuming Walters six or seven years ago, and<br />
which has since been vigorously combated by<br />
many, and ultimately adopted by many of the<br />
combatants. The superficial improbabilities of<br />
this theory are large, though the actual written<br />
suggestions of Dickens can be made to support<br />
it. Its main strength depends upon the fact<br />
that Dickens in no way conceals the fact that<br />
Datchery is a disguised person keeping a watch<br />
over Jasper, while no other person in the<br />
book appears able to fill this part. Helena<br />
Landless is thus arrived at by exhaustion of the<br />
alternatives—all but one. The late Mr. R. A.<br />
Proctor suggested that Datchery was Drood<br />
himself; until Mr. Cuming Walters made his<br />
brave proposition, the accepted idea was<br />
either Proctor’s, or that Bazzard, a comic<br />
clerk, was playing the part; Bazzard’s aged<br />
master,Grewgious, has obtained some suffrages ;<br />
and lastly there is the possibility that Datchery<br />
may be anew character altogether, introduced<br />
by Dickens when the book was half complete<br />
—for we know that the “ Mystery of Edwin<br />
Drood,”’ was to appear in twelve numbers,<br />
and of these we have six numbers all but<br />
two pages. This last theory is the one that<br />
obviously cannot be dealt with as probable<br />
or improbable in connection with any events<br />
narrated ; therefore it presents the least<br />
difficulty, but it does imply a considerable loss<br />
of concentration in the plot.<br />
<br />
Sir William Robertson Nicoll does not<br />
support it, and shows that at any rate in some<br />
of Dickens’s best-known works, no really<br />
important character is ever introduced when<br />
the book is half written. ‘That is true, but<br />
there is some proof that Dickens was a little<br />
worried over the development of his last story,<br />
and in many ways, to suppose Datchery to<br />
be a new character, is the safest solution.<br />
For, indeed, it is hard to believe in the ability<br />
<br />
<br />
<br />
a<br />
:<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 95<br />
<br />
of Helena Landless, a girl recently arrived in<br />
England from Ceylon, to exhibit the aplomb<br />
and experience necessary if she is to counterfeit<br />
successfully a middle-aged idle Englishman<br />
during a sojourn in hotels and lodgings.<br />
<br />
Concerning the final course of the story,<br />
there seems no reason to suppose that the<br />
little which Dickens actually said was other<br />
than his real intention. Jasper was to be<br />
convicted of his crime and to suffer for it.<br />
Jasper was himself to tell the story while<br />
in prison, and in this way, or owing to Datch-<br />
ery’s investigations, an explanation would<br />
be forthcoming of the actual circumstances<br />
of the crime, and of the various steps taken<br />
to bring it home to the doer. Jasper’s past<br />
life had passages in it, we may easily suppose,<br />
which would make clear the part in the story<br />
played by the “ Princess Puffer,’ and the<br />
“Deputy”; and we agree with Sir W.<br />
Robertson Nicoll, that these passages, con-<br />
cerning which we have no information and<br />
few hints, might furnish the material for<br />
finishing the book, logically drawing all the<br />
numerous loose threads tightly.together.<br />
<br />
Lovers of Dickens will thank Sir William<br />
Robertson Nicoll for an able exposition of an<br />
ever exciting question; the bibliography will<br />
possibly stimulate many readers to examine<br />
the evidence for themselves; no one can<br />
read the book without being impelled to read<br />
** Edwin Drood,”’ a result which we are<br />
sure the latest writer on the mystery would<br />
love.<br />
<br />
CORRESPONDENCE.<br />
<br />
<br />
<br />
LITERATURE—ITS SupPLY AND DEMAND.<br />
<br />
Sir,—Complaints of the inevitable penury<br />
of the writer of books are frequent in the<br />
correspondence columns of The Author; for<br />
which state of things remedies such as “ co-<br />
operative publishing ”’ are suggested, publishers<br />
are blamed, and a vacuous public censured.<br />
<br />
It seems to me the explanation is quite<br />
simple. If, to-day, all living authors suddenly<br />
ceased to write, there would yet be books<br />
enough in the world to last to the Millennium.<br />
The English reader, living to old age, and<br />
following Dr. Johnson's advice to read for<br />
five hours a day, would have his work cut out<br />
to consume the masterpieces of his own<br />
language, from the Canterbury Tales to Tono<br />
Bungay.<br />
<br />
The creators of books cannot hope to prosper<br />
in ease and comfort in a business in which the<br />
supply so exceeds the demand; wnless their<br />
work either supplies some special and definite<br />
demand, or rises by dint of its own merit superior<br />
to the flood of mediccrity amidst which it must<br />
take its chance.<br />
<br />
Of course, there are, and always will be,<br />
hard cases ; such as the man who is too much<br />
in advance of his age. However, he has his<br />
small, but enthusiastic, public. He must rest<br />
content with that. Its smallness is responsible<br />
for his poverty; its enthusiasm, for his<br />
ultimate, and often posthumous, success.<br />
But these are the exceptions and not examples<br />
of the rule.<br />
<br />
There is no need for the army of admirable<br />
esthetes to complain, from one generation to<br />
another, of the extreme vulgarity of the age.<br />
To be cultured is the privilege of the elect,<br />
and of the leisured. And it is just as well,<br />
perhaps, that the greengrocer is mostly occu-<br />
pied with greengroceries. If his activities<br />
were employed upon the problems of bi-<br />
metallism we should have to be satisfied with<br />
indifferent vegetables.<br />
<br />
As a matter of fact, with such a world of books<br />
to choose from, fastidiousness—rather than<br />
vulgarity—in the public has been encouraged.<br />
They will have nothing but the best—that is<br />
to say, what they regard as the best. This<br />
applies not only to the scholar and the man<br />
of taste, but even to the reader of the feuilleton<br />
in the halfpenny paper. And why blame the<br />
last? He is most certainly your own green-<br />
grocer who, in his own humble department,<br />
supplies your wants, as punctiliously as the<br />
writer of the feuwilleton supplies his. And if<br />
you ventured to recommend to his notice the<br />
psychological studies of Mr. Wells, the mys-<br />
ticism of M. Maeterlinck, or the exquisite<br />
sensibility of Mr. Barrie, he would consider<br />
you utterly mad. And yet these three gentle-<br />
men, in their senility, are hardly likely to be<br />
found upon the doorsteps of the workhouse.<br />
<br />
As for the author who strives to excel in the<br />
highest representation of his art, he is much to<br />
be commended. But, if he fails, in 99 cases<br />
out of 100, he does so, not because his is the<br />
exceptional case of genius unrewarded, but<br />
because, in his profession—perhaps more than<br />
any other—it is only the fit who survive.<br />
Instead of laying the blame at the doors of<br />
publishers and public, it seems to me it would<br />
be well to recognise, not necessarily defeat,<br />
but the power of the forces we must combat<br />
before we can hope to win.<br />
<br />
<br />
<br />
C. L. GrILson.<br />
96<br />
<br />
Tue Latrer-Day Nove.<br />
<br />
Dear Avutuor,—Concerning Dean Inge’s<br />
generally resented attack in his recent speech<br />
to the Library Assistants’ Association on the<br />
inferiority of present-day novels, their ‘“‘sloven-<br />
liness,’’ ete.—referred to in The Standard of<br />
October 18th, under the heading of “‘ A Novelist’s<br />
Revenge ’—the writer notes one clause that<br />
provokes the following comment. It reads<br />
as follows :<br />
<br />
‘No publisher wants, or would publish<br />
just now, works such as Thackeray’s if pre-<br />
sented in MS. The same thing applies to<br />
Dickens, Hugo, and many of our giants.<br />
“Les Misérables ’ would never be accepted by<br />
a publisher’s reader,”’ etc.<br />
<br />
From the above may one not be forgiven for<br />
wondering if perhaps the mass of trivial<br />
‘“* popular ” fiction upon the market is not as<br />
much the fault of the publisher or publisher’s<br />
reader—who, like the author, ‘‘ must live ”—<br />
as indicative of the “ degeneracy ”’ of writers,<br />
or the “ public taste” ?<br />
<br />
The writer is not a wholly disgruntled author,<br />
having been read for some years both in America<br />
and England; but an experience with the<br />
MS. of a recent novel has opened her eyes to<br />
a state of things which may not seem lacking<br />
in pith to authors.<br />
<br />
The aforesaid MS. was the result of five<br />
years’ labour, during which other MSS. had<br />
been successfully launched. When sent out<br />
in its search of a “ convinced ”’ publisher it<br />
secured a totally different reception from its<br />
predecessors.<br />
<br />
Every publisher praised it, but no publisher<br />
wanted it. Instead of coming back with the<br />
customary printed slip, it invariably returned<br />
accompanied by apologies for its refusal<br />
appended to unqualified appreciation. Four<br />
pages from one well-known house explained<br />
that although acknowledging the MS.’ distinc-<br />
tion and capacity to excite nothing but praise<br />
from the leading reviewers—the publishers<br />
“could not assure it a sufficient sale to<br />
warrant,”’ ete.<br />
<br />
Another publisher, with a letter of high<br />
praise, gratuitously forwarded a copy of the<br />
reader’s “behind the scenes” report, which<br />
advised a curtailment of about 100 pages.<br />
<br />
Although no longer a novice—and therefore<br />
as incredulous of Jthe infallibility of the<br />
accredited reader as of the infallibility of the<br />
Pope—the author nibbled at the bait. To be<br />
opportune that novel, if published at all,.must<br />
be published at once. The work of curtailment<br />
was carried through with an aching heart, and<br />
the MS. found itself back with that publisher—<br />
<br />
THE AUTHOR.<br />
<br />
to be immediately returned. It was 80,000<br />
words in length. It was returned in three days.<br />
<br />
The MS. then accompanied its author to<br />
America and was sent to a “ foremost ”<br />
publishing house. The unfavourable slip that<br />
ushered it back this time was also coated with<br />
sugar,<br />
<br />
“It is with real regret that we find ourselves<br />
forced to return your MS,” it read, ‘‘ as it has<br />
claims to great distinction of style, is altogether<br />
excellent, and treats of its subject—a difficult<br />
one—with engaging skill; but owing to the<br />
present overstocked state of the market we<br />
cannot undertake,”’ etc., ete.<br />
<br />
In an hour that writer found herself at that<br />
publishers in conversation with ‘the head of<br />
the firm ’”—to whom she had until this kept<br />
a personal letter up her sleeve.<br />
<br />
“If publishers that place themselves on<br />
record as believers in the excellence of a MS.<br />
won’t publish it?” she asked, ‘‘ who will?<br />
Can’t you see that you are the people who are’<br />
overstocking the market with trash, and<br />
underrating public intelligence for buying<br />
it, because, by. your own confession, you<br />
daren’t publish ‘ excellence ’ ?<br />
<br />
‘* Publishers consider all novels a_ wild<br />
speculation ’’ was the answer. ‘“‘ The books<br />
they bank on must be sure to excite a demand.<br />
Such publications as, for instance, ‘The<br />
Flora of Patagonia’ or ‘The Encyclopedia<br />
Britannica’ are no risk. . . . There are novels<br />
which secure a phenomenal success—such as ”<br />
—he mentioned thename of a “‘record-breaker,”’<br />
which his house had launched. .. .<br />
<br />
“Singular how the enthusiasm of our<br />
‘younger group’ put that through,” he<br />
vouchsafed, ‘“‘ andthow such enthusiasm prods<br />
the salesmen to big efforts. But it must be<br />
unanimous to make the salesmen take hold.<br />
In cases where it is not the salesmen in con-<br />
sequence are slack, and the book fails.”<br />
<br />
“You mean,’’ I exclaimed, ‘‘ that when the<br />
enthusiasm of one or two of ‘the group’<br />
wavers, ‘the salesmen’ make little effort to<br />
sell it 22<br />
<br />
‘* Precisely.”<br />
<br />
Might not the remedy for too ephemeral<br />
literature be found between the lines of the<br />
following ? :<br />
<br />
‘“* How do you keep your dog so healthy ?”<br />
inquired one sportsman of another.<br />
<br />
‘“* T feed him on oatmeal,” was the reply.<br />
<br />
“But my dog howls continually for meat,”<br />
protested the first sportsman.<br />
<br />
“Starve him of all food but oatmeal,”<br />
insisted the second, “and he’ll be only too<br />
glad to eat It.” | https://historysoa.com/files/original/5/523/1912-12-01-The-Author-23-3.pdf | publications, The Author |
| 524 | https://historysoa.com/items/show/524 | The Author, Vol. 23 Issue 04 (January 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+04+%28January+1913%29"><em>The Author</em>, Vol. 23 Issue 04 (January 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-01-01-The-Author-23-4 | | | | | 97–128 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-01-01">1913-01-01</a> | | | | | | | 4 | | | 19130101 | Che Huthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
<br />
<br />
<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vor. XXTII.—No. 4.<br />
<br />
JANUARY 1, 1913.<br />
<br />
[Prick SIxPENcE,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
TELEPHONE NumBeEr :<br />
3874 VICTORIA.<br />
<br />
TELEGRAPHIC ADDREss :<br />
AUTORIDAD, LONDON.<br />
<br />
————_+—~@—.<br />
<br />
NOTICES.<br />
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4 OR the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
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ARTICLES AND CONTRIBUTIONS.<br />
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Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
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Communications for The Author should be<br />
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Queen Street, Storey’s Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
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As there seems to be an impression among<br />
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that this is not, and could not possibly be, the<br />
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Members should apply to the Secretary for<br />
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<br />
Oo<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
1<br />
<br />
“L\ROM time to time members of the Society<br />
K desire to make donations to its funds in<br />
<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, cither in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
#9<br />
<br />
<br />
98 THE AUTHOR.<br />
<br />
THE PENSION FUND.<br />
<br />
— ><br />
<br />
N January, the secretary of the Society laid<br />
before the trustees of the Pension Fund<br />
the accounts for the year 1911, as settled<br />
<br />
by the accountants, with a full statement of<br />
the result of the appeal made on behalf of<br />
the fund. After giving the matter full con-<br />
sideration, the trustees instructed the secretary<br />
to invest the sum of £500 in the purchase of<br />
Antofagasta and Bolivian Railway 5% Pre-<br />
ferred Ordinary Stock and Central Argentine<br />
Railway Ordinary Stock. The amounts pur-<br />
chased at the current prices were £237 in the<br />
former and £282 in the latter stock.<br />
<br />
The trustees desire to thank the members of<br />
the Society for the generous support which they<br />
have given to the Pension Fund. The money<br />
now invested amounts to £4,454 6s.<br />
<br />
Later in the year, at a meeting of the Com-<br />
mittee of Management, a question concerning<br />
the funds of the Society was brought up for dis-<br />
cussion, and it was suggested that it would be<br />
a good thing for the Pension Fund trustees, if<br />
they had power, to sell out the Fund’s holding of<br />
Consols and to invest in some more satisfactory<br />
security. The suggestion was placed before the<br />
trustees of the Pension Fund, and a meeting<br />
was called, when the chairman of the Committee<br />
of Management, the trustees, and Mr. Aylmer<br />
Maude, the member of the Committee of<br />
Management who had made the suggestion,<br />
were present. The figures were very closely<br />
considered, and it appeared clear that altera-<br />
tions in the investment of the funds could be<br />
carried out with advantage to the Fund’s<br />
income. It was decided by the trustees, with<br />
the approval of the Committee of Management,<br />
to sell out the holding of Consols. With the<br />
amount realised, were purchased—<br />
<br />
$2,000 (£400) Consolidated Gas and Elec-<br />
tric Company of Baltimore 44% Gold<br />
Bonds ;<br />
<br />
30 Buenos Ayres Great Southern Railway<br />
4°, Extension Shares, 1914 (£8 paid) ;<br />
£250 Edward Lloyd, Ltd., £1 5% Prefer-<br />
<br />
ence Shares.<br />
<br />
These amounts are fully set out and added<br />
in the nominal value to the Pension Fund<br />
investments, below.<br />
<br />
The trustees have also, in view of the option<br />
extended to them as holders of £232 Central<br />
Argentine Railway Ordinary Stock, subscribed<br />
for 8 Central Argentine Railway £10 Preference<br />
Shares, New Issue.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
<br />
to £4,454 6s., details of which are fully set out<br />
in the following schedule :—<br />
Nominal Value.<br />
<br />
£ 8, d.<br />
Local Loans .............,.24, 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ...........;, 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
<br />
Stock (2.00502. 24005. 22 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock .... 228 0 0<br />
New Zealand 34% Stock........ 247 9 6<br />
Trish Land 23% Guaranteed Stock 258 0 0<br />
Corporation of London 24%<br />
<br />
Stock, 1927-57... .......-... 488 2 4<br />
Jamaica 34% Stock, 1919-49 1382 18 6<br />
Mauritius 4% 1937 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 34%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock .......... 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock................- 232 0 0<br />
$2,000 . Consolidated Gas and<br />
<br />
Electric Company: of Baltimore<br />
<br />
44% Gold Bonds ............ 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares .......... 250 0 0<br />
30 Buenos Ayres Great Southern<br />
<br />
Railway 4% Extension Shares,<br />
<br />
1914 (£8 paid) <5 .44.0.-4. 06 240 0 0<br />
<br />
8 Central Argentine Railway £10<br />
Preference Shares, New Issue... 30 0 0<br />
<br />
Total. 2.222.064 £4,454 6 0<br />
<br />
Ce i 0<br />
<br />
PENSION FUND.<br />
<br />
ee<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
April 1, 1912.<br />
<br />
It does not include either donations given<br />
prior to April 1, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
Subscriptions.<br />
1912.<br />
April 6, Bland, J. O. P. ,<br />
April 6, Taylor, Mrs. Basil °.<br />
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have terminated satisfactorily, the publisher<br />
having settled the disputes and paid the costs.<br />
In another case where judgment had been<br />
signed, a summons had been issued requiring<br />
the defendant to come up for examination as<br />
to his means. It is probable, as the summons<br />
has been served, that the money will be forth-<br />
coming—especially as the defendant is engaged<br />
in active work. ‘Two MSS. have been obtained<br />
from a theatrical manager, following the issue<br />
of a summons. The manager excused himself<br />
on the ground that no previous application<br />
had been made, despite the fact that both<br />
the secretary and the solicitor of the Society<br />
had written several times. In another case<br />
judgment was obtained for a sum of £7 10s.,<br />
the remaining issue of the case, as the facts<br />
were in dispute, being sent to the County Court<br />
for trial.<br />
<br />
The solicitor then reported the action taken<br />
at the Old Bailey against C. M. Burghes, of<br />
which a note appeared in the December issue<br />
of The Author.<br />
<br />
The solicitors were glad to report payment in<br />
another case of the full sum in dispute without<br />
the matter going into Court, and that another<br />
important claim was in the course of<br />
negotiation.<br />
<br />
The action taken by the Society in two<br />
bankruptcies was next dealt with. The firms<br />
involved were Messrs. Greening & Co., and<br />
Messrs Stephen Swift. The solicitor stated<br />
that in one case the secretary of the Society<br />
was representing authors on the Committee<br />
of Inspection, and in the other, Mr. Lewis<br />
Benjamin had kindly undertaken to act as<br />
the authors’ representative.<br />
<br />
A claim against a publisher for non-payment<br />
of amount .due on royalties would have to be<br />
taken into Court, as the solicitor had not<br />
received a satisfactory reply to his letters.<br />
A case of infringement of dramatic copyright,<br />
the solicitor was glad to report, was very<br />
satisfactorily closed, and an agreement for<br />
settlement had been come to against a Daily<br />
Paper for an amount due for contributions.<br />
<br />
There was another case against a technical<br />
paper, in which a settlement had been arranged<br />
last August, but the failure of the defendant<br />
to stand by the arrangement had necessitated<br />
its being re-opened and fresh proceedings<br />
being taken.<br />
<br />
An arrangement of settlement suggested<br />
by another paper that the author should take<br />
back MSS. which had been accepted, was<br />
repudiated by the author. The debt has now<br />
been paid.<br />
<br />
Finally, a matter of difficulty touching the<br />
<br />
THE AUTHOR.<br />
<br />
exact terms of a contract for publishing,<br />
between an author and a publisher, after long<br />
negotiations had been settled between the<br />
solicitors of the two parties, the agreements<br />
having been signed and exchanged. The<br />
solicitor reported that it might be necessary<br />
to issue a summons against the same publisher,<br />
as it had proved impossible to obtain accurate<br />
statements of account due to another author,<br />
a member of the Society.<br />
<br />
The secretary then read a letter which he<br />
had received from Mr. John Long, who stated<br />
that from his experience as managing director<br />
of John Long, Limited, he had found that<br />
‘* Authors had originally been on friendly<br />
terms with us, socially as well as in the course<br />
of business, and yet have subsequently adopted.<br />
a different and frequently hostile attitude<br />
towards us, the change synchronising with,<br />
their becoming members of your Society.<br />
This we ascribe, in the main, to their having<br />
become imbued with the views expressed in,<br />
the Society’s monthly publication and other<br />
literature issued by it.”<br />
<br />
The committee made no comment upon the<br />
communication. :<br />
<br />
Another matter put forward by the secretary<br />
was a case of an author who had been a member<br />
of the Society, and though not a member at.<br />
the present time, desired the committee to<br />
take up the case as a matter of principle. The<br />
committee, after consideration, came to the<br />
conclusion that they had to undertake cases<br />
of principle on behalf of those who were<br />
members, and that they could not consider<br />
this special case unless the author in question<br />
rejoined the Society. This might be arranged<br />
on terms, when they would be willing to discuss<br />
the whole matter.<br />
<br />
The committee are pleased to report that<br />
Mr. Anstey Guthrie, the committee’s repre-<br />
sentative on the Pension Fund Committee,<br />
has expressed his. willingness to continue to<br />
serve on that committee. He was, accord-<br />
ingly, unanimously re-elected. In another<br />
column appears a statement regarding the<br />
Society’s representative on the Pension Fund<br />
Committee.<br />
<br />
The question of the election of a Pension<br />
Fund Trustee was also considered, and the<br />
secretary was instructed to write to Sir Arthur<br />
Pinero on the subject. The committee have<br />
pleasure in reporting that Sir Arthur Pinero has<br />
consented to.undertake ‘the duties.<br />
<br />
The secretary stated what steps had been<br />
taken in regard to.the Collection Bureau. He<br />
said that a circular had been sent out, that he<br />
<br />
chad received many answers, and that the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTIOI. 101<br />
<br />
writers expressed their opinion that such a<br />
bureau would be very valuable.<br />
<br />
The committee then decided on the sum to<br />
be spent in Christmas boxes, and the adjust-<br />
ment of salaries.<br />
<br />
The secretary then read a notice from<br />
the office of the Australian Commonwealth in<br />
London, intimating that the Australian Copy-<br />
right Bill had passed into law. The committee<br />
regretted, therefore, that it was too late to<br />
send out the report which they had passed on<br />
the Bill, but if the Act is on the lines of the<br />
draft which was laid before them, they think<br />
they may congratulate authors on having<br />
obtained, on the whole, very satisfactory<br />
Inter-Colonial protection in Australia. The<br />
Act will be printed as soon as it is possible<br />
to obtain a copy.<br />
<br />
The secretary reported also that the India<br />
Office had informed him that it was the inten-<br />
tion to proclaim the Copyright Act, 1911,<br />
in India at the earliest possible opportunity.<br />
The question, however, of introducing modifi-<br />
cations or additions in the Act as proclaimed<br />
in India, was still under consideration.<br />
<br />
The committee ordered that counsel’s opinion,<br />
which had been obtained under their authority<br />
dealing with some points raised by an American<br />
correspondent in connection with the copyright<br />
relations between Great Britain and the<br />
United States, should be printed in The Author,<br />
and it appears in another column.<br />
<br />
The question of the adjustment of some of<br />
the advertising accounts was considered and<br />
settled.<br />
<br />
On the recommendation of the Dramatic<br />
Sub-Committee, the committee decided to<br />
appoint M. A. Reyding, of Willemsparkweg, 134,<br />
Amsterdam, accredited dramatic agent to the<br />
Society in Holland, and Mr. Walter C. Jordan,<br />
of Empire Theatre Building, 1428—1432,<br />
Broadway, New York, accredited dramatic<br />
agent of the Society in New York. It is<br />
intended to appoint accredited agents of the<br />
Society in the Colonies and other countries.<br />
<br />
An important question .affecting authors<br />
<br />
who write for magazines was discussed,<br />
<br />
namely, the question of whether payment on<br />
acceptance should not be demanded.<br />
<br />
Editors have claimed that no article is to be<br />
paid for till after publication, and, in some<br />
cases, have delayed publication for two or three<br />
years. The Society has always maintained<br />
that publication must ensue within a reason-<br />
able time, or that payment must be made,<br />
and editors have, as a rule, acknowledged the<br />
justice of the contention, but other editors have,<br />
after long delays, paid only grudgingly, and<br />
<br />
have even hinted that, as they have been made<br />
to pay, they will take no more of the particular<br />
author’s work. The committee instructed the<br />
secretary to make out a list of editors who<br />
might be approached on the subject, and it was<br />
decided to invite collaboration and guidance<br />
from them.<br />
<br />
The secretary laid on the table letters from<br />
Sir Gilbert Parker and Mr. Chatterton Hill,<br />
thanking the Society for work done on their<br />
behalf, and a vote of thanks was passed to<br />
Miss E. Robins for a donation of £2 2s. to the<br />
<br />
Capital Fund.<br />
————<br />
<br />
Dramatic SuBp-CoMMITTEE.<br />
<br />
Tue Dramatic Sub-Committee met at 13,<br />
Queen Anne’s Gate, on Friday, December 13.<br />
After reading the minutes of the previous<br />
meeting, they proceeded to select their nominees<br />
for election to the Dramatic Sub-Committee<br />
for 1913. The names of these nominees will<br />
be sent round to the members of the Dramatic<br />
section of the Society, who will be invited to<br />
nominate other members of the section for<br />
service on the Sub-Committee should they care<br />
to do so. If other names are submitted the<br />
usual voting papers will be sent to the<br />
Dramatic section, and the result of the election<br />
will be placed before the Committee of Manage-<br />
ment as the recommendation of the Dramatic<br />
section of the Society for the Dramatic Sub-<br />
Committee for 1918. A draft circular to be<br />
sent to the dramatists in the Society was<br />
settled.<br />
<br />
One or two matters of importance arising<br />
under the Collection Bureau of the Society<br />
were considered. The first was the date for<br />
settlement of fees collected, and it was decided<br />
to pay these over as soon as they were cleared<br />
and entries made in the books of the Society.<br />
In effect this will probably mean a weekly<br />
settlement of accounts so far as dramatists are<br />
concerned.<br />
<br />
The next matter was the percentage to be<br />
charged on the collection of fees abroad, and<br />
the Secretary was instructed to write to the<br />
agents appointed to obtain from them some<br />
expression of their views on the question.<br />
When their reports are to hand they will be<br />
considered by the Dramatic Sub-Committee,<br />
who will then make the proper recommendation<br />
to the Committee of Management.<br />
<br />
A case of infringement of copyright in a<br />
dramatic piece in Canada was next considered,<br />
and the Sub-Committee recommended that the<br />
case should be referred to the Committee of<br />
Management with a view to action being taken,<br />
<br />
<br />
<br />
<br />
102<br />
<br />
Another question relating to, infringement<br />
of the title of one of the members’ plays by a<br />
cinematograph performance was discussed, and<br />
here, also, it was decided to refer the matter<br />
to the Committee of Management if the<br />
solicitors’ opinion was favourable.<br />
<br />
A proposal from the Society of Dramatic<br />
Authors in the United States suggesting<br />
reciprocal help between the two societies was<br />
laid before the Sub-Committee, and they<br />
expressed their readiness to do what was<br />
possible in the matter, leaving the final settle-<br />
ment to the Committee of Management.<br />
<br />
The question of the appointment of two<br />
more foreign agents was also considered, and<br />
the Dramatic Sub-Committee approved the<br />
appointment subject to the approval of the<br />
Committee of Management.<br />
<br />
The Sub-Committee then adjourned till<br />
January, 1913.<br />
<br />
a<br />
<br />
CoMPosERS’ SUR-COMMITTEE.<br />
<br />
Tur Composers’ Sub-Committee of the<br />
Society of Authors met at 13, Queen Anne’s<br />
Gate on Saturday, December 14. After the<br />
minutes of the previous meeting had been<br />
signed the secretary laid before the Sub-<br />
Committee an agreement from Messrs. Curwen<br />
which had been referred to them for their<br />
consideration, As there was only just a<br />
quorum and it seemed necessary that the<br />
matter should be discussed in full committee<br />
the consideration of the agreement was<br />
adjourned to the next meeting.<br />
<br />
The correspondence which had taken place<br />
in The Times between the Society of Authors,<br />
Messrs. Novello and Sir Charles Villiers<br />
Stanford was laid on the table and discussed.<br />
<br />
The next question before the Sub-Committee<br />
was the collection of fees in foreign countries.<br />
The secretary read letters he had already<br />
received, and was instructed to write to the<br />
legal representative of the society in Germany<br />
<br />
in answer to his letter, and ask for fuller _<br />
<br />
particulars of two companies referred to so<br />
that the Sub-Committee might be able to make<br />
arrangements for the collection of mechanical<br />
fees in the German Empire. He was also<br />
instructed to write further to the representa-<br />
tive of a company in France.<br />
<br />
The secretary then mentioned to the com-<br />
mittee various points which had arisen under<br />
the Act of 1911 and was instructed to write to<br />
the Board of Trade in order to obtain from<br />
them information on one or two points which,<br />
at present, appeared to be indefinite. The<br />
<br />
THE AUTHOR.<br />
<br />
question of performing rights was also under<br />
consideration, and the secretary read a letter<br />
he had received from the Music Publishers’<br />
Association. The Sub-Committee were deter-<br />
mined not to abandon the attempt to obtain a<br />
satisfactory solution of the question of the fees<br />
to be charged for performances, and although<br />
the music publishers did not at present see<br />
their way to give any assistance, the matter<br />
was adjourned for further consideration at the<br />
next meeting.<br />
nee coe el<br />
<br />
Cases.<br />
<br />
Durine the past month the Society has had<br />
occasion to take up twelve cases.<br />
<br />
Three of these were for the* return of<br />
manuscripts; in two of the cases the manu-<br />
scripts have been returned ; the third case has<br />
only recently come into the office.<br />
<br />
There have been three disputes between<br />
authors and publishers and agents on the<br />
interpretation of agreements. These matters,<br />
as a rule, and those nowin hand are no exception<br />
to that rule, require considerable negotiation,<br />
but the negotiations are progressing favour-<br />
ably.<br />
<br />
Out of four cases for money three have been<br />
settled, the money having been obtained and<br />
sent on to the authors concerned; the fourth<br />
case has only recently come into the office.<br />
<br />
There are two cases for accounts. One case<br />
will probably have to go into the hands of the<br />
Society’s solicitors, as the publishers concerned<br />
have on former occasions refused to respond to<br />
the letters of the secretary. The second case<br />
has only just come into the office.<br />
<br />
All the cases left over from former months<br />
have now been closed, with the exception of<br />
two, which have had to be put into the solicitors’<br />
hands.<br />
<br />
ag<br />
Elections.<br />
-Beach, Rex . . . c/o Hughes, Massie<br />
<br />
& Co, 21, Tavis-<br />
tock Street, W.C.<br />
35a, Temple Road,<br />
<br />
South Ealing.<br />
Waldechlaan 2, Hil-<br />
versum, Holland.<br />
80, Hyde Park Gate,<br />
<br />
London, $.W.<br />
Beckfoot, Birch Hall<br />
<br />
Lane, Manchester.<br />
Charters | Towers,<br />
<br />
East Grinstead.<br />
<br />
Begarnie, George<br />
<br />
Berrington, John S. .<br />
Coit, Dr. Stanton ‘<br />
Cooper, Miss Marjorie .<br />
<br />
De Brath, Stanley :<br />
<br />
<br />
THE AUTHOR. 103<br />
<br />
Drillien, Miss Béréngere Greenlands, Comey- BOOKS PUBLISHED BY MEMBERS.<br />
trowe, Taunton,<br />
Somersetshire.<br />
<br />
Ellison, Miss Grace May Lyceum Club, Picca- While every effort is made by the compilers to keep<br />
dilly, W. this Be - oe pee ie as possible, oy a<br />
<br />
. : A a : ie some culty in attainin is object owing to the fact<br />
Fitzgerald, Miss Eva . Sunnyholme, Shank- that many of the books ed not sent to the office<br />
lin, Isle of Wight. by the members. In consequence, it is necessary to rely<br />
<br />
Gaze, W. Culling. LO: John Street, largely upon lists of books which appear in literary and<br />
Adelphi, W.C. other papers. It is hoped, however, that members will<br />
<br />
eS Gee io a _ €o-operate in the compiling of this list, and, by sending<br />
Genn, Miss Caroline T.. 47a, Stanley Gar particulars of theis works, help to make it substantially<br />
<br />
dens, Hampstead. accurate.<br />
Gilbey, Sir Walter, Bart. Elsenham Hall, ART.<br />
<br />
Stansted, S.O., Lire iy rue West or Irenanp. Drawn and Painted<br />
<br />
Essex. By Jack B. Yurats. 93x 7. 111 pp. Maunsell.<br />
<br />
i _- Harrap, Charles . . The Laurels, Neth- “> 4<br />
a erby Road, Forest BIOGRAPHY.<br />
Hill, S.E. eee By Aaron Watson. 6} x 4h. 94 pp.<br />
~ : jl Jack, od. Nn.<br />
Stoughton, Stanley . 15, eee Writs Suarr. A Memoir compiled by his Wife,<br />
sions, aring Evizaseta A. Swarr. 2 Vols. 73 x 54. 352 pp.<br />
Cross Road, W.C. + 450 pp. Heinemann. 10s. n. : y<br />
Hubbard, Philip E. : ue CHaRLoTTE SopuieE Countess Bentinck. Her Life<br />
Ss : ox 4 Q : and Times, 1715—1800. By her descendant, Mrs.<br />
Irwin, Beatrice . ae ane oe AusprEy Le Bronp. 2 Vols. 70 illustrations from<br />
: : st. James’, W. origina! paintings. Hutchinson. 24s. n.<br />
Jerovise, Miss M. Clarke Leahurst, Esher,<br />
Surrey. BOOKS OF REFERENCE.<br />
Moxon, Chas, Fred . 22, Worcester Villas, Caratocuz or THe Heprew AND Samariran Manv-<br />
Hove, Sussex. SCRIPTS IN THE British Museum. By G. Mareori-<br />
MacRitchie, David . 4, Archibald Place, outH. Part II. Sections I1—VII. 12} x 10.<br />
: i 377 pp. British Museum. 35s. n.<br />
Edinburgh. Tue Lirerary YEAR Boor, 1913. Edited by Bastu<br />
7 Mayne, Ethel Colburn. 11, Holland Road, Srewarr. 7 x 4%. 896 pp. ‘Ouseley. 6s. n.<br />
Kensington, W. oe<br />
Murray, Douglas. . Houston, House, CLASSICAL.<br />
Worthing. Four Sraces or GREEK Rericion. Studies based on a<br />
* B § Course of Lectures delivered in April, 1912, at Columbia<br />
ee ee Major Ps , t Pelham, University. By Girpert Murray. "9x 5}. 223 pp.<br />
tee : aignton. New York: Columbia University Press. London:<br />
Redwood, Miss Ethel 18, Avenue Road, Frowde. 6s. n.<br />
Boverton Regent’s Park, DRAMA.<br />
<br />
N.W<br />
: n : TurREE Puays, Vol. II.: Tue Expsst Son; Tue Litre<br />
Schultheis, Lili Mar- Heyscroft, West Dream; Justice. By Jown GatswortHy. 7 x 5.<br />
garet Didsbury, Man- 79 + 34+ 111 pp. Duckworth. Is. 6d. n.<br />
<br />
chester. PreneLtorpg. A Comedy in Three Acts. 213 pp. Mars.<br />
C é : Dor. A Farce in Three Acts. 172 pp. Tue Ex-<br />
Southwark, Lady oo 12, Devonshire Place, ptorer. A Melodrama in Four Acts. PP 52 pp. By<br />
W. : W. Somerset Mavucnam. 7 x 43. Heinemann.<br />
<br />
Sephton, J. 90, Huskisson Street, ls. 6d. n. each.<br />
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Weller, Bernard . : oe so Road, Desorau. A Play in Three Acts. By LasceLues.<br />
<br />
: . ABERCROMBIE. 72 x 43. 60 pp. Lane. 2s, 6d. n.<br />
Walker, Henry . - Dale View, Brad-<br />
well, Derbyshire. FICTION.<br />
Winter, FredericG. . 32, Alderbrook Road, Gop’s Prayrumes. By Masorte Bowen. | 8f x 5}.<br />
<br />
Clapham Common, 319 pp. Smith Elder. 6s.<br />
S.W. Wuen THE Kine Came Sourn. A Romance of Borwick<br />
a iw iy ION 51 2B<br />
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Fleet St., E.C, Our Aury., By M. E. Francis (Mrs. Francis Blundell).<br />
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259 pp. Hodder and Stoughton. 7d. n.<br />
TristRAM oF BuENt. By Antuony Horr. 6} x 44.<br />
469 pp. Nelson. 7d. n.<br />
HISTORY.<br />
HisroricaL VicNerres. By Brernarp Capes. 7 X 44.<br />
<br />
220 pp. Sidgwick and Jackson. 2s. 6d. n.<br />
<br />
West [npran TaLes oF OLp. By AtcERNon E, ASPIN-<br />
ALL. 74 X 5. 260 pp. Duckworth. 6s.<br />
<br />
Eneuish Lire AND MANNERS IN THE LaTER MIDDLE<br />
Acrs. By A. Apsram, D.Sc. 7} x 5. 352 pp.<br />
Routledge. 6s. \<br />
<br />
Tur War DRAMA OF THE EacuEs. NapoLron’s STAN-<br />
DARD BEARERS ON THE BATTLEFIELD IN VICTORY AND<br />
<br />
DEFEAT FROM AUSTERLITZ TO WATERLOO. A Record<br />
of Hard Fighting, Heroism and Adventure. By<br />
E. Fraser. 9 x 53. 444 pp. Murray. 12s. n.<br />
<br />
Centric BriraIN AND THE Prrcrmm Movement. By<br />
G. Harrwett Jonzs, D.D. 82 x 5}. 581 pp. The<br />
Hon. Society of Cymmrodorion.<br />
<br />
JUVENILE.<br />
Litrte THanx You. By Mrs. T. P. O'Connor. 252 pp.<br />
(The Mauve Library.) 73 x 5. Putnams. 2s. n.<br />
LanceLot AND GUENEVERE. By Giapys Davipson.<br />
Nelson. 2s. 6d.<br />
<br />
Aut Asovur Lirrte Spirrxins; ALL ABouT THE FLYING<br />
Pic. By Gurapys Davipson. Dean & Sons.<br />
<br />
BuccaNEERS OF THE Spanisu Maryn. By A. M. Hyamson,<br />
72 x 54. Routledge. 3s. 6d.<br />
<br />
PavLine’s First Reapine Boox azout Tom AND JANE<br />
AnD THEIR Navcury Frienp. By Lapy Bett,<br />
73 x 71. 141 pp. Longmans. ls. 6d.<br />
<br />
LITERARY.<br />
<br />
A Hisrory or Enciisn Lirerature. By A. Compron-<br />
Ricxett, LL.D. 64 x 43. Ill pp. Jack. 6d. n.<br />
Tue River or Lonpon. By Hinarre Bettoc. 7} x St.<br />
<br />
145 pp. Foulis. 5s. n.<br />
MEDICAL.<br />
A Manvat or Inrecriovs Diseases OCCURRING IN<br />
Scnoot. By H. G. Armstrone and J. M. Forrescun<br />
<br />
BrickpatE. 74x 5. 150 pp. Bristol: Wright.<br />
London: Simpkin. 3s.<br />
<br />
NATURAL HISTORY.<br />
<br />
Tue Lire oF THE Sprper. By J. Henrt Fasre. Trans-<br />
lated by ALEXANDER TEIXETRA DE Marros. With a<br />
Preface by Maurice Marreruinck. 8 x 5$. 378 pp.<br />
Hodder and Stoughton. 6s. n.<br />
<br />
Tur Inrancy or Animas. By W. P. Pycrarr. 8} x 54.<br />
<br />
272 pp. Hutchinson.<br />
<br />
THER AUTHOR.<br />
<br />
Tue Book oF Woopcrarr and InpiaAN Lore. By<br />
Ernest THompson SEtTON. 8} x 6. 551 pp. Con-<br />
stable. 6s.<br />
<br />
Tue Crrcyting YEAR. By W. Percivat WestTELL, F.L.8,<br />
Illustrated. 94 x 74. 340 pp. Nelson. 6s. n.<br />
<br />
Tur Narurat History or THE GarpEeN. By W.<br />
<br />
PercivaL WeEsTELL, F.L.S. Illustrated.<br />
pp. Black. Is. 6d. n.<br />
<br />
Tuer Scout’s Boox or Nature Crarr. By W. Percivan<br />
Westett, F.L.S. Illustrated. 74 x 5}. 86 pp. Gale<br />
and Polden. 6d. n.<br />
<br />
PHILOSOPHY.<br />
<br />
Tue Puttosopny or NierzscHe. An Exposition and am<br />
Appreciation. By GrorcEes CuarrerTon-Hi1, Ph.D.<br />
9 x 54. 292 pp. Ouseley. 7s. 6d. n.<br />
<br />
8 x 54. 88<br />
<br />
Lirre’s Many Coxtours. By J. C. Wricut. Headley<br />
Bros. 2s. 6d.<br />
POETRY.<br />
Lyrics. By Lapy Marcarer Sackvitie. 7} x 5}.<br />
<br />
72 pp. Herbert and Daniel. 3s. 6d. n.<br />
<br />
CoLtLeEcTED VERSE oF RvupyarRp Kretine. Second<br />
Edition. 10 x 6%. 478 pp. Hodder and Stoughton.<br />
20s. n.<br />
<br />
Otp TrsTAMENT Lyrics. By M. G. J. Kintocsa.<br />
64. 78 pp. Sands. 5s. n.<br />
<br />
Sona Lyrics, AND OTHER SHORT PorEms.<br />
D. Barr. 54 x 44. 65 pp. Constable.<br />
<br />
REPRINTS.<br />
<br />
PLEASANT DELIGHTS FOR CHILDREN,.<br />
GATHERED FROM THE GOLDEN GARDEN. By A. E. and<br />
W. H. D. Rouss. 7 x 43. 144 pp. Blackie. Is. 6d.<br />
<br />
In Praise oF SwitzERLAND. Being the Alps in Prose<br />
<br />
10 x<br />
<br />
By Eruev.<br />
28. 6d. n.<br />
<br />
A Porsy oF<br />
<br />
and Verse. By Harotp SpENDER. 73 x 5}. 291 pp.<br />
Constable. 5s. n.<br />
<br />
Tne Sones AND Porms or Rosert Burns. With an<br />
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Rosepery, K.T. 9} x 63. 653 pp. Foulis,<br />
10s. 6d. n.<br />
<br />
Desperate ReMeEDIES. 454 pp. THe Hanp or ErHEL-<br />
BERTA. A Comedy in Chapters. By Tuomas Harpy.<br />
9 x 53. Macmillan. 7s. 6d. n. each.<br />
<br />
GoLDEN Strinc. A Day Book tor Busy Men and Women.<br />
Arranged by Susan, Countess oF MaLmEsBury, and<br />
Viotet Brooxe-Hunt. (Second Edition.) 74 x 6.<br />
374 pp. Murray. Is. n.<br />
<br />
SCIENCE,<br />
<br />
ScrENCE FROM AN Easy Cnarr.<br />
Sir Ray Lanxester, K.C.B. 7}<br />
6s. 6d. n.<br />
<br />
Tue STRUCTURE OF THE EARTH.<br />
Sc.D. 94 pp. Jack. 6d. n.<br />
<br />
A Second Series. By<br />
x 5. 412 pp. Adlard.<br />
<br />
By T. G. Bonney,<br />
<br />
‘ SPORT.<br />
Hunting In THE OxpEen Days. By W. 8. Drxon.<br />
10} x 7}. 386 pp. Constable. 21s. n.<br />
<br />
LirtLe GamMEs For Country HovszEs.<br />
7 x 5}. 38 pp. Humphreys. 1s. n.<br />
<br />
TECHNOLOGY.<br />
<br />
Somz Norrs on Booxs anp Printinc. A Guide for<br />
Authors, Publishers and others. By C. T. JAcoBI.<br />
9 x 53. 147 pp. (Fourth Edition.) The Chiswick<br />
<br />
Press. 6s. n.<br />
THEOLOGY.<br />
<br />
Tur Exrosiror’s TREASURY OF CHILDREN’S SERMONS.<br />
Edited by Sir W. Rosrrrson -Nicotz, LL.D., and<br />
Jane Sroppart. 114 x 8}. 782 pp. Hodder and -<br />
Stoughton. 20s. n.<br />
<br />
By Lapy BEtt.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a<br />
<br />
(hs<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Everycuitp. A _ Christmas<br />
Brapire. 7} x 4}.<br />
<br />
Morality. By<br />
<br />
46 pp. J. Clarke. ls. n.<br />
TOPOGRAPHY,<br />
<br />
LETCHWORTH (GARDEN City) AND Hitrcuin, Hertrorp-<br />
sHiRE. With their Surroundings. By W. Percrvau<br />
Westell, F.L.S. Illustrated. 7} x 5. 96 pp. Home-<br />
land Association. 2s. 6d. n.<br />
<br />
Highways aNd Byways In Somerset. By Epwarp<br />
Hurron. Illustrated by Netty Ericusen. 8 x 5}.<br />
419 pp. Macmillan. 5s. n.<br />
<br />
TRAVEL.<br />
<br />
Austria: Her Propie anp Tuer Homeranps. By<br />
J. Baxer, F.R.G.8. 9 x 53. 310 pp. Lane. 2ls. n.<br />
<br />
DoreEN Coastine. With some Account of the Places<br />
she saw and the People she encountered. Edited by<br />
Atys Lovuts. With 125 illustrations. 83 x 54. 294<br />
pp. Longmans. 10s. 6d. n.<br />
<br />
Monvumentat Java. By J. F. Scnerrema.<br />
302 pp. Macmillan. 12s. 6d. n.<br />
<br />
Nim<br />
<br />
8} x 5h.<br />
<br />
$+<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
E have much pleasure in reporting that<br />
Lord Curzon of Kedleston will preside<br />
at the next Annual Dinner of the<br />
Royal Literary Fund, which will take place at<br />
the Whitehall Rooms of the Hotel Metropole<br />
on Tuesday, May 27. It is wholly superfluous<br />
in these columns to state what useful work this<br />
Fund has done and how ably it has been<br />
administered. No doubt this year’s Chairman<br />
will gather round him a distinguished and<br />
generous list of supporters. The Society should<br />
take special interest because Lord Curzon has<br />
for many years been a member and on its<br />
‘Council. He was the guest of the evening at<br />
the dinner in May, 1906, when Sir Henry<br />
Bergne—that good and able friend of authors<br />
—was Chairman of the Committee of Manage-<br />
ment. We trust members will give the Fund<br />
their best support. :<br />
<br />
Messrs. George Allen & Co. have published a<br />
Book of Verse at the price of 5s. net, from the<br />
pen of William Avon. The poems deal with<br />
many subjects and are indicative of no little<br />
imagination and contemplation, and show con-<br />
‘siderable powers of rhythmical expression.<br />
<br />
At the same time we note another book of<br />
verse, “The Idyll and other Poems,” by<br />
E. Hamilton Moore, from the House of Andrew<br />
Melrose. Perhaps the most important work<br />
in this book are the Sonnet Sequences and<br />
‘Octosyllabics ; the latter are cleverly handled,<br />
ithough here and there they halt a little.<br />
<br />
Haroip<br />
<br />
105<br />
<br />
Count Plunkett, F.S.A., has been elected a<br />
Fellow of the Royal Geographical Society. An<br />
old traveller, he has traversed about 10,000<br />
miles of the New World, and has lived a good<br />
deal in France and Italy.<br />
<br />
Last month Mrs. Aubrey le Blond published<br />
a book entitled “* Old Gardens of Italy. How<br />
to Visit Them,” with Mr. John Lane. Mrs.<br />
le Blond, during a series of visits to Italy, has<br />
compiled a volume that garden lovers can<br />
carry with them, enabling them to decide<br />
which gardens are worth visiting and how they<br />
may be reached, and, where special permission<br />
is required to see them, how this may be<br />
obtained. The work is beautifully illustrated.<br />
<br />
The same publisher has produced a_ work<br />
by the author of ‘“ Coke of Norfolk.’ Mrs.<br />
A. M. W. Stirling. Her present volume is<br />
entitled “‘ The Letter Bag of Lady Elizabeth<br />
Spencer-Stanhope,”’ and is compiled from the<br />
muniments between the years 1805 and 1873.<br />
Lady Elizabeth Spencer-Stanhope was the<br />
daughter of the celebrated Coke of Norfolk,<br />
The letters give a good idea of the social and<br />
political life during nearly seventy years of<br />
the national history, and most of the celebrated<br />
men of the period are referred to and criticised.<br />
<br />
Mr. Henry Arthur Jones is about to col-<br />
lect his essays and lectures on the drama,<br />
written and delivered during the past<br />
fifteen years. He proposes to revise them and<br />
publish them this month in volume form with<br />
Messrs. Chapman & Hall under the title of<br />
“The Foundation of the National Drama.”<br />
<br />
Many books have been written about the<br />
Thames, from its source to its mouth, during<br />
many periods of its history. Mr. W. Culling<br />
Gaze has now produced a book, published by<br />
Messrs. Jarrold & Sons, entitled ‘‘ On and<br />
Along the Thames,” James I., 1603—1625.<br />
It is illustrated with old and curious plates.<br />
This period of the history of the Thames, we<br />
believe, has not as yet been dealt with.<br />
<br />
Messrs. G. Bell & Sons, Ltd., will issue early<br />
in the new year the 5th edition of ‘‘ Printing :<br />
A Practical Treatise on the Art of Typography,<br />
etc.,” by Mr. Chas. T. Jacobi of the Chiswick<br />
Press. It will be revised to date, and include<br />
the Examination Papers up to 1912 for H.M.<br />
Stationery Office and also the City and Guilds<br />
of London Institute. This volume is a recog-<br />
nised text book for students and others.<br />
<br />
Miss EK. Underdown is producing with Messrs<br />
Chas. Nelson & Sons, at the price of 5s., a book<br />
entitled ‘‘ The Gateway to Chaucer.’’ Readers<br />
interested in works dealing with the literary<br />
history of England will remember the series<br />
that Messrs. Nelson & Sons have published, two<br />
106<br />
<br />
volumes of which,‘ The Gateway to Romance”<br />
and ‘‘ The Gateway to Spencer,” have already<br />
been brought out, written by the same author.<br />
The work has some coloured and many black<br />
and white illustrations by Miss Anne Anderson.<br />
<br />
Uniform with the “Oxford Book of English<br />
Verse’ and the ** Oxford Book of Ballads,” the<br />
University Press have produced the * Oxford<br />
Book of Victorian Verse,” selections for<br />
which have been made by Sir A. Quiller Couch.<br />
Sir A. Quiller Couch’s position as Professor of<br />
Poetry entitles him to speak with authority on<br />
the subject, and we have nothing but praise for<br />
the matter contained in the selection. No<br />
anthology from the individual point of view<br />
will ever be perfect unless it is issued by the<br />
individual himself. The editor, in his preface,<br />
appears to realise this difficulty with regard<br />
to the production of the book. The print and<br />
paper are both excellent, and the price of 6s.<br />
is exceedingly moderate,<br />
<br />
Books on travel are becoming quite fashion-<br />
able. Some depend for their interest on the<br />
point of view of the individual, some on the<br />
districts which have been travelled, and some<br />
on the incidents that have occurred. “* Doreen<br />
Coasting,” by Alice Lowth, is written by one<br />
whose heart is in her wanderings. She opens<br />
with an apt quotation from Lavengro. The<br />
book is interesting and well illustrated, and is<br />
published by Messrs. Longmans, Green & Co.,<br />
at the price of 10s. 6d.<br />
<br />
The special Christmas number of the “ Book-<br />
man” isto hand. We desire to compliment<br />
the editor on his massive production, which<br />
is put on the market at the exceedingly<br />
cheap price of 2s. Every number of the<br />
periodical affords a useful catalogue and a use-<br />
ful comment for those who are interested in<br />
books and what they contain. The Christmas<br />
number is not only well got up, but affords<br />
sufficient information for a whole year. Those<br />
who are thinking of giving New Year’s presents<br />
and are in doubt as to what to buy in the way<br />
of literature, cannot do better than invest a<br />
modest 2s. and study the pages of this number.<br />
<br />
At Milton Hall, Manchester, a successful<br />
recital has been given by Mr. William Miles<br />
from the poetical works of Mr. Mackenzie Bell.<br />
The recital was largely attended and proved<br />
very popular.<br />
<br />
A poem against vivisection, entitled ‘‘ The<br />
Doctor’s Dog,’ by Richard Dailley, has been<br />
published. by Messrs. George Allen & Co.<br />
The author states in his preface as follows :-—<br />
‘ We have endeavoured, by a few light touches<br />
of humour and pathos, to soften somewhat the<br />
realism of the grim book of canine tragedy and<br />
<br />
THE AUTHOR.<br />
<br />
devotion.’ The work should appeal to all<br />
lovers of animals.<br />
<br />
A new travel work entitled “‘ Half Hours in<br />
the Levant,” by Archibald B. Spens, will be<br />
published shortly by Messrs. Stanley Paul &<br />
Co. In this volume the author gives his im-<br />
pressions of the people and cities of the near<br />
East, and supplements his pen pictures with<br />
many interesting photographs of the various<br />
places visited by him.<br />
<br />
Mr. W. L. George will produce his new novel<br />
on January 15 with Messrs. Constable & Co. in<br />
London and Messrs. Dodd, Mead & Co. in New<br />
York. The title will be ‘‘ Israel Kalisch.” It<br />
can be described as a study of the anarchical<br />
temperament and of its various facets. It deals<br />
with the Jewish character and that of the<br />
foreign Jew in particular.<br />
<br />
Mr. J. E. Patterson will produce a new<br />
political novel towards the end of the month<br />
entitled ‘‘ The Romance of Stephen Compton.”<br />
The story begins among the mills of Lancashire,<br />
where the hero, who is a cripple, lives and<br />
works. He invents an improved spinner which<br />
finally proves a great success. Joining a<br />
democratic association he shows himself to be<br />
a famous orator, and completes his political<br />
career by becoming Prime Minister. The story<br />
deals with political questions bearing upon the<br />
industrial and commercial life. It will be<br />
published by Mr. W. Heinemann.<br />
<br />
Dr. Harold Ford has issued through Elliot<br />
Stock the 11th edition of his “ Art of Extempore<br />
Speaking.”<br />
<br />
Mr. Algernon E. Aspinall, who is well known<br />
by his books—‘‘ A Pocket Guide to the West<br />
Indies ” and ‘“‘ The British West Indies ; their<br />
History, Resources and Progress “—as an.<br />
authority on the West Indies, has published<br />
another book dealing with the same country<br />
entitled, ‘‘ West Indian Tales of Old.” The<br />
following are some of its contents: “ The Fate<br />
of Governor Park,” “ The Siege of Brimstone<br />
Hill,” ‘‘ The Battle of the Saints.” The work<br />
is published by Messrs. Duckworth & Co., at<br />
the price of 5s. net.<br />
<br />
Messrs. Chapman & Hall will publish early<br />
in the year a new novel entitled “* Let Them<br />
Say!” by Frances Hammond. The heroine, a<br />
high-spirited and independent young woman,<br />
early in life acquires, quite innocently, a<br />
‘‘ reputation.” How this is made use of by<br />
an enemy, how Allegra vindicates herself,<br />
incidentally ledrns that convention has its<br />
value, and finally settles down normally and<br />
happily, forms the subject of the book.<br />
<br />
M. Sylvestre’s new novel, “ The Light-<br />
bearers,” published by John Long, Ltd;<br />
<br />
<br />
<br />
i<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
portrays the tragedy arising out of modern<br />
social conditions, the terrible supply created<br />
by the demand of the civilisation of the<br />
twentieth century, by the scapegoats who, in<br />
all ages, inevitably suffer for the sins of the<br />
community.<br />
<br />
Mr. Andrew Melrose announces that Miss<br />
Mary Cholmondeley, Mr. Joseph Conrad, and<br />
Mr. W. J. Locke have agreed to act as adjudi-<br />
cators in his Fourth 250 Guineas Prize Novel<br />
Competition. All inquiries by intending com-<br />
petitors should be sent to The Literary Agency<br />
of London, 5, Henrietta Street, W.C., which<br />
is, as usual, acting for Mr. Melrose in this<br />
matter.<br />
<br />
DraMATIC.<br />
<br />
Last month a four-act comedy dealing with<br />
Warwickshire life, entitled ‘‘ The Devil and the<br />
Hindmost,” from the pen of Mr. Harold<br />
Cantrill, was produced at the Moseley and<br />
Balsall Heath Institute.<br />
<br />
Mr. MacDonald Hastings produced a play<br />
entitled ‘“ The Tide ’’ at the Queen’s Theatre<br />
on December 14. The play, though full of<br />
strong situations, seems to have missed its<br />
mark in a struggle for an excess of cleverness.<br />
It was, however, favourably received. Miss<br />
Ethel Warwick took the part of leading lady,<br />
Mr. Shiel Barry, Mr. Norman Trevor and Miss<br />
Cicely Hamilton were also in the caste.<br />
<br />
Miss M. E. H. Tyrwhitt Drake (M. Sylvestre),<br />
who wrote the play “ Sir Francis Drake ”’ some<br />
two years ago, and which was copyrighted<br />
before the production of ‘‘ Drake” at His<br />
Majesty’s, has heard from South Africa, from<br />
Mr. Charles Howitt, securing it for production<br />
in that country. Mr. Howitt read her play<br />
when he was over here recently in search of<br />
plays for his tour, which extends from the Cape<br />
to the Zambesi. Miss T. Drake had the assist-<br />
ance of Mr. Forbes Dawson in the recon-<br />
struction of her work.<br />
<br />
At the Little Theatre, the Pioneer Players<br />
produced a triple bill on December 15, including<br />
** Beastie ’’ by Hugh de Selincourt, and ‘* The<br />
Thumb Screw” by Mrs. Alfred Lyttelton.<br />
The first mentioned deals with a young<br />
married couple who are engaging a nurse for<br />
their first-born. The nurse turns out to be a<br />
person with whom the husband had _ been<br />
acquainted before his marriage ; in fact, the<br />
daughter of his landlady at Oxford. The<br />
complications are satisfactorily unravelled in a<br />
pleasant manner. Mrs. Alfred Lyttelton’s<br />
play deals with an economic problem. Though<br />
<br />
107<br />
<br />
too long for the subject-matter it was acted<br />
with considerable strength.<br />
<br />
eee ee eg<br />
<br />
PARIS NOTES.<br />
<br />
+4<br />
<br />
rY\HE prize awarded annually by the<br />
<br />
Goncourt Academy was attributed to<br />
<br />
M. André Savignon for his book<br />
** Filles de la Pluie, Scénes de la Vie Ouessan-<br />
tine.”” Another book obtained the same number<br />
of votes, but, as the vote of the president<br />
counted double, M. Savignon carried off the<br />
prize. The title of the other book is ‘“ L’Or-<br />
dination,”’ and its author is M. Julien Benda.<br />
Fortunately for the latter, the close competi-<br />
tion has caused everyone to read the two<br />
volumes, in order to judge which really seems<br />
more deserving of the prize.<br />
<br />
The annual prize of the “ Vie Heureuse ”’<br />
has been awarded to Jacques Morel for the<br />
novel ‘‘Feuilles Mortes,’” an admirable<br />
psychological study.<br />
<br />
** Les Fabrecé,”’ by Paul Margueritte, is an<br />
excellent story, based on the idea of the<br />
necessity of solidarity in family life. The<br />
head of the family is a man of fine character.<br />
The author shows us all the difficulties of a<br />
large family, insists on the distinct indivi-<br />
duality of each member and, at the same time,<br />
gives us an example of the union of the little<br />
family of which he writes, and of the loyalty of<br />
the children to their parents.<br />
<br />
** Madeleine au Miroir,’ by Marcelle Tinayre.<br />
This book is not a novel, it is a volume of<br />
souvenirs, of shrewd reflections and of keen<br />
observation by a woman with a fund of<br />
common. sense, who is no longer young. The<br />
titles of some of the chapters give a good idea<br />
of the book: Madeleine au Miroir, La Mére et<br />
le fils, Le Bonheur des autres, La Féte du<br />
Souvenir, Entre Femmes, Pour etre Belles,<br />
L’Amitié, Le Passé, Ne disons pas de mal des<br />
Hommes, Les Femmes et la Littérature, La<br />
peur de souffrir, Les Enfants. There are in<br />
all some thirty-eight chapters, all connected,<br />
in a Way, one with the other.<br />
<br />
“Le Nouvel Homme,” by Michel Epuy, is a<br />
curious novel. It is the story of a man with<br />
ideas in advance of his surroundings and of his<br />
epoch. He is born in the home of a Protestant<br />
pastor, of the most rigid and narrow-minded<br />
type. The boy leaves home and follows what<br />
he feels to be his vocation. The book is a<br />
serious one and thoroughly sincere.<br />
108<br />
<br />
** Mini Lalouet,’”’ by Jean-Pierre Porret, is<br />
an extremely realistic and well-told story. It<br />
is the history of a girl in humble life, a good-<br />
natured, irresponsible girl, who, through lack<br />
of sympathy and affection at home, decides to<br />
go her own way, along the paths that seem the<br />
most pleasant. All the characters in the novel<br />
are well drawn, and all of them are very living.<br />
Mini Lalouet does not appear to be troubled<br />
with a conscience. She is just a_ pretty,<br />
amusing, badly-educated girl, determined to<br />
get the most she can out of life, and not in the<br />
least scrupulous about the means she takes to<br />
that end.<br />
<br />
Among the novels translated from the<br />
English are ** Les Gardiens de la Flamme,” by<br />
W. B. Maxwell, and ‘“‘ Roses d’Automne,” by<br />
E. F. Benson.<br />
<br />
“In the Year of Jubilee,” by George<br />
Gissing, has also been translated, and will<br />
probably appear soon as a serial.<br />
<br />
“Gens de Guerre au Maroc,” by Emile<br />
Nolly, is a book well worth reading. The<br />
author has succeeded in giving the atmosphere<br />
of the places he describes in a most remarkable<br />
way. Every page is full of life, and we are<br />
introduced to the natives of the country and<br />
to the French soldiers out there in such a way<br />
that we seem to have accompanied the author<br />
on his voyage.<br />
<br />
“Le Prince Impérial (Souvenirs et Docu-<br />
ments), by Augustin Filon. No one could<br />
have had a better opportunity for writing a<br />
book on this subject than M. Filon, who was<br />
the tutor of the young prince. He tells us of<br />
the early life and education of his charge, of<br />
his sojourn in England and his departure for<br />
Africa, ending with his tragic death in Zulu-<br />
land. The volume is illustrated.<br />
<br />
** Rosette ou lamoureuse Conspiration,” by<br />
Funck-Brentano and A. de Lorde, is a lively<br />
and interesting story of the time of the Regency.<br />
<br />
“La Chronique de nos jours,” by Ernest<br />
Daudet. This is a volume of articles on the<br />
most varied subjects imaginable. Most, if<br />
not all, of these articles have been published<br />
separately, but will be read again with pleasure.<br />
There are interesting studies of Gambetta,<br />
Bismarck, Casimier-Perier, the Queen of Spain,<br />
Marie Christine, Goncourt, Saint-Beuve, etc.<br />
<br />
“Les Embarras d’Allemagne,’’ by George<br />
Blondel, is a volume that will be read with<br />
profit. The titles of some of the chapters will<br />
give an idea of the subjects treated: La Con-<br />
stitution impériale et ses imperfections, Les<br />
Embarras financiers, Les Divisions des Partis,<br />
Difficultés économiques, Le Malaise des Popu-<br />
lations rurales, La Poussée socialiste, Les<br />
<br />
THE AUTHOR.<br />
<br />
Préoccupations des Moralistes, Pologne et<br />
Alsace, Préoccupations exterieures,<br />
<br />
** Bleus, Blanes et Rouges, Recits d’Histoire<br />
Révolutionnaire,”’ is another of the welcome<br />
volumes by G. Lenotre. Among the subjects<br />
he treats are Le Mariage de M. de Bréchard,<br />
L’Abbé Jumel; Mademoiselle de Chauviniére<br />
and Angélique des Melliers.<br />
<br />
“Les Moeurs du Temps,” by Alfred Capus.<br />
No writer is better qualified to give us his<br />
impressions of the habits and customs of the<br />
times in which we live than the genial drama-<br />
tist whose keynote is optimism. He is a<br />
shrewd observer, and he has the courage of his<br />
opinions. He does not spare his irony or his<br />
blame, but he has the saving good humour<br />
peculiar to the true Frenchman, so that there<br />
is nothing depressing in the volume, in spite of<br />
the many abuses he exposes and the criticisms<br />
he gives freely.<br />
<br />
M. Frédéric Masson has written a book<br />
which will render great service, as it seems to<br />
be the first work of the kind. It is a com-<br />
prehensive history of the Académie Frangaise<br />
from the year 1629 to 1794.<br />
<br />
In his lectures on Human Geography at the<br />
College of France, M. Jean Brunhes is now<br />
taking Bosnia Herzegovina as an object lesson,<br />
with a series of lantern slides to illustrate his<br />
theories. M. Brunhes has recently returned<br />
from a visit to the Balkan Peninsula, so that<br />
his lectures are extremely interesting.<br />
<br />
‘La Femme seule ” is the title of the three-<br />
act comedy by M. Eugéne Brieux, now being<br />
played at the Gymnase. It is by no neams a<br />
piece to gladden the hearts of the suffragetists<br />
<br />
At the Odéon, M. Antoine is giving M. Vedel’s<br />
translation of Goethe’s “‘ Faust,’ with musical<br />
adaptations by M. Florent Schmitt.<br />
<br />
M. Henry Bataille’s three-act play, ‘‘ Les<br />
Flambeaux,” is being given at the Porte St.<br />
Martin.<br />
<br />
Madame Sarah Bernhardt is giving ‘“ Kis-<br />
met ”’ at her theatre.<br />
<br />
Atys HaALbarp.<br />
<br />
<br />
<br />
“ Filles de la Pluie” (Emile Paul).<br />
‘ Feuilles Mortes ” (Hachette).<br />
“ Les Fabrecé ” (Plon).<br />
“Madeleine au Miroir ” (Calmann-Lévy).<br />
“Le Nouvel Homme ” (Payot).<br />
“Mini Lalouet ” (Payot).<br />
“Les Gardiens de la Flamme” (Calmann-Lévy).<br />
“Gens de Guerre au Maroc ” (Calmann-Lévy).<br />
“Le Prince Impérial (Souvenirs et Documents)”<br />
(Hachette).<br />
‘“ Rosette ou l’amoureuse Conspiration ” (Plon).<br />
“ Bleus. Blanes et Rouges, Recits d'Histoire Révolu-<br />
tionnaire ” (Perrin).<br />
“Les Moeurs du Temps” (Grasset).<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
THE COLONIAL BOOK TRADE.<br />
<br />
ss<br />
Tue Book Marker IN CANADA.<br />
<br />
NE is frequently asked why the<br />
Dominion is not a more lucrative field<br />
for British publishers, and a suggestion<br />
<br />
has often been made, and is being continually<br />
reiterated, that were the British publisher to<br />
make a greater effort the result would be sure<br />
to show. If Canada were, say, as near to<br />
London as is France, its English speaking<br />
people would make a very acceptable extra<br />
five or six million feeders to the London<br />
market and London book-travellers. Cana-<br />
dians would then be English, pure and simple.<br />
They would read reviews of British books on<br />
their journey to town of a morning, and the<br />
latest sevenpenny shocker or shilling educator<br />
on their return in the evening. Their tastes<br />
would be British, their wives probably<br />
daughters or grand-daughters of Britons, they<br />
would be in close touch with the habits, tastes<br />
and customs of Britons, and would recognise<br />
the allusions to British politics and understand<br />
British slang and everyday expressions. They<br />
would be familiar with the heft of a book<br />
printed on English feather-weight, esparto<br />
paper, and would not know that the backs<br />
broke or the covers warped when subjected to<br />
a different climate. In the illustrations they<br />
would recognise a people with whom they<br />
were acquainted in an environment such as<br />
they had often visited on trips either of<br />
business or pleasure. Let us now bodily<br />
transport this across-the-Channel-Canada to a<br />
continent, the nearest point of which shall be<br />
3,000 miles from Land’s End, and remember<br />
that in the ages necessary for making this<br />
change of locality the people will not be able<br />
torun over to London for Easter and Whitsun-<br />
tide, they will indeed largely forget the holiday<br />
instinct, they will have to be self-sustaining<br />
from their own land, and it will be a land that<br />
is not blessed with a climate resulting from an<br />
ever-running Gulf Stream. They will have no<br />
time or money to ride to hounds for instance.<br />
Even if they had, the necessity of demarking<br />
their boundaries with wire instead of haw-<br />
thorn would effectually prevent a continuance<br />
of the sport, not to mention an array of ‘‘ em-<br />
battled farmers’ with shot guns determined<br />
to protect their growing crops. This illustra-<br />
tion alone, perhaps, will show how in the<br />
course of time a fox-hunting novel, while<br />
interesting to a few Canadian readers, will not<br />
be convincing to the many.<br />
<br />
109<br />
<br />
Let us imagine this Canada now firmly<br />
planted on the northern half of this new<br />
continent and separated only by an imaginary<br />
line from a very prosperous country containing<br />
a population twelve times as numerous. Let<br />
us remember that this line is so imaginary that<br />
on its 8,000 miles of length at one time and<br />
another there have been most bitter contro-<br />
versies as to just where it shall and does run.<br />
It is so imaginary that the young people from<br />
the north, in times of stress, poured over<br />
without hindrance to the south, and moneyed<br />
men from the south poured over to the north<br />
later on with money to exploit the natural<br />
riches of the country, or others to take up free<br />
land for farming after their own was used up<br />
or became too expensive to buy.<br />
<br />
The younger men of both nations very pro-<br />
bably married each other’s sisters and, speaking<br />
of the case of Canadians in the States, it is only<br />
natural that they should adopt the manners<br />
and customs of the country of their adoption.<br />
These expatriated Canadians wrote home of<br />
their life in the States, they sent papers, they<br />
came home to visit with their pockets and bags<br />
full of American magazines that they read on<br />
the train. In a thousand ways the continual<br />
intercourse of two peoples who are ever joining<br />
hands, even if only in business, will be bound<br />
to tend toward making them similarly minded.<br />
The climate demands that Canadians shall<br />
dress much the same as Americans. The<br />
American fashion-plates set the style for<br />
ninety million people and, since the clothing<br />
of Englishmen is not suited as a rule to<br />
Canadian needs, it is perfectly natural that the<br />
Canadian shall take the American style as the<br />
basis of his own and cut his cloth accordingly.<br />
Therefore, we see young Canada often making<br />
himself absurd in the ultra padded shoulders<br />
and the ridiculous trousers of the American,<br />
not because that particular fashion is better<br />
suited to Canadian climatie conditions than<br />
clothes of an English cut, but because as a<br />
general rule all the necessities of life, clothes<br />
and food, and everything else are alike both<br />
sides of the line, and for both countries<br />
better suited than what best fits the<br />
Englishman.<br />
<br />
What is true in bodily necessities is also true<br />
as to the mental pabulum of the two North<br />
American peoples. The United States is rich<br />
in ephemeral literature—the illustrated daily,<br />
the weekly farm paper, which tells how best to<br />
grow crops in the western continent, the<br />
monthly magazines, which expose trusts opera-<br />
ting in both countries, which tell in the most<br />
attractive manner stories of a daily life known<br />
110<br />
<br />
equally well to the readers of both nations,<br />
their pages embellished with portraits of<br />
actors, and more especially actresses, who are<br />
to be seen successively in New York, Boston,<br />
Montreal, Toronto, Buffalo, Chicago, and<br />
Winnipeg. What shall we say of the many<br />
“Home” journals? ‘The foot that rocks<br />
the cradle rules the world.” To mix meta-<br />
phors—while one foot is rocking the cradle the<br />
other is reading how to clothe the mite in the<br />
eradle or the older boys and girls who, the<br />
full-page advertisements assert, should be<br />
habited like the grown up little American<br />
people in the fashion section, or should be fed<br />
on Somebody’s Oats or puffed rice, or shredded<br />
corn, or some other everyday commodity<br />
packed in a jar or bottle or a carton by some<br />
large American advertiser with a be-sure-you-<br />
ask-for-and-insist-on-getting tag on every ad-<br />
vertisement, which in the long run means the<br />
adoption of that article in thousands of<br />
Canadian households, and therefore food shops.<br />
<br />
It may be said that this has nothing to do<br />
with the book market in Canada. Perhaps<br />
not directly, but it is used here to illustrate the<br />
argument that it is only natural that for every-<br />
thing mental and physical the smaller people<br />
will go for supplies to their larger and, more-<br />
over, next-door neighbour. Let us grant,<br />
then, that food and clothing are not germane<br />
to the subject of this article, and let us examine<br />
particularly the American novel in its attrac-<br />
tion to Canadian readers. We have seen that<br />
in fashions of habiliment there is in Canadians<br />
a distinct leaning towards those of the United<br />
States. This is also true in house furnishing,<br />
and none the less true in the raiment of books.<br />
The American publisher knows his public, and<br />
gives it a novel in a cover embellished with as<br />
much colour and gold as the cost of manufac-<br />
ture and the royalty will stand. The book is<br />
wrapped in a jacket generally with a design<br />
wholly different from that stamped on the<br />
cover. It is more often than not a three-<br />
colour reproduction of a painting specially<br />
drawn by a high-priced, well-known artist.<br />
Very often the engaging young female on the<br />
jacket is so little like the heroine inside the<br />
book, as one conceives her to be, that the effect<br />
is ludicrous; nevertheless the jacket was<br />
intended to sell the book and, having accom-<br />
plished its end, if the story is entertaining the<br />
incongruity of the “ bait ”’ is forgotten or over-<br />
looked. This bright-coloured jacket performs<br />
another very inportant function. In Canada,<br />
as in the States, novels are sold, not lent, and<br />
the picture jacket is an invaluable aid to the<br />
bookseller in dressing his window and to him<br />
<br />
THE AUTHOR.<br />
<br />
and the department stores in making counter<br />
displays. The publisher often lends a quantity<br />
of books for this purpose. To be sure the<br />
number of public libraries is increasing, but<br />
what goes to the libraries is an inconsiderable<br />
factor compared with the quantity purchased<br />
by individuals. As long as the book is a “‘ new<br />
novel,” it lies about the house in its jacket<br />
until a newer one takes its place, at which time<br />
the jacket is removed and the book takes its<br />
place in the bookcase, its bright cloth and<br />
decorative design lending a brightness to the<br />
room.<br />
<br />
All this is written not at all with the idea of<br />
urging the universal adoption of American book<br />
fashions, but merely to show what has obtained,<br />
and does obtain, notwithstanding the expressed<br />
determination of many American publishers<br />
from time to time to break away from the<br />
fashion. The difficulty of “* belling the cat”<br />
may be overcome eventually through the ever-<br />
increasing cost of manufacture and the ‘reduc-<br />
tion in the retail price of the book. In Great<br />
Britain, where the sale of a novel to individuals<br />
is insignificant, the jacket is an unnecessary<br />
expense, and the cover cloth must be of sombre<br />
hue to hide the result of much library handling,<br />
which would be fatal to its gaudy American<br />
cousin. As a rule an English novel is bought<br />
<br />
by a Canadian publisher in sheets, and either<br />
in London or Toronto put into a cover and<br />
<br />
jacket which shall make it as “ attractive,”<br />
<br />
from the travellers’ and booksellers’ point of<br />
view as the American ones in the salesman’s<br />
sample trunk.<br />
<br />
Probably enough has been said about the<br />
competition from American authors and pub-<br />
lishers, and it might not be out of place to<br />
analyse the British novel as a whole and see<br />
why it often fails to appeal to the Canadian<br />
reader. Aside from the ignorance of conditions<br />
of life in the old land, and one might say often<br />
his lack of interest in it, the Canadian finds<br />
himself frequently unable to pick his way<br />
through long political or theological discussions<br />
or allusions to either subject in English novels,<br />
which arg bound to take the edge off his<br />
interest. Some of the reasons for the failure of<br />
English books to “‘ take ’’ in Canada are very<br />
subtle. For instance, a publisher of medical<br />
books in London recently inquired why it was<br />
impossible to sell in Canada a very important<br />
work just published in England. He should<br />
surely have learned before publication, and not<br />
afterwards, that while in England the Pharma-<br />
copeeia used is Greek, in Canada doctors and<br />
chemists use the American Pharmacopceia,<br />
which is Latin.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
In Canadian schools the grading is quite<br />
similar to that in the United States, and quite<br />
unlike that in English schools, consequently,<br />
except for mathematics, it is the American<br />
book or model that is chosen and used. Even<br />
in mathematics the examples in sterling have<br />
to be changed for use in Canadian schools. Of<br />
late, many English writers of fiction have<br />
brought their characters over to Canada and<br />
have made a sorry mess of their local colour.<br />
The newspaper reviewers never fail to pick out<br />
such flaws, and generally the book suffers in<br />
~ consequence. Not long ago a boy’s book from<br />
an English pen was brought to the present<br />
writer’s attention in which a lad living on the<br />
shores of Lake Erie went in his birch-bark canoe<br />
to visit his cousin at Three Rivers, Quebec.<br />
He traversed some wild and unfrequented<br />
“ river,’ and on the second morning found his<br />
cousin waiting him on “the dock.” To<br />
traverse Lakes Erie and Ontario and the St.<br />
Lawrence River for many hundreds of miles<br />
in a canoe of any sort would be utterly impos-<br />
sible and would take several times as many<br />
weeks to accomplish as he took days, even were<br />
the trip possible. This is, of course, an extreme<br />
case, but many an English writer who should<br />
know better has been guilty of quite avoidable<br />
errors in Canadian geography and_ collo-<br />
quialisms. On the other hand, while an<br />
American writer makes his young Harvard<br />
Apollos enter unbidden into the private apart-<br />
ments of European sovereigns and perform<br />
impossible feats in rescuing distressed<br />
daughters of New York millionaires, in writing<br />
of Canada he would probably be correct in his<br />
geography and habits of the people.<br />
<br />
All the foregoing is not written with any<br />
unkindly feeling nor in a captious mood.<br />
What he has written is the result of the English-<br />
born writer’s seven years’ experience as a pub-<br />
lisher in Canada, preceded by some years in the<br />
States. It is much to be regretted that a<br />
closer personal bond does not exist between<br />
Great Britain and her eldest daughter. As for<br />
affection and loyalty and the patriotism of<br />
Empire, the result of the election a year ago<br />
showed that politically Canada wishes always<br />
to remain British, but as when in Rome you do<br />
as do the Romans, so in North America, despite<br />
the difference in the oath of allegiance, you eat<br />
and clothe yourself and very largely do your<br />
reading after the manners of the North<br />
Americans.<br />
<br />
Can the Canadian market for English novels<br />
be fostered by printing in Canada? No. The<br />
sale for any one book is se small that it would<br />
not, it could not, pay — .t is doubtful if more<br />
<br />
<br />
<br />
pe<br />
<br />
than one or two novels, either English or<br />
American, are printed in Canada in any one<br />
year. In this lies the absurdity of the present<br />
attempt on the part of Canadian printers to<br />
enact copyright legislation containing a manu-<br />
facturing clause. It would not mean any more<br />
work for the printer unless, forsooth, a pirate<br />
could appropriate a popular writer’s work, and<br />
by evading the payment of royalty make pub-<br />
lication profitable.<br />
<br />
This smallness of population in Canada is a<br />
hardship to many a native writer as well as to<br />
those in Britain. Not infrequently a manu-<br />
script is offered to a Canadian publisher which<br />
is in every way excellent, but of so local an<br />
interest that it would not pay a publisher in<br />
London or New York to produce it or even take<br />
a fair quantity if produced in Canada, and so<br />
many a Canadian writer’s name will never be<br />
known, and much of the home life and history<br />
of the earlier settlers will be lost for ever, which<br />
might otherwise be preserved in the form of<br />
fiction. Whenever an exceptional Canadian<br />
story is published in Canada it is fairly sure of<br />
an encouraging sale, but it has to be a good one<br />
to persuade the publisher to produce it for the<br />
present very small population and native read-<br />
ing public.<br />
<br />
a ee<br />
<br />
COPYRIGHT BETWEEN GREAT BRITAIN<br />
AND THE UNITED STATES.<br />
<br />
6<br />
COUNSEL’S OPINION.<br />
<br />
NERTAIN questions were referred to the<br />
Cc Society of Authors from a correspondent<br />
in America relating to the position of the<br />
United States and Great Britain in copyright<br />
matters. Accordingly, on the instructions of<br />
the Committee of Management, a case for<br />
counsel was drafted, setting out the circum-<br />
stances and putting before him the following<br />
questions :—<br />
<br />
1. Is the proclamation of the President nulli-<br />
fied by the Act of 1911 ?<br />
<br />
2. If it is not nullified, is it essential, before<br />
an American author can obtain copy-<br />
right in the United Kingdom, that an<br />
Order in Council should be issued by<br />
His Majesty’s Government under<br />
section 29?<br />
<br />
3. Supposing the property of the United<br />
States citizen is insecure under the<br />
present circumstances, or, conversely,<br />
the property of the English author is<br />
insecure in the United States, what<br />
<br />
<br />
course does counsel advise the commit-<br />
tee to adopt in order to have the matter<br />
settled on a proper international basis ?<br />
<br />
4. Does counsel consider that an American<br />
author immediately on writing a book<br />
or a play loses his copyright in Great<br />
Britain ?<br />
<br />
5. If the American dramatic author does not<br />
lose his copyright, would it be essential<br />
for him, in order to retain his performing<br />
rights in Great Britain, immediately on<br />
the performance of the work in America<br />
to publish the work in book form in<br />
England and America ?<br />
<br />
6. If there is danger that the American<br />
author will, through lack of reciprocity,<br />
lose his copyright in Great Britain<br />
in either of the above cases, what steps<br />
would counsel advise the committee of<br />
the Society to take in order to set<br />
matters on an even basis ?<br />
<br />
to which counsel replied as follows :-—<br />
<br />
1. and 2. Only in the case of unpublished<br />
works. In the case of published works<br />
the Order is not necessary where there<br />
is first or ‘* simultaneous publication ”<br />
in the United Kingdom.<br />
<br />
8. See opinion.<br />
<br />
4, No, he has got an inchoate right which is<br />
only lost by a first ‘‘ publication ”’ out-<br />
side the British dominions.<br />
<br />
5. No; public performance is not an abandon-<br />
ment of his inchoate right.<br />
<br />
6. See opinion.<br />
<br />
UniTED STATES AND GREAT Britain Copy-<br />
RIGHT RELATIONS.<br />
<br />
Under the Copyright Act, 1911, a United<br />
States citizen cannot (in the absence of an<br />
Order in Council under section 29 relating to<br />
the United States) claim copyright, within the<br />
British dominions to which the Act applies, in<br />
respect of any unpublished work unless he was<br />
resident within the British dominions at the<br />
date when the work was made. Publication<br />
means issuing copies of the work to the public<br />
and does not include public performance. A<br />
dramatic work in manuscript or typewritten<br />
performed in public, but not printed or pub-<br />
lished, is accordingly an unpublished work. If<br />
any work is first published within the British<br />
dominions it acquires copyright irrespective of<br />
the nationality of the author. It is with regard<br />
therefore to unpublished works only that the<br />
American authors do not obtain precisely the<br />
same privileges as British authors.<br />
<br />
It is suggested, however, that this is a serious<br />
matter; that a large percentage of valuable<br />
<br />
THE AUTHOR.<br />
<br />
works produced in America are never published,<br />
such as dramatic pieces, speeches, sermons, ete.,<br />
and that with regard to these the American<br />
author is unprotected in the British dominions,<br />
although the British author is fully protected<br />
in the United States both by common law and<br />
statute.<br />
<br />
The most important of these unpublished<br />
works are dramatic works, and the exact<br />
position of a dramatic work of an American<br />
citizen in this country seems to be as follows :—<br />
<br />
British copyright in the work is not lost.<br />
irretrievably by reason of public performance<br />
either in America or England or both countries.<br />
On the other hand, copyright is not acquired<br />
until the work is published as a book within the<br />
British dominions to which the Act applies.<br />
During the intervening period it is true there is<br />
no statutory copyright or common law right of<br />
property, but, on the other hand, any reproduc-<br />
tion of the work which constitutes or involves<br />
a breach of contract, trust or confidence, may be<br />
restrained.<br />
<br />
The cases of Abernethy v. Hutchinson (1825),<br />
3 L. J. (O.S.) Ch. 209, and Caird v. Sime (1887),<br />
12 A. C. 326, and others, show that even<br />
although there is no common law right of pro-<br />
perty in an unpublished work, yet if there is a<br />
contract between author and audience that the<br />
latter come for instruction or amusement only,<br />
and must not reproduce the work elsewhere,<br />
such reproduction can be restrained either on<br />
the ground of breach of contract or of procuring<br />
or being privy to a breach of contract. Aber-<br />
nethy v. Hutchinson is some authority for the<br />
view that such a contract may be implied from<br />
the mere admittance of the audience upon pay-<br />
ment of the entrance money. But however<br />
that may be, there would be no difficulty, by<br />
means of a printed notice on play-bills and<br />
tickets of admission, in establishing a contract<br />
between the owner of the play and each mem-<br />
ber of the audience, which would be quite<br />
effective to preserve intact the owners’ rights<br />
in the British dominions until such time as he<br />
might elect to publish the work in print. It<br />
would be practically impossible for any person<br />
reproducing the play without authority to<br />
plead ignorance of the terms upon which the<br />
owner of the play permits it to be represented<br />
on the stage. Similar precautions can be taken<br />
in the case of cinematograph rights, which<br />
should be controlled by the owner of the play.<br />
That is to say, cinematograph rights should not<br />
be sold outright, but should be the subject of<br />
licences, and the films should not be sold to the<br />
cinematheatres, but lent on ahiring agreement.<br />
<br />
It may be observed that copyright perform-<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
~ «= ance in the British dominions is no longer neces-<br />
+s sary. Thus the American dramatist can<br />
<br />
, produce his play in America without troubling<br />
.J© about simultaneous production in this country.<br />
<br />
If instead of relying upon contract the<br />
+ American dramatist desires to obtain full<br />
‘Je statutory protection in the British dominions<br />
= and to obtain the benefit of summary remedies<br />
<br />
he can do so at any time, notwithstanding<br />
4 that the play has already been publicly<br />
oq performed both in America and England, by<br />
_¢ publishing the printed play in the British<br />
5 dominions. It is not necessary to print the<br />
-»» work both in America and England. The<br />
4 English law does not require printing here, and<br />
} the American law does not require printing in<br />
. America. Hervieu and J. S. Ogilvie Publish-<br />
-1t ing Co., Am. Pub. Weekly, April 3, 1909,<br />
<br />
/ 169 Fed. Rep. 978. See also “‘ Instructions for<br />
2 securing Copyright, etc.,”’ issued by the Copy-<br />
right Office, ‘‘ Dramas No. 5a.” “The law<br />
does not require that the drama be printed in<br />
the United States.””’ The American dramatist<br />
has, therefore, his choice to print in America or<br />
England, whichever may be cheaper.<br />
<br />
Another effective way of securing full rights<br />
in England which would avoid any risk of<br />
imperilling cinematograph rights in America is<br />
for the author in the first instance to write his<br />
; plot in the form of a novelette or amplified<br />
scenario. An edition of this could be printed<br />
*4 and published at very small cost. I believe that<br />
“1 this is now done systematically in the case<br />
»> of original cinematograph dramas. A periodical<br />
j is published weekly, and a large number of plays<br />
- are included in each issue. The cost in respect<br />
> ofeach one is infinitesimal. After this publica-<br />
“1f tion the complete drama based on the scenario<br />
<br />
i is produced. It is unnecessary to copyright<br />
»! the drama separately in England, because no<br />
‘> one can represent the drama without infringing<br />
the copyright in the scenario. The author’s<br />
»*< rights are also fully preserved in America, where<br />
4) there will be a double copyright in published<br />
“2 scenario and unpublished play.<br />
<br />
It seems to me, therefore, notwithstanding<br />
-| the exclusion of an unpublished work of an<br />
/. American citizen from statutory protection<br />
«4 under the Copyright Act, 1911, that American<br />
1s authors are in fact effectively protected in<br />
1 respect of such unpublished works.<br />
The American Act, 1909, section 8, provides<br />
“‘ that the copyright secured by this Act shall<br />
» extend to the work of an author or proprietor<br />
“| who is a citizen or subject of a foreign state or<br />
re nation only.<br />
<br />
**(a) When an alien author or proprietor<br />
<br />
shall be domiciled within the United States<br />
<br />
Pr din Sete eh tN<br />
<br />
fee joes om<br />
<br />
<br />
<br />
113<br />
<br />
at the time of the first publication of his<br />
work.<br />
<br />
*“(b) When the foreign state or nation of which<br />
such author or proprietor is a citizen or subject<br />
grants, either by treaty, convention, agreement,<br />
or law, to citizens of the United States, the<br />
benefit of copyright on substantially the same<br />
basis as to its own citizens, or copyright pro-<br />
tection substantially equal to the protection<br />
secured to such foreign author under this Act<br />
or bytreaty. .. .<br />
<br />
** The existence of the reciprocal conditions<br />
aforesaid shall be determined by the President<br />
of the United States by proclamation made<br />
from time to time as the purposes of this Act<br />
may require.”<br />
<br />
A proclamation was made on April 9, 1910,<br />
whereby it was stated that satisfactory evi-<br />
dence had been received that in the countries<br />
therein mentioned including Great Britain<br />
and her possessions ‘‘the law permits and,<br />
since July 1, 1909, has permitted to citizens<br />
of the United States the benefit of copyright on<br />
substantially the same basis as to citizens of<br />
those countries,’ and by which the President<br />
declared and proclaimed that subjects of Great<br />
Britain “are and, since July 1, 1909, have<br />
been entitled to all the benefits of the said Act<br />
other than the benefits under section 1 (c)<br />
thereof as to which the inquiry is still pending.”<br />
<br />
The reservation relates to rights in musical<br />
works.<br />
<br />
In my opinion the proclamation is necessarily<br />
conclusive for the time being of the existence<br />
or non-existence of the conditions of reciprocity.<br />
The President is made the sole judge of the<br />
facts, and I do not think it is open to any one to<br />
challenge the findings in the proclamation.<br />
Clearly the President has power to recall the<br />
proclamation in respect of any particular<br />
country ; but until this is done I do not think<br />
it is competent to go behind the proclamation<br />
merely on the ground that a foreign country<br />
has made some alteration in her laws.<br />
<br />
In my opinion, therefore, the copyright of<br />
British subjects in the United States at present<br />
is unaffected by what has taken place in this<br />
country.<br />
<br />
Then are the conditions such as to involve<br />
the danger of the proclamation being recalled<br />
unless the British Government agrees to make<br />
‘an Order in Council admitting the United<br />
States to full rights under Part II. of the Copy-<br />
right Act, 1911 ?<br />
<br />
In my opinion there is certainly no ground for<br />
recalling the proclamation in toto so as to<br />
include the works of all British subjects. I<br />
think it is clear that the conditions precedent<br />
<br />
<br />
114<br />
<br />
to reciprocity may exist with regard to one<br />
elass of work and not with regard to another,<br />
and that the proclamation may be limited<br />
accordingly. ‘This in fact has been done in<br />
the case of musical works “* pending enquiry.”<br />
Now with regard to books in general it is<br />
obvious that we do not only admit the<br />
American citizen to equal rights with our own<br />
citizens, but grant protection on a much more<br />
advantageous basis than is conceded to the<br />
works of British subjects in America. With<br />
regard to dramas, speeches, sermons, lectures<br />
and other works which are commonly repre-<br />
sented or delivered in public without, or at<br />
least before, publication in print, I think, con-<br />
sidering the practical protection under the law<br />
of contract or the law relating to breach of con-<br />
fidence or trust and the facility with which<br />
statutory protection can be obtained by the<br />
formality of publishing a preliminary précis or<br />
skeleton of the work, that American subjects<br />
do obtain in Great Britain “ copyright pro-<br />
tection substantially equal to the protec-<br />
tion secured ” to British subjects in America.<br />
In both countries some formality has to<br />
be observed as a condition precedent to pro-<br />
tection (I here refer solely to the unpub-<br />
lished work of an American citizen), and the<br />
remedies provided in the one country no doubt<br />
differ from those provided in the other. I do<br />
not suppose, however, that it was ever intended<br />
that the relative rights and privileges should be<br />
nicely weighed one with the other. It is<br />
sufficient if there is a substantial quid pro quo.<br />
<br />
If, contrary to my opinion, the American<br />
Government came to the conclusion that<br />
American dramatists, lecturers, ete., do not<br />
receive substantially equal rights with those<br />
enjoyed by British dramatists in America, then<br />
it would be competent to exclude unpublished<br />
dramas and lectures from the terms of the<br />
proclamation. This would leave the British<br />
author to his rights at common law. To recall<br />
the proclamation to any greater extent than<br />
this would, I think, be unjustified by the<br />
change in the British law.<br />
<br />
I think, as has all along been intended, Great<br />
Britain ought to hold something in reserve<br />
which can some day be offered to the States as<br />
an inducement to them to relieve British sub-<br />
jects of the manufacturing clause in the case of<br />
books. I do not think it is likely that the<br />
American Government will try to force our<br />
hands by threatening to deprive us of all pro-<br />
tection 1f we do not at once surrender every-<br />
thing to American authors. By doing so they<br />
would incur the displeasure ofthe labour party,<br />
whose constituents would thus be threatened<br />
<br />
THE AUTAOR.<br />
<br />
with the loss of profit on the printing of British<br />
books. And not only so, but we could imme-’<br />
diately retaliate by putting section 28 into<br />
operation and thus exclude American authors<br />
from all copyright whatsoever in this country.<br />
<br />
In my opinion the present position, that is to<br />
say so long as the presidential proclamation<br />
stands, does not call for any action on the part<br />
of the Society.<br />
<br />
In the event of any proposal to recall the<br />
proclamation, or in the event of any decision in<br />
the American Courts, contrary to the opinion<br />
which I have given above, it would no doubt be<br />
necessary to communicate with the Foreign<br />
Office on the subject.<br />
<br />
With regard to Canada that seems to me to<br />
be a question wholly apart. At present an<br />
American author or dramatist can obtain pro-<br />
tection in Canada under the Imperial Acts,<br />
1833 and 1842, which stand unrepealed. It is<br />
therefore not necessary to print in Canada. If<br />
Canada ultimately repeals the Imperial Acts,<br />
1833 and 1842, and sets up a manufacturing<br />
clause operative against the United States, the<br />
States may exclude Canada without affecting<br />
her position with regard to Great Britain or the<br />
rest of the British dominions.<br />
<br />
(Signed) E. J. Maceriivray.<br />
<br />
—___$_$__-——<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
ae<br />
CONTEMPORARY REVIEW.<br />
How the Older Novelists Manage Their Love Scenes.<br />
By Dorothy Lane Poole.<br />
Shakespeare's Battle Scenes.<br />
Enciish REVIEW.<br />
<br />
Art for Life’s Sake.<br />
Strindberg’s Plays.<br />
<br />
By Arthur Ransome.<br />
By Austin Harrison.<br />
FORTNIGHTLY.<br />
<br />
The Real Adrienne Lecouvreur. By Francis Gribble.<br />
The Shakespeare of the Dance. By Francis Toye.<br />
Aloysius Bertrand: A Romantic ot 1830. By Arthur<br />
<br />
Ransome.<br />
<br />
NATIONAL,<br />
<br />
A New Dialogue of the Dead. By Austin Dobson.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS,<br />
<br />
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<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]}<br />
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All letters respecting Advertisements should be addressed to J, F.<br />
Brimont & Co,, 29, Paternoster Square, London, B.C,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
——+—<br />
<br />
1, VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinarysolicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination,<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer,<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7, Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members.<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9, The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
——__——_ ++<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
—_—— +<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, ¢f a proper price can be<br />
<br />
115<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “ office expenses,”’<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental]<br />
rights. :<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form.<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in 7e Author,<br />
<br />
1¥Y. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
C1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
a<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—— +<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays.<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
<br />
116<br />
<br />
(2.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed,<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.c., fixed<br />
nightly fees). ‘his method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (d.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words,<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable, ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
————_+—~@—e—<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
——>— 1<br />
<br />
<br />
<br />
QJ CENARIOS, typewritten in duplicate on foolscap paper<br />
<br />
forwarded to the offices of the Society, together with<br />
<br />
a registration fee of two shillings and sixpence, will<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
THE AUTHOR.<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
<br />
to<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. ‘The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to ~purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
2<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
eg<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors, It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
————_+—~@—-<br />
STAMPING MUSIC.<br />
<br />
a<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble,<br />
<br />
2<br />
THE READING BRANCH.<br />
gs<br />
<br />
EMBERS will greatly assist the Society in this<br />
<br />
VI branch of its work by informing young writers<br />
<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach, The term<br />
<br />
MSS. includes not only works of fiction, but poetry<br />
<br />
and dramatic works, and when it is possible, under<br />
<br />
special arrangement, technical and scientific works, The<br />
<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
<br />
<br />
—>—_ —______<br />
REMITTANCES.<br />
<br />
<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only,<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
— 1<br />
<br />
‘NYAIN<br />
NOILOATION SHOHLNY JO ALAINOS<br />
<br />
‘NMOHIAY AHL<br />
<br />
<br />
<br />
<br />
118<br />
<br />
to profit by the contract, give also the com-<br />
poser a fair chance of return for his work.<br />
<br />
We hope that the public will’ warmly sup-<br />
port the memorial to which it is asked to con-<br />
tribute on behalf of the late Coleridge-Taylor.<br />
<br />
IMPERIAL CopyRriIGHT.<br />
<br />
We gather from the Bombay Government<br />
Gazette that the Copyright Act of 1911 has<br />
been proclaimed in British India, and the Act<br />
therefore will run from date of proclamation<br />
dated Simla, October 13, 1912. The Procla-<br />
mation runs as follows :—‘‘ In pursuance of<br />
Clause (D) of sub-section (2) of section 37 of the<br />
Copyright Act, 1911 (1 & 2 Geo. 5, Chap. 46),<br />
the Governor-General is pleased to proclaim<br />
the said Act and to direct that it shall come<br />
into operation in British India from date of<br />
this Proclamation.” This Proclamation will<br />
cover Burma as well as India, but will not cover<br />
the native States of India. We understand<br />
that the Indian Government will use its best<br />
endeavours to get the native Princes to accept<br />
the Copyright Act as it at present stands.<br />
<br />
CopyriGHT AND RECEIPTS.<br />
<br />
We have commented in previous issues of<br />
The Author on the use made by magazine<br />
editors of receipt forms for the purpose of<br />
obtaining from their contributors rights<br />
beyond those which the contributor is wise to<br />
give, or the magazine entitled to ask.<br />
<br />
Under the Copyright Act, 1911, the publica-<br />
tion of an article or story in a magazine or other<br />
periodical publication does not, ipso facto, give<br />
to the proprietor of such periodical issue the<br />
copyright in the story or article. If he desires<br />
copyright, he must make a special bargain<br />
with the author to thisend. In this connection<br />
we quoted in our May issue, a letter from a<br />
well-known magazine proprietor, in which he<br />
expressed his desire to get from all his con-<br />
tributors a general assent to the transfer of<br />
copyright of all work which they were then<br />
contributing, or might in the future contribute,<br />
to the magazines and newspapers which he<br />
controlled. We pointed out at the time the<br />
misleading nature of some of the statements<br />
which were made.<br />
<br />
Since that date we have had brought to our<br />
notice once again a practice of magazine<br />
editors not less objectionable from the author’s<br />
standpoint. | An author sends in a MS. to a<br />
magazine. This article or story in some cases<br />
is accepted without a formal statement as to<br />
<br />
THE AUTHOR.<br />
<br />
terms; in some cases is published without<br />
even a notice of acceptance. The cheque in<br />
payment is sent in due course, and with it a<br />
receipt form which the contributor is asked<br />
to sign and return. In many eases the author<br />
signs the receipt automatically, paying little<br />
attention to the wording. Occasionally he<br />
reads the receipt carefully. He then discovers<br />
to his surprise that what he imagined was an<br />
ordinary receipt for payment of a sum due to<br />
him, is, in reality, a document practically<br />
conveying the copyright to the magazine. It<br />
is true that, given a clear contract beforehand,<br />
no such receipt purporting to convey copyright.<br />
would stand as against the contract already<br />
made. But the danger of signing these receipts<br />
where, as in many cases, no definite contract<br />
exists, is apparent.<br />
<br />
If, as very often happens, the article is<br />
published with illustrations furnished by the<br />
author, signature to such a receipt means that<br />
the author is precluded from using the illus-<br />
trations in any other quarter, save with the<br />
magazine’s sanction. This is a very serious<br />
matter for a writer who contemplates publica-<br />
tion of a book on the same subject dealt with<br />
in the magazine article. He clearly cannot<br />
use the illustrations—having given over the<br />
copyright to the magazine—and may find it<br />
very difficult to write his book without<br />
infringing the copyright of the magazine in<br />
respect of the article he has contributed to<br />
its pages.<br />
<br />
When the receipt form appears at the back<br />
of the cheque, as it sometimes does, the author’s<br />
position is even more difficult. If he alters<br />
the form the bank will refuse tocash the cheque,<br />
if he adds his signature the copyright is trans-<br />
ferred to the magazine. All he can do in such<br />
a case is to endorse the cheque and write a<br />
letter to the editor explaining that he denies<br />
the magazine’s claim to his copyright but has<br />
made the endorsement merely in order to get<br />
the cash due to him. If he retains a copy of<br />
this letter, it will always be available as evi-<br />
dence in case of dispute. Other than this he<br />
can do nothing, except refuse the cheque and<br />
sue the magazine for the amount in the County<br />
Court.<br />
<br />
Tue Unit oF AN EpITion.<br />
<br />
SomE time ago the Publishers’ Association<br />
agreed to define the word “impression” as<br />
the reproduction of a book without alteration,<br />
and the word “ edition” as the reproduction<br />
of a book with alterations and changes, but<br />
these definitions, though adhered to by some<br />
<br />
<br />
<br />
<br />
<br />
<br />
%<br />
CF. =<br />
‘ig<br />
<f<br />
r<br />
st<br />
<br />
ah<br />
<br />
<br />
<br />
THE AUTHOR. 119<br />
<br />
of the best houses, seem to have but little<br />
weight. Advertisements in the papers con-<br />
stantly announce 3rd, 4th and Sth edition,<br />
one publisher advertises regularly his list of<br />
novels with figures after the more popular ones<br />
of the number of the edition, but even if the<br />
announcement had .been 3rd, 4th and Sth<br />
impression, the result to the public would be<br />
absolutely valueless, for the Publishers’ Associa-<br />
tion have never troubled to define the unit of<br />
an impression. Some books go to press with<br />
a first impression of 10,000 copies, and a case<br />
has been known where a book has been adver-<br />
tised as in its third “‘ edition ”’ when only thirty<br />
copies have been sold. Is it not possible for<br />
the booksellers to get together to settle this<br />
important question, and prevent the frequent<br />
cheating of the public in this matter by certain<br />
unscrupulous producers ?<br />
<br />
Memorr oF Grorce Panmer PUTNAM.<br />
<br />
G. P. Purnam’s Sons have published<br />
a, ‘Memoir of George Palmer Putnam,”<br />
by George Haven Putnam, Litt.D., together<br />
with an account of the earlier years of the<br />
publishing house founded by him.<br />
<br />
The volume describes the career of a<br />
representative American publisher, and con-<br />
stitutes also a contribution to the history of<br />
international literary relations. A separate<br />
chapter gives an account of Mr. Putnam’s<br />
work in behalf of International Copyright,<br />
work that was begun as far back as 1837.<br />
<br />
The narrative includes reminiscences of life<br />
in London in the early °40’s, and references<br />
to men of letters and other persons of distinc-<br />
tion on both sides of the Atlantic. Among<br />
the persons with whom Mr. Putnam had<br />
personal relations may be mentioned Louis<br />
Napoleon, Washington Irving, Bayard Taylor,<br />
Fenimore Cooper, Nathaniel Hawthorne,<br />
Charles Sumner, Sergeant Talfourd, Elisée<br />
Réclus, Fredrika Bremer, Susan Warner,<br />
Longfellow, Dana, Emerson, Curtis, the alleged<br />
Dauphin (Louis XVII.), Commodore Perry,<br />
Lincoln, Bryant, and many other noteworthy<br />
characters of generations that have passed.<br />
<br />
—_—<br />
<br />
SIR GEORGE HOWARD DARWIN, K.C.B.,<br />
F.R.S., LL.D.<br />
Sa<br />
<br />
E deeply regret to record the death of<br />
Sir George Howard Darwin, F.R.S.,<br />
which occurred late in November,<br />
<br />
after some months of hopeless illness.<br />
Sir George Darwin, who was Professor of<br />
<br />
Astronomy and Experimental Philosophy in<br />
the University of Cambridge, was the second<br />
son of the celebrated author of the “* Origin of<br />
Species.” He was educated at Trinity College,<br />
Cambridge ; took high mathematical honours,<br />
and duly became a Fellow of his college. While<br />
holding his Fellowship at Trinity he was called<br />
to the Bar, but soon returned to Cambridge<br />
and the pursuit of mathematics, and was<br />
elected in the year 1883 to the Plumian Pro-<br />
fessorship, which he held at the time of his<br />
death. From 1883 forward he devoted him-<br />
self to the study of higher mathematics,<br />
especially in relation to astronomy and<br />
physical geography, and four volumes of his<br />
scientific papers have been published upon<br />
astronomical and geographical subjects, the<br />
tides, and allied phenomena in the solar<br />
system. He twice received presentation<br />
medals from the Royal Society, holding also<br />
the Victoria Medal of the Royal Geographical<br />
Society, and the Gold Medal of the Royal<br />
Astronomical Society, of which body he was<br />
President in 1899.<br />
<br />
In 1905 Professor Darwin, as he then was,<br />
was elected President of the British Association<br />
for the Advancement of Science. This was the<br />
year in which the Association met at Cape<br />
Town. On this occasion Professor Darwin<br />
took as the subject of his address ‘* Evolution,”<br />
and showed how enormously the term had<br />
widened its scope since the days when his<br />
illustrious father first applied the principle as a<br />
working hypothesis to the history of organic<br />
life. He showed that nowadays the theory of<br />
evolution is applied not only to organic life but<br />
to the very constitution of the universe itself.<br />
The address was at the same time so easy to<br />
understand, and yet so obviously founded upon<br />
the deepest learning, that it was immediately<br />
read by all, and there is no doubt that it exer-<br />
cised a real influence upon contemporary<br />
thought.<br />
<br />
Our Society has to regret in Sir George<br />
Darwin, who received his knighthood in 1905,<br />
one of its oldest members. He joined the<br />
Society in 1884, and has been a regular sup-<br />
porter of its objects and efforts throughout.<br />
<br />
COMMITTEE ELECTION.<br />
<br />
+4<br />
<br />
bay pursuance of Article 19 of the Articles of<br />
Association of the Society, the committee<br />
give notice that the election of members<br />
of the Committee of Management will be pro-<br />
ceeded with in the following manner :—<br />
<br />
<br />
120<br />
<br />
(1) One-third of the members of the present<br />
Committee of Management retire from office in<br />
accordance with Article 17.<br />
<br />
(2) The names of the retiring members are :—<br />
<br />
Mrs. E. Nesbit Bland,<br />
G. Bernard Shaw,<br />
<br />
J. W. Comyns Carr,<br />
Francis Storr.<br />
<br />
(3) The date fixed by the committee up to<br />
which nominations by the subscribing members<br />
of candidates for election to the new committee<br />
may be made is February 8.<br />
<br />
(4) The committee nominate the following<br />
candidates, being subscribing members of the<br />
Society, to fill the vacancies caused by the<br />
retirement of one-third of the’ committee,<br />
according to the constitution :—<br />
<br />
J. W. Comyns Carr,<br />
Mrs. Perrin,<br />
<br />
G. Bernard Shaw,<br />
Francis Storr.<br />
<br />
The committee remind the members that,<br />
under Article 19 of the amended Articles of<br />
Association “ any two subscribing members of<br />
the Society may nominate one or more sub-<br />
scribing members other than themselves, not<br />
exceeding the number of vacancies to be filled<br />
up, by notice in writing sent to the secretary,<br />
accompanied by a letter signed by the candi-<br />
date or candidates expressing willingness to<br />
accept the duties of the post.<br />
<br />
The complete list of candidates will be<br />
printed in the March issue of The Author.<br />
<br />
een CEE<br />
<br />
THE PENSION FUND COMMITTEE.<br />
<br />
——<br />
<br />
FN order to give members of the Society,<br />
should they desire to appoint a fresh<br />
member to the Pension Fund Committee,<br />
<br />
full time to act, it has been the custom to place<br />
in The Author a complete statement of the<br />
method of election under the scheme for<br />
administration of the Pension Fund. Under<br />
that scheme the committee is composed of<br />
three members elected by the committee of the<br />
Society, three members elected by the Society<br />
at the general meeting, and the chairman of the<br />
Society for the time being ew officio. The three<br />
members elected by the Society are Mrs. Alec<br />
Tweedie, Mr. Owen Seaman, and Mr. M. H.<br />
Spielmann. This year Mr. M. H. Spielmann<br />
retires under the scheme and submits his<br />
name for re-election.<br />
<br />
The members have, however, power to put<br />
<br />
forward other names under clause 9, which runs<br />
as follows :—<br />
<br />
THE AUTHOR.<br />
<br />
“ Any candidate for election to the Pension Fund Com-<br />
mittee by the members of the society (not being a retiring<br />
member of such committee) shall be nominated in writing<br />
to the secretary at least three weeks prior to the general<br />
meeting at which such candidate is to be proposed, and the<br />
nomination of each such candidate shall be subscribed by<br />
at leagt three members of the society. A list of the names<br />
of the candidates so nominated shall be sent to the members<br />
of the society, with the annual report of the managing<br />
committee, and those candidates obtaining the most votes<br />
at the general meeting shall be elected to serve on the<br />
Pension Fund Committee.”<br />
<br />
<br />
<br />
In case any member should desire to refer to ;<br />
the list of members, the list taking the elections<br />
up to the end of July, 1907, was published in<br />
<br />
October of that year. This list was complete<br />
at the date of issue, with the exception of the ve<br />
thirty-eight members referred to in the short ;<br />
<br />
preface. All subsequent elections have been<br />
duly chronicled in The Author.<br />
<br />
It will be as well, therefore, should any mem-<br />
ber desire to put forward a candidate, to take<br />
the matter within his immediate considera-<br />
tion. The general meeting of the Society is<br />
usually held in March. It is essential that all<br />
nominations should be in the hands of the secre-<br />
tary before January 31, 1913.<br />
<br />
—_————— 06-9<br />
<br />
THE LATE MR. COLERIDGE-TAYLOR.<br />
<br />
— 1<br />
<br />
Tue following correspondence has recently<br />
appeared in The Times and is printed with the<br />
kind permission of the Editor.<br />
<br />
(1)<br />
TO THE EDITOR OF The Times.<br />
<br />
Str,—An appeal is being made for the widow and<br />
children of the late Mr. Coleridge-Taylor. It seems perti-<br />
nent to inquire why a composer who wrote so widely<br />
successful a composition as Hiawatha, a work which is<br />
frequently performed all over England and America,<br />
should have left so little provision for his family.<br />
<br />
The Society of Authors, having noticed the case, and<br />
being anxious to help the dependents of Mr. Coleridge-<br />
Taylor as far as possible, have inquired from Messrs, -<br />
Novello and Co. whether Hiawatha produced a royalty for<br />
the composer and his heirs. This question the firm has<br />
answered by saying that the copyright of all the late<br />
Mr. Coleridge-Taylor’s compositions has been assigned to<br />
themselves. Here we have an admirable example of the<br />
trouble that may and often does follow upon the outright<br />
sale of literary or artistic property. It cannot be too<br />
clearly said that, because of the uncertainty of the value<br />
of this property, its outright sale must be attended with<br />
risk either to the creator of the work or to its purchaser.<br />
One or other party to such bargains is bound to suffer, and<br />
it is our experience at the Society of Authors that it is<br />
the author of the work who is generally disappointed by<br />
the result of the disposal of copyright. But whatever be the<br />
outcome of any particular transaction, a system is bad in<br />
business which by its capricious event leaves behind it<br />
either a recollection of pecuniary loss with the publisher<br />
or a deep sense of injustice with the author. There is not<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
one way, and one way only, of publishing that ought to be<br />
followed, and in special circumstances the outright sale of<br />
a work is the natural sequel to the terms of the commission<br />
for writing it. But in all the usual circumstances, and<br />
especially in the case of young writers and composers, the<br />
disposal of copyright is to be absolutely avoided, and the<br />
royalty system should be adopted. Under the royalty<br />
system the author shares in any fortune that may attend<br />
his work, and the publisher will neither lose money by the<br />
purchase of property that brings him in no adequate<br />
return nor be faced with the delicate task of giving as a<br />
present to an author some portion of the money that would<br />
have accrued to the author under an intelligent sharing of<br />
interests.<br />
<br />
The Society of Authors understand that Mr, Coleridge-<br />
Taylor was refused a royalty and was given only small<br />
sums for conveying to Messrs. Novello and Co, the copy-<br />
right of Hiawatha, . That is the state of the case as com-<br />
municated to the committee of management of the<br />
Society, whose opinion is that if a reasonable royalty on<br />
the sales of Hiawatha had been forthcoming it would have<br />
provided sufficient money for the dependents without any<br />
appeal to the public.<br />
<br />
It is fair to the composer’s memory as a hardworking<br />
and careful man that the public should know that he did<br />
provide with his brains a work which, under the royalty<br />
method of dealing with literary and artistic property, would<br />
have supported his family after his death, while making<br />
him more comfortable during his life.<br />
<br />
I am, yours faithfully,<br />
S. SQUIRE SPRIGGE,<br />
Chairman of the Committee of Management<br />
of the Society of Authors.<br />
39, Old Queen-street, Storey’s-gate, S.W., Nov. 22.<br />
<br />
(2)<br />
To THE EpIToR OF Zhe Times.<br />
<br />
S1r.—Our attention has been called to a letter in yout<br />
issue of yesterday’s date in which Dr. 8. Squire Sprigge<br />
makes certain recommendations with reference to the pub-<br />
lishing of authors’ works on the royalty system, and inci-<br />
dentally commits himself to certain statements reflecting<br />
upon the terms on which we publish works by the late<br />
S$. Coleridge-Taylor.<br />
<br />
We do not quarrel with Dr. Sprigge’s recommendations.<br />
The royalty system is one which we adopted over forty<br />
years ago, and of which we have ever since made constant<br />
use in suitable cases. There are, however, numerous cases<br />
where the composer prefers to sell his copyright absolutely,<br />
without any royalty or reservation : and it is characteristic<br />
of young and unknown composers that they usually desire<br />
to sell their works outright. We are in the habit generally<br />
of publishing on whichever footing the composer prefers ;<br />
but we do not admit that, where a publisher purchases a<br />
work outright and is fortunate enough to avoid a loss,<br />
there is any ground for suggesting that an “injustice”<br />
is thereby inflicted upon the composer, unless Dr. Sprigge<br />
considers that where loss results to the publisher he also is<br />
the victim of an ‘‘ injustice.”<br />
<br />
As regards his statements, Dr. Sprigge’s letter is both<br />
misleading and inaccurate. The author of a work on<br />
‘“‘ Methods of Publishing ” ought not to have invited your<br />
readers to draw the inference that, because a composer<br />
assigns the copyright of his work, he necessarily deprives<br />
himself of all further pecuniary interest init. It is true<br />
that Coleridge-Taylor assigned to us the copyright of all<br />
his works published by us (not the copyright of all his<br />
compositions, as inaccurately stated by Dr. Sprigge), but<br />
he retained a royalty interest in many of them.<br />
<br />
The statement ‘‘as communicated to the committee” of<br />
Dr. Sprigge’s society, that Coleridge-Taylor was refused a<br />
royalty on Hiawatha is untrue. He accepted gladly the<br />
<br />
121<br />
<br />
terms that were offered to him. Moreover, he from time to-<br />
time offered us the copyright of every similar work that he<br />
ever wrote. There are six of them. The first three he<br />
sold outright ; the later (and more successful) ones all bear<br />
royalties. He therefore was a typical instance of the<br />
young composer who prefers to sell outright until he has<br />
made a reputation, and who thereafter prefers the royalty<br />
system.<br />
Weare, Sir, yours faithfully,<br />
NOvVELLO AND Co. (LTD.).<br />
160, Wardour-street, W., Nov. 27.<br />
<br />
(3)<br />
To THE EpIToR OF The Times.<br />
<br />
S1R,—Messrs. Novello and Co. describe my letter published<br />
in your issue of November 26th as misleading and inaccurate.<br />
It was true and to the point. Incidentally it was directed<br />
mainly to the broad issues of just publishing and not to the<br />
pecuniary arrangements between Messrs. Novello and Co.<br />
and the late Mr. Coleridge-Taylor ; but the outcome of<br />
these arrangements having become a public question, owing:<br />
to an appeal being made to the public in behalf of the<br />
dependants of the late Mr. Coleridge-Taylor, perhaps his<br />
publishers are right in discussing their relations with the<br />
dead composer.<br />
<br />
They say that Mr. Coleridge-Taylor was not refused a<br />
royalty and “accepted gladly the terms that were offered<br />
to him.’ We are informed that he was refused a royalty.<br />
Messrs. Novello and Co. say that Mr. Coleridge-Taylor<br />
“ was a typical instance of the young composer who prefers<br />
to sell outright until he has made a reputation.” The<br />
second and third parts of Hiawatha were written after he<br />
had made an enormous reputation by the publication of<br />
the first part.<br />
<br />
Both Messrs. Novello and Co. and I were talking of<br />
works published by their firm—no others could be in ques-<br />
tion. I refer them to their letter to me of November 16th.<br />
In the “Methods of Publishing,” written more than 20<br />
years ago, I am glad to find that the position of the author<br />
who, having assigned his copyright, still enjoys a pecuniary<br />
interest in his work, is described at full length. Messrs-<br />
Novello and Co. suggest otherwise, or their allusion to my<br />
ancient little book is meaningless.<br />
<br />
What the public would like to know—as Messrs.<br />
Novello and Co. have brought this aspect of the matter<br />
prominently forward—is, How much the composer received<br />
for Hiawatha (whether he sold his property gladly or not) ;<br />
and how much the publishers received and are receiving by<br />
publishing the same work.<br />
<br />
I am, yours faithfully,<br />
S. SQUIRE SPRIGGE, Chairman of the Commit-<br />
tee of Management of the Society of Authors.<br />
<br />
39, Old Queen-street, Storey's-gate, S.W.,<br />
<br />
November 28th.<br />
(4)<br />
<br />
To THE EpIToR OF Zhe Times.<br />
<br />
Str.—Messrs. Novello and Co. ought to be more accurate<br />
in the statements they have made in reply to the admirable<br />
letter of the chairman of the Society of Authors. When<br />
they state that Coleridge-Taylor ‘‘ was a typical instance of<br />
the young composer who prefers to sell outright until he<br />
has made a reputation” they have had a lapse of memory<br />
which can be corrected by a reference to their correspond-<br />
ence records.<br />
<br />
When Coleridge-Taylor was a scholar of the Royal<br />
College of Music he composed a Ballade for Violin and<br />
Orchestra (Op. 5), which Sir George Grove and I considered<br />
worthy of publication, and he sent it to Messrs. Novello.<br />
They offered to publish it on_his assigning to them the<br />
copyright in return for a few (I think it was 20) copies of<br />
<br />
<br />
<br />
<br />
<br />
<br />
122<br />
<br />
the work when published. He wrote a letter, of which Sir<br />
George Grove and I thoroughly approved, admitting that<br />
as a beginner he did not expect to be paid for the copy-<br />
right, but asking Messrs. Novello if they would agree to<br />
name the number of copies the sale of which would fully<br />
cover all expenses of publication, and. after these were<br />
sold, to give him a royalty. This the firm refused to do in<br />
a letter which I held in my hand, of which I well remem-<br />
ber the contents, and of which Messrs. Novello, having, of<br />
course, a copy in their books, will, no doubt, present the<br />
public with a faithful transcript. It amply explained the<br />
reason why young composers, with the glamour of print<br />
before their eyes, too often have to accept (gladly ?) such<br />
terms as are offered to them.<br />
<br />
Hiawatha was published in two scctions. The first,<br />
“ Hiawatha’s Wedding,” the composer (gladly, of course)<br />
sold outright. For how much? Will Messrs. Novello deny<br />
that he asked for a royalty on Parts II. and LIT. in conse-<br />
quence of the great success of Part I. and was refused it ?<br />
What were the terms which he gladly accepted, and what<br />
were the profits which Messrs. Novello no less gladly have<br />
made? Do they number //iawatha amongst his less<br />
successful works?) When the public are in possession of<br />
these easily ascertainable facts they will be in a position to<br />
judge of the situation.<br />
<br />
If the terms were just, as Messrs. Novello imply, their<br />
publication can only redound to the reputation of the firm.<br />
If the terms are withheld, they cannot complain if the<br />
British public draws its own conclusions from the specimen<br />
of outright sale which I have given above, and from the<br />
sum of £800 odd at which probate of the composer's estate<br />
was sworn.<br />
<br />
Yours faithfully,<br />
CHARLES V. STANFORD,<br />
<br />
Athenzeum Club,<br />
<br />
November 28th.<br />
(5)<br />
To THE Epiror oF Zhe Zimes.<br />
<br />
SirR,—Sir Charles Stanford having appeared in this<br />
correspondence, we may conclude that he is the informant<br />
referred to twice by Dr. Sprigge. We will pass over Dr.<br />
Sprigge’s letter appearing in your issue of Saturday, as it<br />
calls for no reply, and we will deal with that of Sir Charles<br />
Stanford dated November 28th. Sir Charles Stanford is<br />
perfectly correct in stating that we agreed to publish<br />
Coleridge-Taylor’s Ballade in D for Violin and Orchestra,<br />
and that we acquired the copyright in exchange for a<br />
number of copies of the work. The composer consulted his<br />
guardian and Dr. Hubert Parry, and on January 11th,<br />
1895, wrote the head of our publishing office that they<br />
advised him to agree to these terms. On January 2st,<br />
1895, we received a letter in which the composer definitely<br />
stated that he wished us to publish on the terms suggested.<br />
Here therefore we have a contract completed to the satis-<br />
faction of all parties—the composer on the one side, backed<br />
by his guardian and one of the professors of his college,<br />
and ourselves on the other. On February Ist of the same<br />
year the head of our publishing office received a letter from<br />
the composer (presumably the letter referred to by Sir<br />
Charles Stanford as having received the thorough approval<br />
of Sir George Grove and himself) from which we quote the<br />
following :—<br />
<br />
‘‘T am writing you an account of a most awkward com-<br />
plication that has arisen regarding my Violin ‘ Ballade.’ As<br />
you are aware, Dr. Parry advised me to accept your terms<br />
of publication as they stood, and I herefore did so.<br />
Unhappily, however, Dr. Stanford (whom I am studying<br />
with) sees fit to interfere and make it most uncomfortable<br />
for me. - « He says that there can be no possible<br />
objection to my asking you (or rather Novellos) to grant<br />
me a small royalty on each copy (if there are enough copies<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
sold) after you have paid expenses. Of course. this ig<br />
<br />
nothing whatever to do with you, as I have already agreed<br />
to your conditions.”<br />
<br />
On receipt of this communication we wrote on February<br />
5th the letter of which Sir Charles Stanford sarcastically<br />
asks us to present the public with a faithful transcript. It<br />
was as follows :—<br />
<br />
‘In reply to your letter of the Ist inst. addressed to our<br />
Mr. Jaeger, we regret being unable to alter our terms for<br />
publishing your Ballade. We would in fact much prefer<br />
your publishing the piece elsewhere, and we shall therefore<br />
destroy the plates which we have already engraved.”<br />
<br />
Thus declining to reopen at the bidding of Sir Charles<br />
Stanford a contract deliberately entered into, but at the<br />
same time offering to annul it.<br />
<br />
To this the composer replied on February 7th :—<br />
<br />
“* Please do not destroy the plates of my Violin ‘ Ballade,’<br />
I am afraid my last letter was misunderstood. I only<br />
wanted to tell Dr. Stanford that I had asked you what he<br />
desired and also the result, therefore do kindly go on with<br />
the printing.”<br />
<br />
Our answer to this on the same day was as follows :—<br />
<br />
‘‘At your special wish and request we will continue the<br />
printing of your Violin ‘ Ballade’ and will publish it on the<br />
terms originally agreed between us, Of course, if you<br />
chose to pay the cost of printing we would publish the<br />
work for you and you would receive all profits which might<br />
result.” :<br />
Again you will note our offer to annul the contract. On<br />
the same day the composer writes again :—<br />
<br />
‘‘ Dear Sirs,—I have much pleasure in accepting your<br />
offer of twenty-five copies of the piano arrangement of my<br />
Violin ‘ Ballade’ in exchange for the copyright.”<br />
<br />
Here the correspondence ends, and the work was duly<br />
published.<br />
<br />
Was it the glamour of print which induced Coleridge-<br />
Taylor to accept our terms? Was it not rather the desire<br />
to place his work before the public under favourable cir-<br />
cumstances and to get his name known? Sir Charles<br />
Stanford assigned to us the copyright of his No. 4 Sym-<br />
phony, Op. 31, and his Suite for Violin and Orchestra,<br />
Op. 32, for the sum of one shilling, having induced us to<br />
publish by presenting us with the copyright of four part-<br />
songs. Later on—indeed, within a few months of the<br />
Coleridge-Taylor contract—Sir Charles Stanford persuaded<br />
us to publish his Trio in E flat, Op. 35, without exacting<br />
any fee or royalty whatsoever, by presenting us with the<br />
copyright of his Morning and Communion Service in A.<br />
Are we to be taken to task because we formed the same<br />
opinion of Coleridge-Taylor’s Op. 4 as Sir Charles Stanford<br />
himself formed of his own Op. 31, 32, and 35 ?<br />
<br />
In reply to Sir Charles Stanford’s question, “ Wil<br />
Messrs. Novello deny that he asked for a royalty on Parts<br />
II. and II]. in consequence of the great success of Part I.<br />
of Hiawatha and was refused it?” the answer is in the<br />
atlirmative. The question of a royalty in connexion with<br />
this work, either as a whole or in part, was never raised.<br />
<br />
Yours faithfully,<br />
NOVELLO AND Co. (LTD.).<br />
<br />
160, Wardour-street, W., Dec. 3.<br />
<br />
(6)<br />
To THE Eprror oF Zhe Times.<br />
<br />
S1r,—Messrs. Novello have not answered the two main<br />
questions about /fiawatha: whether they number. it<br />
amongst his less successful works, and what and where are<br />
the profits in which the composer should have had a share,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
a the royalty,<br />
<br />
of February Ist, 1895,<br />
<br />
THE AUTHOR.<br />
<br />
_ It isobvious from the extracts of correspondence which<br />
they have printed (1) that the letter of Mr. Coleridge-Taylor<br />
is not the document to which I<br />
referred ; (2) that Messrs. Novello did refuse a royalty,<br />
advised him to go elsewhere, and announced their intention<br />
<br />
+ of destroying the plates if the royalty were insisted upon :<br />
<br />
a sufficient deterrent to any young composer who (naturally)<br />
wished to keep on good terms with the firm and hoped for<br />
better things in future.<br />
<br />
I need scarcely say that the letter I saw, which asked for<br />
was, as far as my cognizance went, previous to<br />
<br />
_. any agreement on the part of the composer to assign the<br />
<br />
<br />
<br />
<br />
<br />
25 copies, and must therefore be<br />
<br />
copyright in return for<br />
of earlier date than the letters printed by Messrs. Novello.<br />
<br />
| I would never be a party to the repudiation of a signed<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
flat was published, not “ within a few<br />
<br />
contract.<br />
The cloud of personalities with which Messrs. Novello<br />
have sought to conceal the main issue, Hiawatha, it is not<br />
<br />
_ necessary for me to deal with further than to say that their<br />
<br />
yersion is precisely the reverse of the facts.<br />
<br />
My works to which they allude were offered to Messrs.<br />
Novello (at that time my publishers) in the usual way ; they<br />
only accepted them on the condition that I helped to pay<br />
for them with more gratuitous brain-work. The Trio in E<br />
months of the<br />
Coleridge-Taylor contract,” but six years previously. I<br />
have Von Biilow’s letter acknowledging the printed copy (it<br />
was dedicated to him), dated December 5th, 1889. This is<br />
<br />
- asufficient comment on Messrs. Novello’s accuracy of<br />
<br />
statement,<br />
<br />
But these matters are not to the point. The question is<br />
Hiawatha, its profits and where they went, and the grounds<br />
upon which the appeal to the public for the composer’s<br />
family has been rendered necessary at all. This Messrs.<br />
Novello do not answer, and the public can now draw its<br />
own conclusions.<br />
<br />
Yours faithfully,<br />
CHARLES V, STANFORD.<br />
<br />
50, Holland-street, Kensington, W.,<br />
<br />
December 4th.<br />
(7)<br />
<br />
To THE EpiTor or Zhe Times.<br />
<br />
.Srr,—We note with satisfaction that in Sir Charles<br />
Stanford’s reply, appearing in your issue of to-day, he<br />
apparently abandons the statements, originally made by<br />
Dr. Sprigge, and subsequently adopted by himself in the<br />
form of a question, that Coleridge-Taylor was refused a<br />
royalty on Hiawatha—we may therefore conelude that he<br />
admits the inaccuracy of the suggestion.<br />
<br />
Sir Charles Stanford states that he would “never be a<br />
party to the repudiation of a signed contract.” Every one<br />
who knows Sir Charles will be quite convinced of the truth<br />
of that statement. Having regard, however, to the facts<br />
disclosed in Coleridge-Taylor’s letter of February 1, 1895,<br />
addressed to the head of our publishing office, it would<br />
appear that Sir Charles’s advice to Coleridge-Taylor, with<br />
reference to the “ Ballade” contract, was not altogether<br />
well considered, for it might have led that young composer<br />
to repudiate his contract.<br />
<br />
We once more assert emphatically that no royalty on<br />
Coleridge-Taylor’s “Ballade” was either asked for or<br />
refused, until after the contract had been made. If it is<br />
obvious, from the extracts of the correspondence printed in<br />
our previous letter, that the letter of February 5th is not<br />
the document to which Sir Charles referred, we can only<br />
say that we wrote no other answering his description, and<br />
that the correspondence as filed in our office is in itself<br />
absolutely complete.<br />
<br />
We owe Sir Charles Stanford an apology in regard to our<br />
statement that, within a few moaths of the Coleridge-<br />
Taylor contract, Sir Charles himself had persuaded us to<br />
<br />
<br />
<br />
123<br />
<br />
publish his Trio (Opus 35) by presenting us with the copy-<br />
right of his Morning and Communion Service in A. This<br />
is incorrect. As Sir Charles says, his Trio was published in<br />
1889, on November 13th of that year, to be exact. The<br />
publication of the Trio, however, did not complete the<br />
transaction. Sir Charles had still to deliver the manuscript<br />
of his Morning and Communion Service in A, and that he<br />
did not do till nearly five years afterwards—viz., on<br />
September 27th, 1894. We executed the assignment of the<br />
copyright on the following day ; and that was the transac-<br />
tion which we ought to have referred to as having taken<br />
place within a few months of the Coleridge-Taylor<br />
contract.<br />
<br />
We do not understand Sir Charles’s reference to “ the<br />
cloud of personalities” which he says we introduced to<br />
conceal ‘the main issue.’ He invited us to present the<br />
public with a faithful transcript of a certain letter. To<br />
make that letter intelligible we had necessarily to quote<br />
from the previous correspondence. The personalities, at all<br />
events, were not ours, and the whole subject of Coleridge-<br />
Taylor's ‘* Ballade” was introduced by Sir Charles.<br />
<br />
Neither do we understand Sir Charles’s view of “the<br />
main issue.” According to our view, “the main issue” is<br />
that originally put forward by Dr. Sprigge, that Coleridge-<br />
Taylor was refused a royalty on Hiawatha, and we regard<br />
everything else that has been introduced into this corre-<br />
spondence as irrelevant to that issue. We were interested<br />
only in controverting statements of alleged facts—first as<br />
regards the supposed refusal to grant a royalty on<br />
Hiawatha and secondly as regards a similar statement<br />
by Sir Charles as regards the ‘ Ballade.” We think that<br />
we have now disposed of both statements.<br />
<br />
If Sir Charles Stanford supposes that we are likely to<br />
gratify his curiosity as to what and where are the profits<br />
made by us with reference to Hiawatha or any other of<br />
our publications, we are afraid that we must disappoint<br />
him. As business men we do not feel called upon to dis-<br />
close the secrets of our business to him, or to any one else.<br />
We regard all questions addressed to us on such matters,<br />
whether they are directed to profits or losses, as entirely<br />
improper, and we resent them, as we are sure Sir Charles<br />
Stanford would if a question were addressed to him inviting<br />
him to disclose the amounts of the emoluments derived by<br />
him from his professorship at the Royal College of Music,<br />
and to account for his application of them.<br />
<br />
Yours faithfully,<br />
NoVELLO AND Co, (LTD.).<br />
<br />
160, Wardour-street, W.,<br />
<br />
December 6th.<br />
(8)<br />
To THE Epiror oF The Times.<br />
<br />
Str,—Messrs. Novello and Co. assume that our sole<br />
informant concerning the conditions under which Mr.<br />
Coleridge-Taylor published his works was Sir Charles<br />
Stanford. They are wrong. They say that Mr. Coleridge-<br />
Taylor was not refused a royalty. The real question is—<br />
Did he obtain a royalty? ‘The main issue” put forward<br />
originally by me was not the one that has been set out by<br />
Messrs. Novello and Co. in their letter in Zhe Times of<br />
December 7th. My desire was, and is, to state that under<br />
a fair royalty system such -an unfortunate position as we<br />
have in Mr. Coleridge-Taylor’s case—viz., the need for a<br />
pecuniary appeal to the public in behalf of the dead author<br />
of a famous and popular work—could not occur often. For<br />
the author would have received during his lifetime, and his<br />
dependants would be receiving after his death, a due share<br />
of the profits earned by his work and genius.<br />
<br />
Yours faithfully,<br />
S. SQUIRE SPRIGGE,<br />
Chairman of the Committee of Manage-<br />
ment of the Society of Authors.<br />
<br />
<br />
<br />
<br />
<br />
<br />
124<br />
(9)<br />
<br />
TO THE EpITor OF Zhe Times.<br />
<br />
Sir,—A week has passed since Dr. Sprigge asked<br />
Messrs. Novello & Co. whether Coleridge-Taylor ultimately<br />
received any royalty upon Hiawatha. The chairman of the<br />
Society of Authors is naturally concernedt with the depreca-<br />
tion of a bad and the exposition of a good principle rather<br />
than with special instances, But to the admirers of<br />
Coleridge-Taylor and the well-wishers of the distinguished<br />
firm whose reputation is now at stake there remains a more<br />
pressing question. Whatever the past arrangement, will<br />
Mrs. Coleridge-Taylor now have any substantial share of<br />
the annual profits on her husband's successful masterpiece ?<br />
<br />
It is already apparent that the composer’s untimely<br />
death will have given an impetus to the sale of his works.<br />
Profits will come in year by year not into the wrong pocket<br />
but into only one of two right pockets, leaving the other<br />
empty and (in this case) needy. When this cannot be<br />
rectified it concerns no one. But when a stroke of the<br />
gainer’s pen can rectify it, no verbal explanations about<br />
the sanctity of contracts or the privacy of accounts can do<br />
any good, A state of things which continues to pain the<br />
disinterested must become unbearable to those directly<br />
interested, and those who have known Messrs. Novello &<br />
Co. courteously willing to make royalty agreements cannot<br />
but believe that they will make such a practical reply as<br />
alone can silence their critics and tend to reassure their<br />
friends.<br />
<br />
I am, Sir, faithfully yours,<br />
H. WALFORD DAVIES.<br />
<br />
December 15th.<br />
<br />
> t—<br />
<br />
THE DINNER.<br />
ees<br />
<br />
FFE annual dinner of the Society of<br />
Authors was held at the Hotel Cecil on<br />
Thursday, December 5, Mr. Maurice<br />
<br />
Hewlett, the Chairman, presiding over a<br />
<br />
gathering of close upon 200 members and their<br />
<br />
friends. At the High Table were seated the<br />
<br />
Hon. Mr. Justice Darling (on the left of the<br />
<br />
Chairman), Sir Thomas Barclay, Sir Alfred<br />
<br />
Bateman, Mr. Robert Bateman, and Miss<br />
<br />
Georgiana Bateman, the Right Hon. Sir Henry<br />
<br />
Mortimer Durand, Mrs. Frankau, Mrs. J. G.<br />
<br />
Fraser, Mr. Anthony Hope Hawkins, Mr. C.<br />
<br />
Lewis Hind, Professor W. P. Ker, Sir Frederick<br />
<br />
Macmillan, Mr. E. Phillips Oppenheim, Mrs.<br />
<br />
Perrin, Miss May Sinclair, and Mr. Hugh<br />
<br />
Walpole. Sir William Richmond, who should<br />
<br />
have occupied the seat on the Chairman’s right,<br />
<br />
was unfortunately unable to be present. At<br />
the seven lower tables Mr. Aylmer Maude,<br />
<br />
Mr. W. W. Jacobs, Miss Beatrice Harraden,<br />
<br />
Dr. S. Squire Sprigge (Chairman of the Com-<br />
<br />
mittee of Management), Mrs. Belloc Lowndes,<br />
<br />
Mr. L. J. Vance, and Mr. G. I. Thring, presided.<br />
<br />
At the conclusion of the dinner, after he had<br />
given the usual loyal toasts, Mr. Maurice<br />
<br />
Hewlett rose again to propose that of The<br />
<br />
Society of Authors. There came into his<br />
<br />
A<br />
<br />
THE AUTHOR.<br />
<br />
mind, he said, Sancho Panza’s variant of the<br />
proverb, “‘ Out of the fulness of the heart the<br />
mouth speaketh.” Of course he had no<br />
intention of uttering the words of that variant<br />
now. But they might at least ask themselves<br />
whether authorship throve better in comfort<br />
or discomfort. This was the kind of question<br />
which Sancho Panza’s proverb might well<br />
suggest to their prosperous and growing<br />
organisation. For they were flourishing. The<br />
membership of the Society was now within a<br />
few hundreds of 8,000. New members had<br />
joined at the rate of one for every day in the<br />
year. It came to this, that between them the<br />
committee, chairman, and secretary, had made<br />
the status of an author a respectable thing, in<br />
the trade sense of the word, and were now<br />
proceeding to make it a comfortable thing as<br />
well.<br />
<br />
He himself, however, shared the anarchical<br />
essence at the bottom of all authorship. He<br />
was against the extension of trade union ideas<br />
to their profession. Such ideas could not make<br />
him personally write a good book or sell a bad<br />
one. There was a pride of literature, which<br />
could be seen notably in the cases of Byron and<br />
Dr. Johnson. Authors had a right, when they<br />
chose, to “ poverty, total idleness, and the<br />
pride of literature.” The Society of Authors<br />
could not conflict with or abolish this pride.<br />
<br />
But of the worth of the Society’s work there<br />
could be no doubt. If they wished for an<br />
object-lesson concerning its value to artists,<br />
they need only turn to a recent correspondence<br />
in The Times, wherein Dr. Squire Sprigge,<br />
Sir Charles Stanford and others had been<br />
breaking spears. There they might see an<br />
unorganized art striving to bring itself into line<br />
with literature. There they would be shown,<br />
too, the condition of affairs from which, by the<br />
help of the Society and its officers, literature<br />
had long ago set itself free.<br />
<br />
Alluding to the question of copyright,<br />
Mr. Hewlett said that there could not be the<br />
<br />
slightest doubt of the importance to them of<br />
<br />
this and of the common law right of everyone,<br />
whether artist or artisan, to the full market<br />
value of his work. The Society of Authors was<br />
their guardian in such matters, and he would<br />
mention particularly the labours of Dr. Squire<br />
Sprigge and Mr. Thring, their chairman of<br />
committee and secretary. He gave them the<br />
toast of “* The Society of Authors.”<br />
<br />
Sir Mortimer Durand, in proposing ‘‘ The<br />
Guests,” said that they always had on these<br />
occasions many distinguished ones, and this<br />
night was no exception. There was Mr. Jus-<br />
tice Darling, representing the Bench—the<br />
<br />
<br />
<br />
<br />
<br />
<br />
Palladium of our liberty, with no equal any-<br />
where else in the world. He could himself<br />
speak from experience of the reputation of<br />
British justice in India. Sir William Rich-<br />
mond, unfortunately, was not present, but he<br />
could not refrain from mentioning him in<br />
spite of his absence, for he was an unwavering<br />
upholder of the best traditions of art in this<br />
country. They saw before them Professor<br />
Ker, Sir Frederick Macmillan, Chairman of<br />
the Publishers’ Association, and many others<br />
whom they were most glad to welcome in their<br />
midst to-night.<br />
<br />
Mr. Justice Darling, responding, lamented<br />
the fact that there was ‘“‘no Richmond in the<br />
field,”’ as there should have been to assist him<br />
in returning thanks. He could only say that<br />
after this desertion he should look upon Sir<br />
William as a Futurist in disguise. With regard<br />
to authors he might remind them that there was<br />
once a time when they did nothing else but<br />
write books from morn to night—a practice<br />
which certainly did not make for the best kind<br />
of author. They wrote then about affairs<br />
which they did not understand, about a world<br />
which they had never visited, and sometimes,<br />
in despair, about the next world. Many of<br />
those, however, who had written the best<br />
books had been busy in other directions. One<br />
of the best or the worst—if he remembered<br />
rightly, it was dedicated to the Pope and later<br />
on was put upon the Index—was the work of a<br />
person who was reverently known as I<br />
Segretario Florentino. If they called him by<br />
that name, nobody expressed disapprobation.<br />
But if one spoke of Machiavelli, all who had<br />
derived any profit from his counsels held up<br />
their hands in horror. He need hardly tell<br />
them that this remark applied to all the<br />
diplomatists of Europe.<br />
<br />
It was possible, he continued, that some of<br />
those who were now writing books might one<br />
day have to come before him in his official<br />
capacity, particularly if they wrote little books.<br />
For a little book was properly a libellus—<br />
anglicé, a libel. To such he would give a piece<br />
of useful advice, whereby they could secure<br />
absolute immunity for themselves and put<br />
forth as many libels as they liked, without<br />
having to pay damages. Let them form the<br />
Society of Authors into a trade union. Better<br />
still, let them incorporate all the newspapers<br />
with them and publish everything, not under<br />
their own names, but under that of the union.<br />
Then they would run no danger from the law.<br />
<br />
The toast of “The Chairman” was next<br />
given by Mrs. Belloc Lowndes, who briefly<br />
expressed her pleasure in so doing.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
125<br />
<br />
Mr. Hewlett declared that wild Furies<br />
should not drag another speech from him, but<br />
he desired to thank his old friend for proposing<br />
and all those present for their kind reception<br />
of the toast. He then asked members and<br />
their guests to remove to the adjoining rooms.<br />
<br />
Here the usual conversazione was held, in<br />
which some members took part who had been<br />
unable to arrive in time for the dinner. — Pro-<br />
ceedings terminated about eleven o clock.<br />
<br />
a<br />
<br />
UNITED STATES NOTES,<br />
<br />
+<br />
<br />
HERE were no signs of a declining out-<br />
put on the part of American authors<br />
during the past half-year. Rather the<br />
<br />
reverse, in fact, and it will probably be found<br />
by the end of 1912 that the average of recent<br />
years has been beaten handsomely. The<br />
“fall list’? is so heavy that it is positively<br />
embarrassing to attempt to discriminate<br />
between the books which deserve mention and<br />
those that do not.<br />
<br />
In the realm of fiction especially, the multi-<br />
tude of new works is bewildering. I should<br />
not envy the task of anyone who tried to read<br />
all the new novels which have passed through<br />
the printing press of late. I certainly have<br />
not made the try myself. However, I submit,<br />
for what it is worth, a selection of names which<br />
have attracted attention.<br />
<br />
Basil King’s ‘‘ The Street called Straight ”<br />
properly belongs to the earlier half of the year<br />
just closing. But it has leapt into prominence<br />
since I last wrote, and has occupied for some<br />
time now an enviable place among the “ best<br />
sellers.”’ Others that have figured in the same<br />
list are David Graham Phillips’s ‘‘ The Price<br />
She Paid’; Harold Bell Wright’s *‘ Their<br />
Yesterdays”’; D. H. Munger’s “ The Wind<br />
before the Dawn”; W. D. Orcutt’s ‘“ The<br />
Moth”; Richard Washburn Child’s ‘‘ The<br />
Blue Wall”; and Holman Day’s ‘‘ The Red<br />
Lane.”<br />
<br />
The following stories are all from women’s<br />
pens, and have all met with a most favourable<br />
reception :—Mary Johnston’s *‘ Cease Firing ”’<br />
(in which General Lee is the chief hero); M. E.<br />
Wilkins Freeman’s “‘ The Yates Pride”; Mary<br />
Waller’s *“‘ A Cry in the Wilderness ” ; Caroline<br />
Lockhart’s ‘‘ The Lady Doc.’”’ ; Mary Austin’s<br />
“4 Woman of Genius’’?; Sarah Comstock’s<br />
“The Soddy”’; Florence Olmstead’s “ Mrs.<br />
Eli and Policy Ann’; Alice Hegan Rice’s<br />
‘““A Romance of Billy-Goat Hill”; E. W.<br />
126<br />
<br />
Peattie’s “* Azalea’ ; Caroline Abbot Stanley’s<br />
“The Master of ‘The Oaks’’’; Florence<br />
Morse Kingsley’s ** Miss Philura’s Wedding ”’ ;<br />
Elizabeth Kent’s “Who?” ; Edith Delano’s<br />
‘“ Zebedee V.?; Maud Howard Peterson’s<br />
“The Sanctuary’; Adele Knight’s ‘‘ The<br />
Right to Reign”; Clara Louise Burnham’s<br />
“The Inner Flame’; L. M. Montgomery’s<br />
“Chronicles of Avonlea’; Mary Roberts<br />
Rinehart’s ‘‘ Where there’s a Will ’’; and the<br />
late Myrtle Reed’s ** The White Shield.”<br />
<br />
To come to the men: James Lane Allen has<br />
produced ** The Heroine in Bronze’; Richard<br />
Harding Davis, ‘“‘The Red Cross Girl”;<br />
F. Hopkinson Smith, “The Armchair at the<br />
Inn”; G. B. McCutcheon, ‘‘ The Hollow of<br />
Her Hand”; Harold MacGrath, ‘‘ The Place<br />
of Honeymoons”? ; L. J. Vance, “* The Destroy-<br />
ing Angel”; Robert W. Chambers, ‘“ The<br />
Streets of Ascalon”; George Randolph<br />
Chester, “The Jingo”’: Norman Duncan,<br />
“The Best of a Bad Job”: and Stewart<br />
Edward White, “ The Sign of Six ”—a new<br />
departure for him, being a detective novel.<br />
<br />
Two posthumous works are Jacques Fut-<br />
relle’s “My Lady’s Garter” and Vaughan<br />
Kester’s ‘*‘ The Fortunes of the Landrays.”<br />
<br />
Note must also be made of “* The Unknown<br />
Quantity,” by Henry Van Dyke; ‘‘ The Red<br />
Button,” by Will Irwin; “ The Closing Net,”’<br />
by H. C. Rowland; ‘ The Seer,” by P. M.<br />
Sheehan; ‘‘ The Secret of Lonesome Creek,”’<br />
by S. H. Adams; * Friar Tuck,” by R. A,<br />
Wason ; * The Net,’ by Rex Beach; “ Charge<br />
It,” by Irving Bacheller; ‘‘ The Soul of a<br />
Tenor,” by W. J. Henderson; ‘‘ The Woman<br />
of It,” by Mark Luther; and of three novels<br />
based upon successful plays—‘* Shenandoah,”<br />
by Henry Tyrrell; “The Return of Peter<br />
Grimm,” by David Belasco; and ‘“ The<br />
Woman,” by A. P. Terhune.<br />
<br />
Several interesting and important bio-<br />
graphies have seen the light within a com-<br />
paratively short space of time. There is<br />
“Mark Twain,” by Albert Bigelow Paine;<br />
there is ‘The Life of Andrew Jackson,” by<br />
Professor J. Spencer Bassett; and there is<br />
“A Memoir of George Palmer Putnam,” by his<br />
son, George Haven Putnam, the present head<br />
of the great publishing firm. Mr. Putnam is<br />
also responsible for a small autobiographical<br />
work, “* A Prisoner of War in Virginia, 1864—5.”’<br />
Civil War heroes’ lives and memoirs are<br />
numerous, perhaps the most notable being the<br />
*“* Autobiographical Sketch and Narrative of<br />
the War between the States,’ which General<br />
Jubal Early left behind him at his death; and<br />
J. W. du Bose’s “‘ General Joseph Wells and<br />
<br />
THE AUTHOR.<br />
<br />
the Army of the Tennessee.” The latest<br />
additions to the American Crisis Biographies<br />
are “ Ulysses S. Grant,” by F. S. Edmonds,<br />
and “ Robert Toombs,” by U. B. Phillips.<br />
H. S. Morris’s ‘“* William T. Richards” is the<br />
life of an American painter; and in ‘ Anson<br />
Burlingame and the First Chinese Mission to<br />
Foreign Powers’? Frederick Wells Williams<br />
pays a tribute to one of China’s earliest<br />
American friends. One of the latest of these,<br />
on the other hand, was Homer Lea, who has<br />
died since he brought out ‘‘ The Day of the<br />
Saxon,” but in the interval succeeded in making<br />
himself famous by his association with the<br />
Chinese revolutionists, in whose army he held<br />
the rank of general. Lea was a curious and<br />
versatile person, but his ‘‘ Day of the Saxon ”’<br />
is scarcely a serious contribution to historical<br />
study, nor has the American reading public<br />
been much disturbed by the author’s pro-<br />
phecies. ‘‘ The Chinese Revolution,” by A.<br />
Judson Brown, and ‘* Where Half the World is<br />
Waking Up,” by C. H. Roe, are both concerned<br />
with the new aspect of things in the Far East.<br />
And Judge J. H. Blount’s “The American<br />
Occupation of the Philippines,” as its title<br />
shows, deals with the changes wrought by the<br />
advent of a comparatively recent intruder into<br />
the same part of the world. W. R. Scott’s<br />
“The Americans in Panama” treats of the<br />
practical, and Joseph Pennell’s ‘“* Pictures of<br />
the Panama Canal” of the artistic, aspect of<br />
the latest move of the United States towards<br />
the ardently desired’ mastery of the Pacific<br />
Ocean.<br />
<br />
Other works which may be put under the<br />
heading of travel and description are: ‘‘ The<br />
Flowing Road,” by Caspar Whitney; “ In the<br />
Amazon Jungle,” by Algot Lange; and<br />
“Through South America,” by H. W. Van<br />
Dyke—all concerned with the southern part of<br />
the New World; J. W. Williams’s ‘*‘ The<br />
Guardians of the Columbia”? and ‘“ The'<br />
Mountain that is God”; J. W. Underwood’s<br />
‘* The New Alaska ”’; Charles Sheldon’s ** Wil-<br />
derness of the North Pacific Coast Islands ”’ ;<br />
and 8. A. Bonsal’s ‘‘ American Mediterranean ”<br />
—all dealing with the northern part. Further<br />
afield are Stewart Edward White’s ‘‘ The Land<br />
of Footprints’’ (Africa), and Dwight L.<br />
Elmendorf’s ‘‘ A Camera Crusade through the<br />
Holy Land.” ‘“ Wild Life and the Camera,”<br />
by A. R. Dugmore, is a nature book which has<br />
received much praise.<br />
<br />
Of historical works, Professor Edward Chan-<br />
ning’s long expected third volume, bringing<br />
down to 1789 his “‘ History of the United<br />
States,’ may be allowed to take first place.’<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
The third volume has also appeared of W. R.<br />
Livermore’s “ Story of the Civil War,” and the<br />
eighth of J. B. McMaster’s “ History of the<br />
People of the United States, from the Revo-<br />
lution to the Civil War.” KE. W. Morse’s<br />
*“ Causes and Effects in American History ” is<br />
small and compact in comparison with these<br />
big works. A special period is dealt with in<br />
‘The Relations of Pennsylvania with the<br />
British Government, 1696-1765,” by Professor<br />
W. T. Root.<br />
<br />
Constitutional problems are the theme of<br />
‘** Concentration and Control,” by C. R. Van<br />
Hise ; ‘‘ Majority Rule and the Judiciary,” by<br />
W.L. Ransom; ‘“ The Supreme Court and the<br />
Constitution,” by Professor C. A. Beard;<br />
“* Our Judicial Oligarchy,” by G. E. Roe ; and<br />
‘The Betts-Roosevelt Letters,’ of which the<br />
writers are the ex-President and Mr. Betts,<br />
editor of the Lyons Republican.<br />
<br />
Three feminist books are ‘“ Woman and<br />
Social Progress,” by Scott and Nellie Nearing ;<br />
‘“The Advance of Woman,” by Mrs. J. J.<br />
Christie ;_ and “‘ Making a Business Woman,”<br />
by Anne Shannon Monroe, who tells her story<br />
like a novel, but all the same is handling facts.<br />
<br />
Donald Lowrie’s *“‘ My Life in Prison ’’ adds<br />
another to the list of moving and earnest con-<br />
tributions to literature by those who have<br />
unfortunately learnt by bitter experience what<br />
prison means.<br />
<br />
Perhaps the most interesting volume of<br />
essays is Meredith Nicholson’s “ The Provincial<br />
American and Other Papers.”” The ‘‘ Collected<br />
Works ” of Ambrose Bierce have now reached<br />
their twelfth and last tome.<br />
<br />
“The Religious Life of Ancient Rome,” by<br />
J. B. Carter, Director of the American School<br />
of Classical Studies in Rome, and “ The Mean-<br />
ing of God in Human Experience,” by Professor<br />
W. E. Hocking, of Yale, may be picked out as<br />
specially noteworthy books on religious matters.<br />
<br />
I find left over at the end a pair of very<br />
incongruous works, which nevertheless both<br />
have their interest for many people. One is<br />
“ The Lover’s Baedeker and Guide to Arcady,”<br />
by Carolyn Wells, with illustrations by A. D.<br />
Blashfield, the Life artist; and the other<br />
““ America’s National Game: The Story of<br />
Baseball,” by A. G. Spalding.<br />
<br />
The obituary, since the last appearance of<br />
these ‘‘ Notes,” includes the following names :<br />
On June 4, Mrs. Margaret Elizabeth Sangster,<br />
whose literary activities were divided between<br />
poetry, juvenile books, and journalism—the<br />
last notably in connection with Harper's<br />
Bazaar and the Ladies’ Home Journal. On<br />
June 16, Professor William Watson Goodwin,<br />
<br />
127<br />
<br />
one of America’s most distinguished scholars<br />
and the possessor of very numerous foreign<br />
honours, including an Oxford D.C.L. On<br />
July 8, Henry Arden, author of five volumes on<br />
patent law, on which subject he was an expert<br />
unrivalled in his own country. On August 2,<br />
Dr. Samuel Morley Jackson, Professor of<br />
Church History in New York University, and<br />
writer of many religious works. _On August 7,<br />
Isaac Newton Ford, doyen of the staff of the<br />
New York Tribune, which he represented in<br />
London alone for seventeen years. On Novem-<br />
ber 1, Homer Lea, who has already been men-<br />
tioned above. On November 8, Dr. Henry<br />
Sylvester Nash, Professor of Literature and<br />
Interpretation of the New Testament at Cam-<br />
bridge, Mass. On November 10, J. A. Way-<br />
land, the Socialist author and founder of two<br />
periodicals, The Appeal to Reason and The<br />
Coming Nation; he died by his own hand.<br />
On November 12, Sophie Miriam Swett, who<br />
was a popular writer among children. On<br />
November 28, Dr. Edward Curtis, Professor<br />
Emeritus of Columbia, and author of various<br />
books on medical subjects.<br />
<br />
Pritip WALSH.<br />
<br />
-_—_— OOS<br />
<br />
“THE LITERARY YEAR-BOOK,<br />
ILLUSTRATORS’ DIRECTORY AND<br />
BOOKMAN’S GUIDE.” *<br />
<br />
a oo ed<br />
<br />
HE new volume of the “Literary Year-<br />
Book ”’ appears under new auspices, and<br />
with some considerable difference in the<br />
<br />
contents and in their arrangement; and we<br />
have much pleasure in saying that we are<br />
impressed by a very considerable improvement<br />
in the annual. Two omissions will be noticed,<br />
that of the index of authors (which does not<br />
appear to have been ever altogether satis-<br />
factory) and is very little to be regretted, as all<br />
the information that can be desired will be<br />
found in the very comprehensive ‘“‘ Authors’<br />
Directory.”’ The other omission is that of the<br />
index of Foreign publishers and Societies.<br />
Respecting this it is explained that the diffi-<br />
culties of obtaining information from abroad<br />
have led to the omission. No one who has had<br />
any dealings with continental correspondents<br />
can be ignorant of the proverbial nature of<br />
their dilatoriness ; and we find it easy to believe<br />
<br />
* “The Literary Year-Book, Illustrators’ Directory and<br />
Bookman’s Guide,” Vol. XVII., edited by Basil Stewart,<br />
London, John Ouseley, 1913.<br />
<br />
.<br />
<br />
<br />
<br />
<br />
128 THE AUTHOR.<br />
<br />
what is said. We have, in the past, had occa-<br />
sion to comment upon the imperfect nature of<br />
the information respecting continental pub-<br />
lishers contained in the “Literary Year-<br />
Book,’’ and we opine that the omission made<br />
is a prudent one.<br />
<br />
A valuable addition is made in the shape of<br />
a Directory of Book and Magazine Illustrators<br />
an entirely new feature—and this, together<br />
with the directory of Authors, and a list of<br />
pen names and pseudonyms forms the first<br />
part of the new volume.<br />
<br />
The second part of the annual begins with<br />
articles on ‘“‘ Law and Letters.” of which we<br />
shall have more to say presently. These are<br />
followed by indexes of libraries and of perio-<br />
dicals (with notes likely to be valuable to<br />
contributors, who will also find very serviceable<br />
the additional classified index of periodicals).<br />
In the third part are collected information<br />
respecting the Nobel and the Prince de Polinac<br />
prizes, an Obituary, and information regarding<br />
societies and clubs. At the conclusion of this<br />
part we notice particularly pages devoted to<br />
the different kinds of ‘‘ type faces,”’ as well as<br />
the ordinary examples of the different founts.<br />
<br />
Part IV. contains trade and_ professional<br />
information, lists of literary agents, typing and<br />
press-cutting offices, booksellers, both town<br />
and country, printers, binders, photographers,<br />
British, Colonial and American publishers (of<br />
whom a classified index is also offered), and<br />
some other matters of minor importance,<br />
among which we would not overlook a table<br />
for calculating royalties.<br />
<br />
The calendar is relegated to the end of the<br />
volume. We must confess that this appears<br />
to us to be a singular arrangement, and by<br />
no means convenient. Nor do we see why the<br />
different parts of the work should have a<br />
separate pagination. For reference that is<br />
distinctly inconvenient.<br />
<br />
The new enactments respecting copyright<br />
which have come into force in the course of the<br />
last year will naturally draw particular atten-<br />
tion to the pages on legal matters with which<br />
the second part of the annual begins. The<br />
terms of the new legislation appear to us to be<br />
here well epitomised, and, so far as they go, we<br />
are far from wishing to dispute the value of<br />
this part of the work. All epitomisation of law<br />
must, at the same time, be inadequate, and how-<br />
soever well done be liable to mislead ; so that,<br />
whilst we have pleasure in praising the editors’<br />
labours here, we cannot sufficiently insist upon<br />
warning authors against proceeding, on the<br />
strength of what is here put before them, to be<br />
their own lawyers without taking professional<br />
<br />
<br />
<br />
advice. Exactly the same remarks will apply<br />
to the pages (Part IL., pp. 25 ff.) dealing with<br />
agreements between authors and agents, or<br />
authors and publishers. Amongst other parti-<br />
culars in this part of the annual we note, as<br />
deserving of attention, “the clause which<br />
entitles the agent to collect and receive all<br />
monies due under the terms of the agreement,<br />
and acknowledges the agent’s receipt as<br />
a good and valid discharge, should be signed<br />
only with the utmost caution ” (p. 28). “ It<br />
is better that [publishers’| accounts should be<br />
rendered semi-annually than on the thirtieth<br />
of June” (p. 32). “It is difficult to state<br />
precisely what degree of similarity constitutes<br />
an infringement by one book of the copyright<br />
of another. If author and publisher have<br />
reason to mistrust each other, the points of<br />
likeness covered by the prohibition should be<br />
expressly specified’ (p. 33). These are all<br />
excellent pieces of advice.<br />
<br />
We find ‘“‘ The Authors’ Year-Book for<br />
1913’ considerably superior to its prede-<br />
cessors, and feel no hesitation about asserting<br />
that authors will find the annual more service-<br />
able to them than it has been in times past.<br />
<br />
ee es<br />
<br />
WHO’S WHO, 1913.*<br />
<br />
— a<br />
<br />
2 7 * have received the annual volume of<br />
) ** Who’s Who ” for 1918, and find that<br />
it contains 2,226 pages. The character<br />
of the publication is so well known that there<br />
is no occasion to dwell upon it here. At the<br />
same time so much is contained under the<br />
volume’s unpretending title that its real<br />
character is very easily overlooked. ‘* Who’s<br />
Who ” is in reality a biographical encyclopxdia<br />
of living celebrities, and one with whose<br />
information very few biographical dictionaries<br />
ean compare. It is hardly too much to say<br />
that no name of note is omitted. The real test<br />
of the value of a biographical dictionary is to<br />
observe whether in the case of any name that<br />
may be looked up such information as was<br />
desired is to be found. We have applied this<br />
test to the volume for 1913 with excellent<br />
results. Authors should notice that the<br />
literary part of the work leaves nothing to be<br />
desired; and that they will find not only<br />
biographical but also bibliographical informa-<br />
tion presenting most convenient lists of all the<br />
important works of English living authors.<br />
<br />
* “Who's Who, 1913.” Sixty-fifth year of issue.<br />
A. and,C. Black, London. | https://historysoa.com/files/original/5/524/1913-01-01-The-Author-23-4.pdf | publications, The Author |
| 525 | https://historysoa.com/items/show/525 | The Author, Vol. 23 Issue 05 (February 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+05+%28February+1913%29"><em>The Author</em>, Vol. 23 Issue 05 (February 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-02-01-The-Author-23-5 | | | | | 129–156 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-02-01">1913-02-01</a> | | | | | | | 5 | | | 19130201 | The Huthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
VoL. XXTII.—No. 5.<br />
<br />
Feprvuary 1, 1913.<br />
<br />
[PRICE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
ees<br />
<br />
NOTICES.<br />
<br />
ee<br />
<br />
ee the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 39, Old<br />
Queen Street, Storey’s Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII,<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
ee<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
—-——<— + —<br />
<br />
ROM time to time members of the Society<br />
K desire to make donations to its funds in<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
180<br />
THE PENSION FUND.<br />
<br />
—-—+—<br />
<br />
N January, 1912, the secretary of the Society<br />
I laid before the trustees of the Pension Fund<br />
the accounts for the year 1911, as settled<br />
by the accountants, with a full statement of<br />
the result of the appeal made on behalf of<br />
the fund. After giving the matter full con-<br />
sideration, the trustees instructed the secretary<br />
to invest the sum of £500 in the purchase of<br />
Antofagasta and Bolivian Railway 5% Pre-<br />
ferred Ordinary Stock and Central Argentine<br />
Railway Ordinary Stock. The amounts pur-<br />
chased at the current prices were £287 in the<br />
former and £282 in the latter stock.<br />
<br />
The trustees desire to thank the members of<br />
the Society for the generous support which they<br />
have given to the Pension Fund. The money<br />
now invested amounts to £4,454 6s.<br />
<br />
Later in the year, at a meeting of the Com-<br />
mittee of Management, a question concerning<br />
the funds of the Society was brought up for dis-<br />
cussion, and it was suggested that it would be<br />
a good thing for the Pension Fund trustees, if<br />
they had power, to sell out the Fund's holding of<br />
Consols and to invest in some more satisfactory<br />
security. The suggestion was placed before the<br />
trustees of the Pension Fund, and a meeting<br />
was called, when the chairman of the Committee<br />
of Management, the trustees, and Mr. Aylmer<br />
Maude, the member of the Committee of<br />
Management who had made the suggestion,<br />
were present. The figures were very closely<br />
considered, and it appeared clear that altera-<br />
tions in the investment of the funds could be<br />
carried out with advantage to the Fund’s<br />
income. It was decided by the trustees, with<br />
the approval of the Committee of Management,<br />
to sell out the holding of Consols. With the<br />
amount realised, were purchased—<br />
<br />
$2,000 (£400) Consolidated Gas and Elec-<br />
tric Company of Baltimore 44% Gold<br />
Bonds ;<br />
<br />
30 Buenos Ayres Great Southern Railway<br />
4°/, Extension Shares, 1914 (£8 paid) ;<br />
£250 Edward Lloyd, Ltd., £1 5% Prefer-<br />
<br />
ence Shares.<br />
<br />
These amounts are fully set out and added<br />
in the nominal value to the Pension Fund<br />
investments, below.<br />
<br />
The trustees have also, in view of the option<br />
extended to them as holders of £282 Central<br />
Argentine Railway Ordinary Stock, subscribed<br />
for 8 Central Argentine Railway £10 Preference<br />
Shares, New Issue.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
<br />
THE AUTHOR.<br />
<br />
to £4,454 6s., details of which are fully set out<br />
in the following schedule :—<br />
<br />
<br />
<br />
Nominal Value.<br />
<br />
£ 8. @<br />
<br />
Local Loans ......-+++-++++0s 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ......-. 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ............ 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 84% Inscribed<br />
<br />
Stock 2.2... .02- snes cue: -.. 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock .... 228 0 0<br />
New Zealand 84% Stock........ 247 9 6<br />
Irish Land 23% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1927—57.......-+e0+. 438 2 4<br />
Jamaica 84% Stock, 1919-49 182 18 6<br />
Mauritius 4% 1987 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 84%<br />
<br />
Land Grant Stock, 1938 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock .......... 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock ...........++6-. 232 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44% Gold Bonds ............ 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares .........- 250 0 0<br />
30 Buenos Ayres Great Southern<br />
<br />
Railway 4% Extension Shares,<br />
<br />
1914 (08 paid) ...--.. 45.5. 240 0 0<br />
8 Central Argentine Railway £10<br />
<br />
Preference Shares, New Issue.. 30 0 0<br />
<br />
Total<br />
<br />
ee yee ves £4,454 6 0<br />
<br />
———__+—>—_e___—_-<br />
<br />
PENSION FUND.<br />
<br />
<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e, donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
October 1, 1912.<br />
<br />
It does not include either donations given<br />
prior to October 1, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
Subscriptions.<br />
1912. fs<br />
Oct. 2, Todhunter, Dr. John. _ Ao<br />
Oct. 10, Escott, T.H.S. . ~» @.5<br />
<br />
x<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
ae<br />
<br />
‘tinea<br />
<br />
<br />
<br />
<br />
<br />
<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Nov.<br />
Nov.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
<br />
THE AUTHOR.<br />
<br />
10, Knowles, Miss M. W. :<br />
11, Buckley, Reginald . ‘<br />
12, Walshe, Douglas :<br />
12, ‘‘ Penmark”’ . ;<br />
<br />
15, Sinclair Miss Edith .<br />
<br />
16, Markino, Yoshio. :<br />
20, Fiamingo, Carlo’.<br />
<br />
29, Henley, Mrs. W. E.<br />
<br />
8, Jane, L. Cecil .<br />
<br />
14, Gibb, W.<br />
<br />
4, De Brath, S. . :<br />
<br />
4, Sephton, The Rev. J.<br />
<br />
4, Cooper, Miss Marjorie<br />
<br />
7, MacRitchie, David<br />
<br />
11, Fagan, James B.<br />
<br />
27, Dawson Forbes<br />
<br />
1913.<br />
<br />
Jan.<br />
<br />
Jan.<br />
<br />
1912.<br />
<br />
Oct.<br />
Oct.<br />
Oct.<br />
<br />
Oct.<br />
Oct.<br />
Nov.<br />
Nov.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
<br />
3, Toynbee, William (In addi-<br />
tion to his present sub-<br />
scription). .<br />
<br />
9, Gibson, Frank .<br />
<br />
Donations.<br />
<br />
2, Stuart, James . :<br />
<br />
14, Dibblee, G. Binney . :<br />
<br />
14, Michell, The Right Hon.<br />
Sir Lewis, C.V.O.<br />
<br />
17, Ord, H.W. . :<br />
<br />
20, Yorke-Smith, Mrs. .<br />
<br />
10, Hood, Francis . i<br />
<br />
20, Kennard, Mrs. N. H.<br />
<br />
4, McEwan, Miss M. S.<br />
<br />
4, Kennedy, E. B.<br />
<br />
11, Begarnie, George<br />
<br />
11, Tanner, James T.<br />
<br />
11, Toplis, Miss Grace . :<br />
<br />
14, Watson, Mrs. Herbert A..<br />
<br />
14, French, Mrs. Warner .<br />
<br />
17, Smith, Miss Sheila Kaye .<br />
<br />
17, Marras, Mowbray<br />
<br />
27, Edwards, Percy J. .<br />
<br />
1913.<br />
<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
<br />
1, Risque, W. H. :<br />
<br />
1, Rankin, Mrs. F. M. .<br />
<br />
2, Short, Miss L. M.<br />
<br />
2, Mackenzie, Miss J.<br />
<br />
2, Webling, Miss Peggy<br />
<br />
8, Harris, Mrs. EK. H. .<br />
<br />
8, Church, Sir Arthur,<br />
K.C.V.O., ete.<br />
<br />
4, Douglas, James A.<br />
<br />
4, Grant, Lady Sybil<br />
<br />
6, Haultain, Arnold<br />
<br />
6, Beveridge, Mrs.<br />
<br />
6, Clark, The Rev. Henry Ww.<br />
<br />
Crocco oorHoHoCoSoOooo<br />
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coooce Smroocooowooourooon<br />
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<br />
_<br />
Oman”<br />
<br />
et<br />
Ooo<br />
<br />
_<br />
SS OS Or Or Or Or Or<br />
<br />
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<br />
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font<br />
<br />
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aay oe<br />
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anocoococoocococoancoooo®<br />
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coococo ocoooceoco escococooocoeoooooansg<br />
<br />
131<br />
<br />
6, Ralli, C. Searamanga.<br />
6, Lathbury, Miss Eva .<br />
6, Pryce, Richard<br />
<br />
7, Gibson Miss L. S.<br />
<br />
10, K. : :<br />
<br />
10, Ford Miss May :<br />
12, Greenstreet, W. J. .<br />
14, Anon. ; :<br />
15, Maude Aylmer :<br />
16, Price, Miss Eleanor<br />
17, Blouet, Madame<br />
<br />
20, P. H. and M. K.<br />
<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
<br />
oo 2<br />
<br />
_<br />
<br />
_<br />
Pe Oe OCororS Oe<br />
<br />
he OmMOCOCCOoORS wth<br />
Scocococoooeo=<br />
<br />
ee ee ee<br />
<br />
COMMITTEE NOTES.<br />
<br />
oo<br />
<br />
HE first meeting of the year was held at<br />
<br />
the committee room, 18, Queen Anne’s<br />
<br />
Gate, S.W., on January 6. There was<br />
<br />
a very full list of agenda before the committee.<br />
<br />
After the minutes of the last meeting had been<br />
<br />
read and signed thirty-four applications for<br />
<br />
membership and associateship of the Society<br />
<br />
were received. The applicants were elected,<br />
<br />
and the list appears on another page. The<br />
<br />
question of the resignations, owing to pressure<br />
<br />
of business, was adjourned to the February<br />
meeting.<br />
<br />
The solicitor then reported the cases he had<br />
dealt with during the preceding month. He<br />
mentioned two cases against a travelling<br />
performer. In the first case the amount of the<br />
debt and costs had been paid, as soon as the<br />
defendant had been served with a summons<br />
for examination as to his means. In the<br />
second the summons had not yet been<br />
issued. The next case was a claim against an<br />
American Syndicate with offices in London.<br />
The solicitor reported that he had been unable<br />
to get any satisfactory answer, although, at<br />
the request of the defendants, they were given<br />
time to enable them to get a reply from the<br />
United States. The solicitor advised that<br />
action should be taken in the United States, and<br />
the committee adopted this advice, subject to<br />
the author’s willingness to proceed. An action<br />
against a daily paper had been settled, the<br />
author taking a certain sum by way of com-<br />
promise. The solicitors and the secretary were<br />
pleased to report the receipt of an apology from<br />
a company in respect of a threat made to a<br />
member of the Society to take no more of his<br />
literary work if he persisted in claiming what<br />
was due to him under a contract with a<br />
newspaper. Three cases were then reported<br />
132<br />
<br />
against a publisher. The first case the solicitor<br />
stated, with regret, had been won In the<br />
county court by the publisher; he did not<br />
consider, as the amount in question was very<br />
small, and no question of principle was con-<br />
cerned, that it would be worth the Society’s<br />
while to appeal. The other two cases were<br />
demands for money and account. In one of<br />
these the accounts had been delivered but,<br />
owing to a mistake, required adjustment, and<br />
after a report on the other, the committee<br />
authorised the solicitor to proceed, failing<br />
a satisfactory answer from the publisher. In<br />
a claim for dramatic royalties the solicitor<br />
reported he had failed to obtain any answer<br />
to his requests, and the committee authorised<br />
action in the courts. In another case against<br />
a paper, the proprietor had been examined<br />
as to the assets of his company. These<br />
proved to be worthless, and, in consequence,<br />
the judgment obtained would be abortive.<br />
In another case the solicitor explained<br />
the action he had taken to give effect to a<br />
judgment, but no satisfaction had, so far,<br />
been obtained, as the defendant had no<br />
address, no office, no regular occupation and<br />
no assets on which execution could be levied.<br />
A case of libel arising out of a book review was<br />
next considered, and the solicitor gave a<br />
detailed explanation of the legal aspect of the<br />
ease as laid before him. The committee<br />
regretted they could not take action, as such<br />
action appeared to be outside the powers of<br />
the Society, and the secretary was instructed to<br />
write to the member accordingly, with a full<br />
report of the case with which the solicitor was<br />
instructed to furnish him. In two bank-<br />
ruptcy cases the action that had been taken<br />
during the past month was laid before the<br />
committee.<br />
<br />
The secretary then brought before the com-<br />
mittee a case of dispute on a printing account.<br />
The committee did not see their way, from the<br />
evidence before them, to take up the matter,<br />
but suggested a course of action, and stated<br />
that they would be ready to reconsider the<br />
matter later if desired. In a case against a<br />
German manager who had threatened piracy<br />
of a work by an English dramatist, a member<br />
of the Society, the committee decided to take<br />
action and instructed the secretary to proceed.<br />
In another case, which originally had been<br />
before the Society some time during the<br />
beginning of last year, it was decided to take<br />
action, as the negotiations had failed to produce<br />
any satisfactory result. The case was an<br />
infringement of dramatic rights in India, and<br />
involved the payment of a large sum as<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
security for costs. This amount the committee<br />
decided to pay. A claim for breach of con-<br />
tract by a publisher, which had been resisted<br />
by the publisher in an offensive letter to the<br />
author, was considered, and it was decided<br />
to take immediate action. Finally, it was<br />
decided that counsel’s opinion should be taken<br />
on a dispute in regard to a question of cinema-<br />
tograph production.<br />
<br />
Certain questions associated with the Collec-<br />
tion Bureau were next considered. It was<br />
decided to make a charge of 2s. 6d. for each<br />
half-yearly collection of accounts in those cases<br />
where the commission charged did not come<br />
to the minimum thus fixed. The secretary<br />
was instructed to report to the next meeting<br />
how many members had already placed their<br />
matters in the hands of the Bureau.<br />
<br />
A question then arose concerning Canadian<br />
copyright, and the secretary read two letters<br />
that he had received—one from an American<br />
correspondent and one from the Premier’s —<br />
office in Ottawa. It was decided by the —<br />
committee to write an official letter to the<br />
Minister of Justice and to the Minister of —<br />
Agriculture, putting one or two further points<br />
before them, and the secretary was instructed<br />
to draft such a letter for the consideration of<br />
the chairman.<br />
<br />
Recommendations from the Dramatic Sub-<br />
Committee were then laid before the committee.<br />
<br />
In one case it was decided to take immediate<br />
<br />
action for piracy in Winnipeg, as the committee<br />
had been informed that piracy was frequent<br />
and flagrant throughout the Dominion, and<br />
it was felt that it should be stopped. The<br />
second recommendation of the Dramatic Sub-<br />
Committee referred to another case which had<br />
been settled since the recommendation had<br />
been made. The third recommendation was<br />
to accept the courteous offer of the Society of<br />
American Dramatists and Composers to grant<br />
reciprocal aid in matters relating to the<br />
interests of dramatists. This recommendation<br />
the committee gladly confirmed, and instructed<br />
the secretary to communicate with the<br />
American society accordingly.<br />
<br />
It was decided to send out the Annual<br />
Report to all the committee at the earliest<br />
possible moment, and the date of the General<br />
Meeting was fixed, provisionally for Thursday,<br />
April 8. Formal notice of the meeting, with<br />
the Report, will be sent round in due course.<br />
<br />
A letter from the Society’s agent in Holland<br />
was read, and the secretary was instructed to<br />
reply to it and to communicate the committee's<br />
decision in regard to certain privileges asked by<br />
the agent.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
"The ‘costs of the Americaii lawyers for the<br />
- year were also considered, and the secretary<br />
» was instrudted to reply to the courteous letter<br />
«| from the lawyers in which they had offered to<br />
“reconsider their charges.<br />
<br />
An important point had been raised in<br />
= eammittee at the last meeting touching the<br />
‘> question of payment by editors on acceptance.<br />
* A draft letter to editors asking for their opinion<br />
‘= and suggesting some arrangement was settled,<br />
is and the secretary was instructed to send out<br />
02 some twenty or thirty copies to the editors of<br />
9 certain magazines and periodicals. He was<br />
at instructed to report the result to the next<br />
“1 meeting.<br />
<br />
The chairman reported the action he had<br />
‘si taken about new offices for the society, and the<br />
joe settlement of this matter was left entirely in<br />
it, Jhis hands.<br />
; A letter from Mr. Frederic Harrison, with-<br />
a> drawing his resignation, was read to the<br />
‘02 committee, who instructed the secretary to<br />
«02 convey their thanks to Mr. Harrison.<br />
: The following donations to the Capital Fund<br />
to of the Society were chronicled, and a vote of<br />
11 thanks to the donors passed.<br />
& &:<br />
<br />
Miss Cicely Hamilton 5<br />
‘Thomas Common . el<br />
Philip E. Hubbard . 1<br />
Mrs. T. P. O’Connor. 1<br />
<br />
—_—<br />
<br />
a bh<br />
coooe<br />
<br />
Dramatic SuB-CoMMITTEE.<br />
<br />
* THE January meeting of the Dramatic Sub-<br />
¥03 Committee was held at the committee rooms of<br />
«1 the Society of Authors, 18, Queen Anne’s Gate,<br />
«= S.W., on Friday, January 17. Various impor-<br />
“s tant matters were considered, the first subject<br />
"> for discussion being the question of cinemato-<br />
** graph fees. Mr. Raleigh apologised for not<br />
(5 being able to place his report before the sub-<br />
6. committee, but explained that the subject was<br />
© one of larger extent than he at first thought,<br />
‘and involved many difficult issues; that he<br />
© had gathered a great deal of information and<br />
<br />
yumi time for the next meeting. He trusted, how-<br />
7 ever, that the committee would not hurry him,<br />
as it would be better to get an exhaustive<br />
report on the fullest information than to<br />
produce an unsatisfactory document. He<br />
explained, however, a great many of the points<br />
to the sub-committee which needed to be<br />
considered.<br />
<br />
-The legal questions then came up for<br />
discussion.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
$<br />
133<br />
<br />
Mr. Raleigh explained that he had settled<br />
the dispute about the title of one of his pieces,<br />
and that the Society had taken up another<br />
case on his behalf, a dispute with a German<br />
manager who had threatened to infringe his<br />
rights. The secretary also reported that the<br />
case referred to the Committee of Management<br />
dealing with copyright infringement in Canada<br />
had been taken up. The committee had<br />
determined to carry it through as quickly as<br />
possible.<br />
<br />
The question of foreign dramatic agents was<br />
next brought forward, and the secretary read<br />
letters he had received from three of these<br />
agents. The terms for the collection of fees<br />
in foreign countries were very carefully con-<br />
sidered, and the secretary was instructed to<br />
write to the proposed agents, laying before<br />
them details as to figures and other matters.<br />
When the figures are finally settled full<br />
particulars will be printed in The Author.<br />
<br />
The action of the Society of West End<br />
Managers in the matter of the Managerial<br />
Treaty was again discussed, and it was<br />
decided that, at the next meeting of the<br />
committee, a date should be fixed for the con-<br />
ference of dramatists and the agenda to be<br />
brought before that Conference. It was<br />
decided, also, to refer to the next meeting the<br />
discussion of a circular to be issued on behalf<br />
of the Collection Bureau, and the consideration<br />
of the dramatic pamphlet was adjourned.<br />
<br />
ComroseErs’ SuB-COMMITTEE.<br />
<br />
Tue Composers’ Sub-Committee of the<br />
Society of Authors, held its first meeting for<br />
1913 at the committee rooms, 18, Queen<br />
Anne’s Gate, S.W.<br />
<br />
After the minutes had been read and signed<br />
the sub-committee went carefully through<br />
Messrs. Curwen’s agreement, clause by clause,<br />
and the secretary was instructed to write a<br />
letter to Messrs. Curwen pointing out the<br />
emendations and corrections necessary before<br />
the agreement could meet with the approval<br />
of the sub-committee. It is hoped to carry<br />
this matter through in the course of the next<br />
few meetings.<br />
<br />
The secretary reported that no answer had<br />
been received to his letter to the Board of<br />
Trade, and he was instructed to write to the<br />
President again on the matter. Failing a<br />
satisfactory reply it was suggested that the<br />
points raised should be laid before counsel, and<br />
<br />
“L<br />
<br />
<br />
134<br />
<br />
the question was referred to the Committee<br />
of Management for that purpose.<br />
<br />
The sub-committee next dealt with the<br />
question of performing rights and the rights of<br />
reproduction on mechanical instruments, the<br />
committee were determined to carry the issues<br />
further, although it had been found impossible<br />
to get any satisfactory reply from the Music<br />
Publishers’ Association in regard to performing<br />
rights. The secretary was instructed to draft<br />
a letter dealing with both points as arising<br />
under the new Copyright Act, and to refer the<br />
letter, when approved by the chairman, to the<br />
Committee of Management, as the sub-<br />
committee desired that the circular should be<br />
sent out as from the Committee of Manage-<br />
ment to all composers, whether members of the<br />
Society or not, in the hope that by a closer<br />
combination it would be possible to obtain a<br />
satisfactory return for rights which, at the<br />
present time, were being so grossly squandered.<br />
<br />
The constitution of the sub-committee was<br />
also discussed, and one or two fresh names<br />
put forward. These names will be submitted<br />
to the Committee of Management, on the<br />
re-election of the sub-committee, if the consent<br />
of the owners can be obtained.<br />
<br />
——— +<br />
<br />
Cases.<br />
<br />
Durine the month of January the secretary<br />
has dealt with fifteen new cases. Three of the<br />
matters in dispute were questions dealing with<br />
the legal interpretation of agreements. One of<br />
them has been settled, the other two are still<br />
open. These disputes, as there is usually much<br />
correspondence, take rather a long time to<br />
settle. One dispute, however, as a typical<br />
example, is of interest. It refers to delay<br />
in publication. In many publishing agree-<br />
ments there is no special date fixed for pub-<br />
lication, and in mayy others where the date is<br />
fixed, time is not made “ of the essence of the<br />
contract; ’’ in consequence publishers don’t<br />
hesitate to delay publication for their own<br />
convenience, when such delay is often a matter<br />
of serious importance to the author. For<br />
instance, if a sum of money is to be paid on<br />
the day of publication, it is to the advantage<br />
of the publisher to postpone the date,<br />
and this he sometimes successfully accom-<br />
plishes. In some instances the publisher is<br />
unable to get the printer to go on with the<br />
work, perhaps owing to some unpaid account,<br />
in that case the delay is very serious to the<br />
author; but the real difficulty to the author<br />
arises when it becomes necessary to take action,<br />
<br />
THE AUTHOR.<br />
<br />
because, although delay is serious, it is very<br />
difficult for the author to prove actual<br />
damage, as the damage is much oftener “ moral<br />
and intellectual” than financial. If, there-<br />
fore, it is of vital importance that the<br />
book should be brought out at a fixed date,<br />
the author should not merely in his agreement<br />
name the date, but should insist upon the<br />
words “time to be of the essence of the con-<br />
tract ’? being inserted.<br />
<br />
There have been five cases for the return of<br />
MSS., and in two cases the MSS. have been<br />
returned and forwarded to the author. The<br />
three other cases have only recently come to<br />
hand. A point has arisen in one of these<br />
which is of general interest to authors, There<br />
is a habit among editors of delaying the return<br />
of the MSS., and that although their attention is<br />
especially called to the fact that the MSS. are of<br />
ephemeral interest. These cases are very hard<br />
on authors, and even though the author has<br />
made special reference to the fact it not<br />
infrequently occurs that the editor takes no<br />
notice, and the author in consequence, sup-<br />
posing his MSS. are rejected by one magazine,<br />
loses the chance of placing them elsewhere. In<br />
most of these cases he is without a remedy.<br />
<br />
One ease has arisen of a dispute with an<br />
agent in the United States of America. This<br />
naturally has not been settled in the month,<br />
but it is in the hands of the United States<br />
lawyers.<br />
<br />
Four cases have come to hand where money<br />
due has been withheld from the authors, one<br />
of these has been settled, and of the three that<br />
are left, two are in the course of satisfactory<br />
negotiation, and the third has only recently<br />
come to hand. It is possible that, failing<br />
settlement, they may have to be placed in<br />
the hands of the Society’s solicitors.<br />
<br />
The secretary is dealing with one case of<br />
literary libel. He has written on behalf of<br />
the author to the other party, but as he has<br />
received no reply, it is to be hoped that no<br />
further steps will be necessary.<br />
<br />
One question of accounts has only recently<br />
come to hand.<br />
<br />
Most of the cases dealt with in the last month<br />
have been satisfactorily closed; those that<br />
still remain open are either disputes on agree-<br />
ments, which, as already stated, need a certain<br />
amount of diplomatic correspondence, or<br />
foreign cases. Two matters, however, have<br />
been placed in the hands of our solicitors, to<br />
carry through the courts if necessary.<br />
<br />
—<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Elections.<br />
<br />
Alston, Evelyn<br />
<br />
Armstrong, Martin D. .<br />
<br />
Arup, Paul S.<br />
<br />
Blaikley, Miss Editha L.<br />
<br />
Carter, Winifred (Mrs.<br />
<br />
John L. Carter)<br />
Clouston, J. Storer<br />
<br />
as<br />
<br />
Drew, Sara, Miss.<br />
Dudley, Maudsleigh<br />
Faydon, Miss Nita<br />
Firth, Miss M. Violet<br />
<br />
Ford, May .<br />
Gibson, Frank<br />
<br />
Gretton, R. H. .<br />
Hayden, Arthur .<br />
<br />
Huntley, G. P.<br />
<br />
India Society, The<br />
<br />
Macdonell, Miss Amice.<br />
<br />
Miles, Alfred Henry<br />
Pugh, H. Cooper .<br />
<br />
Purnell, Leslie T.<br />
Raffalovich,<br />
<br />
(Bedwin Sands)<br />
Scheffauer, Herman<br />
<br />
Smith, Lady Sybil<br />
<br />
~Strangways, A. H. Fox.<br />
<br />
“Taylor, Colin.<br />
<br />
George<br />
<br />
10, Cornwall Man-<br />
sions, Chelsea,<br />
S.W.<br />
<br />
Brisco Hill, Carlisle.<br />
<br />
24, Osterley Park<br />
Road, Southall,<br />
Middlesex.<br />
<br />
Ardwell, Nether<br />
Street, Finchley,<br />
<br />
9, Crimicar Lane,<br />
Fulwood, Sheffield.<br />
<br />
24, Clifton Hill, St.<br />
John’s Wood,<br />
N.W.<br />
<br />
22, Wynstay<br />
dens, W.<br />
78, Regent’s Park<br />
<br />
Road, N.W.<br />
<br />
7, Ridgmount Gar-<br />
dens, W.C.<br />
<br />
Orchard Cottage,<br />
Dormans Park,<br />
Surrey.<br />
<br />
314, Romford Road,<br />
Forest Gate.<br />
<br />
8, Chester Terrace,<br />
Regent’s Park,<br />
N.W.<br />
<br />
Burford, Oxfordshire<br />
<br />
11, St. Alban’s Villas<br />
Highgate Road,<br />
N.W.<br />
<br />
“ Highcroft,” Why-<br />
down, Bexhill-on-<br />
Sea.<br />
<br />
3, Hertford Street,<br />
Mayfair.<br />
<br />
31, Kensington Park<br />
Gardens, W.<br />
<br />
49, St. Fillan’s Road,<br />
Catford, S.E.<br />
<br />
clo Messrs. Gold,<br />
Edwards & Sons,<br />
Solicitors,<br />
Denbigh.<br />
<br />
43, Colville Terrace,<br />
Bayswater, W.<br />
22, Church Road,<br />
<br />
Barnes.<br />
<br />
Bank Point, Jack-<br />
son’s Lane, High-<br />
gate, N.<br />
<br />
Rolls Park, Chigwell.<br />
<br />
Gar-<br />
<br />
Eton College, Wind-<br />
sor.<br />
<br />
<br />
<br />
135<br />
<br />
Watt, Stuart, the Rev..<br />
<br />
Machakos, British<br />
East Africa.<br />
<br />
“Strathnairn,”<br />
Ootacamund,<br />
India.<br />
<br />
Woodman, R.T. . . St. Cross Grange,<br />
<br />
Winchester.<br />
<br />
Zimmermann, F. G., 17, Stile Hall Gar-<br />
<br />
M.A. dens, Chiswick, W.<br />
<br />
The Editor regrets that in the last number<br />
of The Author Miss Fitzgerald’s name was<br />
wrongly announced. The name should have<br />
been Miss Ena Fitzgerald, and not Miss Eva.<br />
<br />
Wingate, Col. Alfred<br />
<br />
Woodrow,<br />
<br />
4+ —_——<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
BU<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
<br />
accurate.<br />
BIOGRAPHY.<br />
<br />
Tre Lire AND LETTERS OF WILLIAM CoBBETT IN ENGLAND<br />
AND AmeERICA. Based upon hitherto unpublished<br />
Family Papers. By Lewis MELVILLE. Two Volumes.<br />
8} x 54. 330 and 335 pp. Lane. 32s. n.<br />
<br />
EDUCATIONAL,<br />
<br />
CerMAN ror Datty Use. By Mrs. E, Toornton Cook<br />
(E. E. Prentys). London: Marlborough & Co.; New<br />
York: Wm. R. Jenkins.<br />
<br />
FICTION.<br />
<br />
Rounp THE CorNER. Being the life and death of Francis<br />
Christopher Folyat, Bachelor of Divinity, and father<br />
of a large family. By GiBERT CANNAN. 7k x 5.<br />
344 pp. Martin Secker. 6s.<br />
<br />
Tan Kwave or Dramonps. By Eruen M.<br />
72 x 5. 384 pp. Fisher Unwin. 6s.<br />
<br />
A Marriage or Inconventence. By THomas Coss.<br />
7% x 5. 316 pp. Mills & Boon. 6s.<br />
<br />
Tym STORY OF STEPHEN Compron. By J. E. PatTERSON.<br />
74 x 5. 367 pp. Heinemann. 6s.<br />
<br />
Tur New Guiiiver anp Orner Srories. By Barry<br />
Paty. 734 x 5. 261 pp. Werner Laurie. 6s.<br />
<br />
Tue Court or THE Gentes. By Mrs. STANLEY<br />
Wrencu. 7} X 5. 427 pp. Mills & Boon. 6s.<br />
Hapow o’ THE SHAaws. By THEO. Dovetas (Mrs.<br />
<br />
H. D. Everett). 73 x 5. 301 pp. Methuen.<br />
<br />
Carcuinc A CoRoNET. By Epmunp BosaNnQuet. 73 x 5.<br />
320 pp. John Long. 6s.<br />
<br />
Toe Man with THE Money.<br />
Row.anvs. 8X 5. 322 pp. Hurst & Blackett. 6s.<br />
<br />
«“ Wuere are You Gorne To...?” By ELIZABETH<br />
Rosins. 7} x 5. 312 pp. Heinemann. 6s.<br />
<br />
Mr. SHERINGHAM AND OTHERS. By Mrs. ALPRED Srpe-<br />
WICK. 7} x 5. 314 pp. Mills & Boon. 6s.<br />
<br />
DELL.<br />
<br />
By Errre ADELAIDE<br />
<br />
<br />
136<br />
<br />
A Kyicut or Sparx. By Marsoriz BowEn. 7} x 5,<br />
312 pp. Metheun. 6s.<br />
<br />
INCOMPARABLE JOAN. By Auice M. Drenu. 7} x 5.<br />
320 pp. John Long. 6s.<br />
<br />
Mr. Mezson’s Witt. By H. Riper Haccarp. 8% x 53.<br />
<br />
120 pp. (Cheap Reprint.) Newnes. 6d.<br />
Tur GULLY OF BLUEMANSDYKE, &c. By A. Conan DoyLe<br />
8} x 53. 126 pp. (Cheap Reprint.) Newnes. 6d.<br />
<br />
JUVENILE.<br />
<br />
Tue Farry TRANSFORMED AND OTHER PLAYS FOR<br />
CuinpREN. ByS. Sproston. London: Saml. French.<br />
<br />
“Tam ADVENTURES OF SILVERSINT.”’ (1s. 6d.); “* THREE<br />
Jotty HuntsMEn,” (2s. 6d.); ‘‘ BABES AND Buasts,”<br />
(2s.); ‘‘ Tum Cat Scouts,” (1s. 6d.). By JEsste Pore.<br />
Blackie & Sons.<br />
<br />
‘“‘ LAUNCELOT AND GUENEVERE.” By Guapys Davipson.<br />
(A New Number in the “ Romances of the World”<br />
Series). By Thomas Nelson & Sons. 2s. 6d.<br />
<br />
“Api Aspout LirrtLe SPIFFKINS,” “ALL ABOUT THE<br />
Fiyrne Pic.” A Couple of Illustrated Toy-books—<br />
humorous tales. By GLapys Davipson. Published by<br />
Dean & Son, Ltd.<br />
<br />
MEDICAL.<br />
<br />
Hanppook or Mepican TreatTmENT. A Guide to<br />
Therapeutics for Students and Practitioners, with an<br />
Appendix on Diet. By Jamus Burnet, M.A.<br />
<br />
Tae Pocket Crricat Guipr. By James Burnet, M.A.<br />
A. & C. Black.<br />
<br />
THE Pockrr PRESCRIBER.<br />
Third Edition.<br />
<br />
By James Burnet, M.A.<br />
A. & C. Black.<br />
<br />
MILITARY.<br />
ADVENTURES OF WAR WITH CROSS AND CRESCENT. By<br />
<br />
Pure Gipss anp B. Grant. 7% x 5. 241 pp.<br />
Methuen. 2s. n.<br />
MISCELLANEOUS.<br />
MonvuMENTAL Java. By J. F. Scuerrema. _ Illustrated<br />
<br />
with Photographs and Vignettes, after drawings of<br />
<br />
JAVANESE chandi. By THe AvutTHor. 8} x 53.<br />
Macmillan & Co. 12s. 6d.<br />
History oF Eneuish Nonconrormiry. By Tue Rev.<br />
<br />
Chapman & Hall.<br />
<br />
ORIENTAL.<br />
Tue Basis FoR ARTISTIC AND INDUSTRIAL REVIVAL IN<br />
<br />
Henry W. Cuark.<br />
<br />
Inpia. By -E. B. Haven. 74 x 43. 197 pp<br />
Madras: Theosophist. 2s.<br />
POETRY.<br />
<br />
Tue River Ruymer. By J. Asupy-STerry. 6} x 4.<br />
<br />
243 pp. Ham, Smith. 3s. 6d. n. each.<br />
REPRINTS.<br />
<br />
A Laopiceax. 487 pp. WersSEX PomrMS AND OTHER<br />
Verses. 275 pp. By Tuomas Harpy. 9 x 6.<br />
Macmillan. 7s. 6d. n.<br />
<br />
TOPOGRAPHY.<br />
<br />
SrapLe INN AND ITS STORY.<br />
LL.D. (Third Edition.) 7<br />
<br />
Is, n.<br />
TRAVEL.<br />
<br />
On THE Track or THE ABor. By PowELt MILLINGTON.<br />
Smith, Elder & Co. 3s. 6d. n.<br />
<br />
How to Vistr Evrore on Next to NoTuine.<br />
E. THornton Cook (E. P. Prentys), New York.<br />
Mead & Co.<br />
<br />
By T. Caro WorsFoLD,<br />
<x 5. 127 pp. Bagster.<br />
<br />
By Mrs.<br />
Dodd,<br />
<br />
THE AUTHOR.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
HE Oxford University Press have issued,<br />
in cheap but tasteful form, a volume<br />
entitled ‘“‘ The Poetical Works of Robert<br />
<br />
Bridges.” ‘The book consists of the poems and<br />
masks (as apart from the dramas contained in<br />
the collected editions of his works), together<br />
with two groups of Later Poems and Poems in<br />
Classical Prosody now published for the first<br />
time. We have received from the same firm<br />
a very satisfactory volume of the Poems (1830:<br />
to 1870) of Lord Tennyson, our first presi-<br />
dent. The get-up of the book, paper and<br />
print, is all that could be desired, and it is.<br />
published at the moderate price of 4s. 6d. It<br />
has two coloured pictures and ninety-six<br />
illustrations in black and white. The Presi-<br />
dent of Magdalen, Dr. T. Herbert Warren,<br />
has added an introduction.<br />
<br />
The same publishers have issued an in-<br />
teresting book on “The Church Bells of<br />
England,”’ by H. B. Walters. The author has<br />
made a special study of the question for over<br />
twenty years, and has endeavoured in the book<br />
to set forth within the defined compass the<br />
more important aspects of the subject, which<br />
from its many-sidedness and its still living<br />
interest appeals perhaps to a more extensive<br />
class of readers than any other branch of<br />
archeology.<br />
<br />
Mr. Barry Pain has published through Mr.<br />
Werner Laurie, a collection of tales under the<br />
title of ‘‘ The New Gulliver and Other Stories.””<br />
The volume consists chiefly of two long and<br />
original stories. The first, as the title indi-<br />
cates, deals in an exceedingly whimsical and<br />
original manner with a new people in an<br />
imaginary country. The other is a series<br />
entitled ‘‘ In a London Garden,”’ and in this<br />
Mr. Barry Pain gives an account of the making<br />
of a garden, together with many quaint<br />
reflections and allegories.<br />
<br />
With the same publishers Mr. Edwin Pugh<br />
is bringing out a novel entitled ‘‘ Harry the<br />
Cockney.” It is a piece of biographical<br />
fiction, showing the life of a typical cockney—<br />
his parents, his relations, his environment, his<br />
outlook, his people’s outlook, his own progress,<br />
mental and physical. We see him at a board<br />
school, with its bullyings, its narrownesses, its<br />
pettinesses, its friendships, its early flirtations.<br />
We follow him into the office of a kindly<br />
solicitor, noting his progress from a pert boy<br />
into a regular young ’Arry, with his cigarettes,<br />
his quifs, his mashings, his utter ignoring of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
his home and his parents. His ambitions and<br />
his progress are realistically described, and we<br />
find him finally a barrister and M.P., but none<br />
the less feeling “ out of his class.”<br />
<br />
Mr. Werner Laurie is also publishing *‘ The<br />
Night of Temptation,” by Victoria Cross. It<br />
is a story of love, set partly in Devonshire and<br />
partly on the Nile, among the sandy wastes<br />
of the African desert. The plot is uncon-<br />
ventional. Throughout the story runs that<br />
note of selfless devotion which is the keynote<br />
of a woman’s love. This finds its ultimate<br />
expression in a magnificent deed of heroism.<br />
The book is priced at 6s.<br />
<br />
Miss Constance Maud, whose books on<br />
French life, “‘ An English Girl in Paris,” and<br />
‘** My French Friends.’’ met with such success,<br />
has brought out with the firm of Messrs.<br />
Duckworth & Co., ‘‘ Angélique” (La P’tet Chou).<br />
It is the record of the early life of a little French<br />
child; as the author states: ‘‘She is a sprout<br />
of pure Parisian growth, a curious contrast<br />
to the round, rosy-cheeked sprouts reared in<br />
English nurseries.” It is an amusing record<br />
of a child’s precocity, full of her quaint sayings,<br />
set out in broken English. It has a frontis-<br />
piece and cover picture by Pierre Brissaud.<br />
<br />
Here is another book about a child, ** Little<br />
Thank You,” by Mrs. T. P. O’Connor, pub-<br />
lished by Putnam’s at the price of 2s. It is<br />
the custom nowadays to decry sentiment, but<br />
some are still old-fashioned enough to cling to it.<br />
To those the childish prattle and warm human<br />
nature in Mrs. O’Connor’s book will appeal.<br />
She has woven into the story a fascinating<br />
dog, who goes by the name of “ Jimps.”” The<br />
scene of the story is laid in New York and<br />
Virginia. But a chronicle of human feelings<br />
makes a universal appeal.<br />
<br />
The interest in the theory and practice of<br />
needlework has grown in recent years if it is<br />
possible to judge from the number of books<br />
written on the subject. Miss M. E. Wilkinson<br />
has published a work entitled ‘* Embroidery<br />
Stitches,” with 200 illustrations, at the price of<br />
5s. net., with Herbert Jenkins, Ltd. The aim<br />
and purpose of the book is to epitomise the most<br />
useful stitches applicable to embroidery, and<br />
to add new and original stitches which will aid<br />
the development of this particular branch of<br />
needlecraft. Miss Wilkinson has had a series<br />
of articles on art needlecraft in the Lady, and a<br />
shorter series in the Nursing Times.<br />
<br />
Mrs. Shearman, dealing with another side of<br />
the same subject, has just issued with Messrs.<br />
Baldwin & Walker at the price of 6d. ‘‘ Her<br />
Ladyship’s Knitting-Book, (2.),” the second of<br />
the series. The whole art of plain knitting<br />
<br />
<br />
<br />
137<br />
<br />
was dealt with in No.1. A study of No. 2<br />
will enable the reader to knit stockings and<br />
socks of any size in proper proportion without<br />
troublesome calculations. The calculations<br />
are all done for the reader in the pages of the<br />
book.<br />
<br />
Mrs. Charlotte Cameron suggests to those who<br />
wish to avoid the winter fog, that they should<br />
take their winter in South America. Her book<br />
entitled ‘“‘A Woman’s Winter in South<br />
America,” published by Stanley Paul at the<br />
price of 6s., gives an account of her 24,000 mile<br />
journey along the coast. She also published<br />
‘* 4 Durbar Bride” with Stanley Paul last<br />
year. Mrs. Cameron is proposing to take a<br />
tour round the coast of South Africa, beginning<br />
on the West Coast and calling at all the impor-<br />
tant ports; and as the result of her journey<br />
will publish a book entitled “A Woman's<br />
Winter in Africa.”<br />
<br />
Mr. Harold Munro, who for the last twelve<br />
months has edited the Poetry Review, is about<br />
to sever his connection with this paper, and<br />
proposes to publish a quarterly periodical under<br />
the title of Poetry and Drama. This paper<br />
will include in its scope the appreciation and<br />
criticism of modern poetry and drama. The<br />
first issue will appear on March 15. The<br />
Review will be published from the Poetry<br />
Bookshop, 35, .Devonshire Street, Theobald’s<br />
Road, W.C. From this same address was<br />
published on December 17 a book under<br />
the title of ‘‘ Georgian Poetry, 1911—1912,”<br />
being a criticism of modern English poetry,<br />
containing work by most of the younger poets.<br />
The book is published at the price of 3s. 6d.<br />
The first edition was exhausted a few days<br />
after publication.<br />
<br />
The author of ‘The Terrible Choice,”<br />
Mr. Stephen Foreman, has undertaken the task<br />
of portraying a good man dominated by a<br />
shameful sin. He understands that life’s<br />
business is indeed ‘‘ The Terrible Choice.”<br />
The title is taken from Browning’s well-known<br />
lines :<br />
<br />
“ White shall not neutralise the black ; nor good<br />
Compensate bad in man, absolve him so :<br />
Life’s business being just the terrible Choice.”<br />
<br />
The publishers are John Long, Ltd.<br />
<br />
Messrs. Methuen & Co. are publishing, early<br />
in February, a new novel by Theo Douglas<br />
(Mrs. H. D. Everett) author of “* Cousin Hugh,”<br />
etc. The title of the new work is “ Hadow 0”<br />
the Shaws.”<br />
<br />
“Gallant Little Wales” is the title of<br />
Jeannette Marks’ new book, published in<br />
America by Messrs. Houghton, Mifflin & Co.,<br />
and in Great Britain by Messrs. Constable & Co.<br />
<br />
<br />
188<br />
<br />
Mr. John Murray is publishing the new<br />
novel “Through the Cloudy Porch,” by<br />
K. M. Edge (Mrs. C. T. Caulfield). The story<br />
is one of passionate love and idealism. The<br />
central theme—the power of woman’s inspira-<br />
tion to back man’s force and render it effective<br />
—is vividly maintained. The scene is laid in<br />
South Africa a year after the Boer War. The<br />
political ferment, and the veldt with its<br />
elemental appeal, alike vitally affect the<br />
characters.<br />
<br />
The John Church Co., of London and New<br />
York, have just published a new edition of<br />
Theodore Holland’s ‘‘ Suite Miniature,” for<br />
pianoforte op. 16., at the price of 2s.<br />
<br />
Messrs. Harraps are including in their<br />
“ All-Time Tales” an edition of “Ivanhoe ”<br />
which Mrs. E. Thornton Cook (E. E. Prentys)<br />
is preparing.<br />
<br />
Miss Gladys Davidson has, in the Press, to<br />
be issued shortly by Mr. David Nutt, a nature-<br />
book for children, which will be called ‘‘ Told<br />
in Dicky Bird Land,” a collection of original<br />
tales about birds.<br />
<br />
Miss Davidson has also just completed a<br />
series of short biographical sketches of famous<br />
men and women in literature, for Messrs. T. C.<br />
and E, C. Jack.<br />
<br />
Miss Olivia Ramsey’s seventh novel, “A<br />
Girl of no Importance,” has just been published<br />
by John Long, Ltd.<br />
<br />
Derek Vane’s new novel, ‘“‘ The Soul of a<br />
Man,” was published by Messrs. Holden and<br />
Hardingham in January. The title is taken<br />
from the lines ‘“‘ The Lord gave the house of a<br />
brute to the soul of a man,” and the story shows<br />
what happens to a man with a dual nature.<br />
<br />
Another novel by the same author will be<br />
brought out by Messrs. Everett & Co., in the<br />
spring.<br />
<br />
“The River Rhymer ”’ is the title of a book<br />
of verses produced by W. J. Ham-Smith, the<br />
author of which is J. Ashby-Sterry. Mr.<br />
Sterry has long been known as a writer of<br />
light verse. ‘‘ The River Rhymer ”’ deals with<br />
the river Thames from its source to its mouth<br />
in all its aspects. ‘The book will be weleomed<br />
by those who love the river.<br />
<br />
Messrs. Mills and Boon have published a<br />
novel by E. M. Channon (Mrs. Francis Chan-<br />
non), the author of ‘‘ The Keeper of the Secret,”<br />
and other novels. The book is entitled<br />
““Cato’s Daughter,” the title being taken<br />
from Shakespeare’s “* Julius Ceesar,” “ I grant<br />
1 am a woman, but withal a woman well<br />
reputed, Cato’s daughter.”<br />
<br />
Messrs. James Duffy, Ltd., have just issued<br />
a story by Louise M. Stackpoole Kenny at the<br />
<br />
THE AUTHOR.<br />
<br />
price of 2s. 6d. Many of the characters that<br />
are in her previous novel are introduced again-<br />
The scene is laid in the South of Ireland, and<br />
the book deals with social life and development<br />
of character. It is free from political con-<br />
troversy.<br />
<br />
Many books of reference have come to the<br />
office, such as ‘‘ The Schoolmaster’s Year Book”<br />
‘The English Woman’s Year Book,” and an<br />
interesting work entitled ‘‘ Books that Count.”<br />
The last is published by A. & C. Black, under<br />
the editorship of W. F. Gray, and is a dictionary<br />
of standard books. In the preface the editor<br />
says: ‘The book takes note only of books<br />
(1) that are in English (together with out-<br />
standing foreign books of which good transla-<br />
tions exist) ; (2) that present concisely, clearly<br />
and authoritatively the general aspects of the<br />
subject with which they deal; and (8) that<br />
are thoroughly modern in aim and outlook,<br />
easily accessible, and purchasable at a moder-<br />
ate price.” Another useful book of reference<br />
is ‘‘The United South African Register,”<br />
which has established itself as the most up-to-<br />
date directory of South Africa, and is necessary<br />
for the information of those who are desirous<br />
of cultivating their knowledge of this growing<br />
colony. It is published by Messrs. Sampson,<br />
Low & Co.<br />
<br />
Miss Arabella Kenealy’s last novel, “ The<br />
Irresistible Mrs. Ferrers ” (Stanley Paul & Co.),<br />
now going into a fourth edition, has been<br />
published in America by Messrs. Dillingham,<br />
of New York. The plot of the story hangs in<br />
the fact that the irresistible Mrs. Ferrers is<br />
the greatest beauty and wit of her day, and<br />
wishes to go down in history as having subju-<br />
gated all men and succumbed to none. Lord<br />
Lyzon comes upon the scene, and there is a<br />
struggle for him between his wife and the<br />
heroine.<br />
<br />
“The Truth about Carlyle: An Exposure of<br />
the Fundamental Fiction still Current,” by<br />
David Alec. Wilson, with a preface by Sir James<br />
Crichton-Browne, is to be published this spring<br />
by Alston Rivers, at 1s. 6d. He has been<br />
collecting materials for this work for twenty<br />
years. The same author will publish in the<br />
spring a work under the title of ‘ Sensible<br />
People,” by Methuen & Co., at 2s. 6d. It is<br />
to distil knowledge from current speculations,<br />
and is filled with quotations and notes to prove<br />
that all the greatest thinkers, from Confucius<br />
to Carlyle, agree with the best of the saints<br />
and prophets in the fundamental truths of<br />
religion and philosophy.<br />
<br />
Two interesting books are nearly ready<br />
for publication from the firm of Messrs. Stanley<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Paul. The first is entitled, ‘‘ The Romance<br />
of an Elderly Poet,”? and is written in col-<br />
laboration by Mr. A. M. Broadley and Mr.<br />
Walter Jerrold. It is concerned with the<br />
poet George Crabbe and Elizabeth Charter.<br />
The second is Sir James Yoxall’s ““ More About<br />
Collecting.” Sir James has already made him-<br />
self an expert on this subject.<br />
<br />
Messrs. Hodder and Stoughton are about to<br />
add an appreciation of the work of the Society’s<br />
late President, George Meredith, O.M., to their<br />
series of Literary Lives. Mr. Thomas Sec-<br />
combe will undertake the work. It is difficult<br />
to imagine anyone better equipped for the task.<br />
<br />
Messrs. Ouseley & Co. have just produced a<br />
novel entitled ‘‘ The Nom-de-Plume,”’ from the<br />
pen of Leonard A. Gibbs. It is a story with<br />
an object, and seeks to show the mischief<br />
wrought by free-love in well-to-do homes.<br />
<br />
Mrs. J. O. Arnold’s new novel, ‘‘ Requital.”<br />
will be published by Messrs. Methuen about<br />
the twentieth of this month.<br />
<br />
Mrs. R.S.De Crespigny’s book, “ The Spanish<br />
Prisoner,” has been published in a 7d. edition<br />
by Messrs. Everett & Co.<br />
<br />
Dramatic NOTE.<br />
<br />
During the end of December and the begin-<br />
ning of January, very little has been doing in<br />
the dramatic world outside pantomine per-<br />
formances, but toward the middle and end of<br />
January the dramatic world began to wake up.<br />
Mr. G. R. Sims has given his valuable assistance<br />
to the production of the Drury Lane pantomine<br />
and “Peter Pan,” by Mr. J. M. Barrie, has now<br />
gone into its ninth annual production. It<br />
is a fair deduction to make that “ Peter<br />
Pan,” like the Christmas pudding, will become<br />
an annual custom both for young and old.<br />
The Kingsway Theatre has produced Mr.<br />
Bernard Shaw’s play ‘John Bull’s Other<br />
Island.” The Irish Players have produced at<br />
the Abbey Theatre, with a cast chosen from<br />
their second company, Mr. E. Millington Mear’s<br />
play entitled ‘“‘ The Little Christmas Miracle.”<br />
<br />
In the second week Charles Hawtrey pro-<br />
duced Mr. George A. Birmingham’s (Canon<br />
Hanney’s) ‘‘ General John Regan,” at the<br />
Apollo. As everyone knows, the author is<br />
the writer of many amusing books on Irish<br />
life. He has now carried his Irish humour<br />
on to the stage. The story centres round an<br />
American tourist, who upsets an Irish village<br />
by the promise of £100 towards the statue of<br />
a certain General John Regan who, a native<br />
of the village, had greatly distinguished himself<br />
in Bolivia. The difficulty is to find the<br />
<br />
<br />
<br />
139<br />
<br />
relations of ‘* the Native,’’ and secure the £100.<br />
It is, as one critic remarks, a joke in three acts<br />
rather thana play...<br />
<br />
At the Vaudeville Theatre Miss Hilda<br />
Trevelyan produced a series of matinées of<br />
“* Shock-headed Peter,’ by Philip Carr and<br />
Nigel Playfair, the music being from the pen<br />
of Paul Rubens. Preceding each performance<br />
are some Old English singing-games, folk-<br />
songs, and country and sword dances, performed<br />
by children under the personal direction of<br />
Cecil J. Sharp.<br />
<br />
On Monday and Tuesday the 3rd and 4th of<br />
this month, a new one-act play will be pro-<br />
duced at matinees at the Little Theatre, John<br />
Street, Adelphi. The play is a comedy in one act<br />
adapted from Mr. W. W. Jacobs’ story, “ A Love<br />
Passage.” The play itself is by Mr. W. W.<br />
Jacobs and Mr. Philip Hubbard. The story of<br />
the play follows that of Mr. Jacobs’ well-known<br />
short story, which is included in his book,<br />
‘Many Cargoes,”’ but the incidents have been<br />
so arranged as to bring the action, which in the<br />
story, is extended over some days, within the<br />
scope of a one-act play, and, to enable a more<br />
effective stage setting, the Captain and his<br />
Mate have been promoted to the command of<br />
an ocean-going Tramp Steamer instead of that<br />
of a small schooner.<br />
<br />
Sir Arthur Pinero’s ‘‘ The Mind-the-Paint-<br />
Girl’? has met with a warm welcome in its<br />
German form in Mayence. It has been pro-<br />
duced under the title of ‘“‘ Das Midel ohne<br />
Heiligenschein.”<br />
<br />
Mr. and Mrs. Laurence Irving (Miss Mabel<br />
Hackney) have just arranged to dramatise<br />
Mrs. T. P. O’Connor’s new novel “ Little<br />
Thank You,” a note of which appears in<br />
another column. It will be a labour of love, as<br />
Mr. and Mrs. Irving have the same love and<br />
understanding of children and dogs as the<br />
author. Mrs. O’Connorreally modelled “‘ Jimps”’<br />
upon ‘‘Mop,” the Irvings’ fox terrier, who<br />
already plays one or two “star’”’ parts written<br />
for him by his master.<br />
<br />
Mr. Horniman’s new play, “Billy’s Fortune,”<br />
was produced at the Criterion Theatre in the<br />
middle of last month. The plot centres round<br />
‘* Billy,’’ a boy who has been left an enormous<br />
fortune. He has the option of chosing his<br />
guardian, who is to receive £100,000 when the<br />
boy makes his choice.<br />
<br />
In the same week Mr. Arthur Bourchier and<br />
Miss Violet Vanbrugh at the Coliseum pro-<br />
duced a short play by Mr. Stanley Houghton.<br />
A hard-up society woman, a husband also on<br />
the verge, and a rope of pearls which does not<br />
belong to them, but is in their possession, are<br />
<br />
<br />
140<br />
<br />
the pivots of the plot. The plot is full of<br />
humanity—the better side. :<br />
<br />
On December 28, 1912, a novel combination<br />
of kinemacolor stage play with music was<br />
produced at the Scala Theatre. The music<br />
was specially written, with the addition of<br />
songs and dances, to accompany the action of<br />
each film. The book and lyrics were by Harold<br />
Simpson, and the music by Theodore Holland.<br />
The idea of the combination is to the credit of<br />
Alfred de Mauby. The film was produced by<br />
the Urban Co.<br />
<br />
———_—_—__+——<br />
<br />
PARIS NOTES.<br />
<br />
ees<br />
s URQUIE Agonisante ” is the title of<br />
<br />
a little volume just published by<br />
<br />
Pierre Loti. The subjects of some<br />
of the principal chapters are “ Lendemains<br />
d’Incendie,”” “* La Guerre Italo-Turque,”’ ‘‘ Les<br />
Tures massacrent,” ‘‘ Lettre sur la Guerre<br />
moderne,” “* Lettre sur la Guerre des Balkans.”<br />
In the chapter entitled *“* Les Turcs massa-<br />
crent,” the author endeavours to show up the<br />
absolute injustice of Europeans. He gives us<br />
instances of Europeans massacring under the<br />
pretext of civilising. He shows us the English<br />
in the Transvaal and France in Algeria. Pierre<br />
Loti tells us that in no country do we find<br />
such solicitude for the poor, the weak, the old<br />
and the very young, such respect for parents<br />
and such veneration for the mother as with the<br />
real Turks. He then goes on to tell us of their<br />
kindness to animals, to their dogs and cats, and<br />
he relates that in a certain town he knows,<br />
there is a hospital for storks which are<br />
either wounded or too old to fly away for the<br />
winter.<br />
<br />
In his chapter on modern warfare, Pierre<br />
Loti asks whether this is what progress, civili-<br />
sation and Christianity have brought us to.<br />
He gives us a picture of Turkey with 60,000<br />
men maimed for life or dead, within a fortnight.<br />
<br />
‘““Le Président de la Republique,” by M.<br />
Henry Leyret. The author of this book tells<br />
us just what are the rights and duties of the<br />
President of the French Republic.<br />
<br />
“Nos Amis les Canadiens,” par Louis<br />
Arnould. In this volume we have some in-<br />
teresting information with regard to the<br />
history, psychology and literature of Canada.<br />
M. Etienne Lamy has written the preface.<br />
<br />
“* Pour.la Femme ”’ is the title of the Com-<br />
tesse de Avila’s recent book.<br />
<br />
“Histoire du Peuple anglais au XVIII°<br />
Siécle ”’ is the first volume of a work by M. Elie<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Halévy. He tells us of England in 1815, and<br />
speaks of its government, religion, and of the<br />
culture of the whole nation.<br />
<br />
““La Cour des Stuarts 4 Saint-Germain-en<br />
Laye ” (1689—1718), by G. du Bose de Beau-<br />
mont and M. Bernos. This volume is of great<br />
interest to English readers, giving an idea as it<br />
does of the life led by one of our kings in exile.<br />
<br />
“Les Jeunes Gens d’Aujourd’hui,” by<br />
Agathon, is an instructive study.<br />
<br />
“Le Voyage au Pays de la Quatriéme<br />
dimension,” by M. G. de Pawlowski, is the<br />
most extraordinary excursion possible.<br />
<br />
“Images Venitiennes,” by M. Henri de<br />
Régnier, is an exquisite book.<br />
<br />
One of the literary events of the past month<br />
was the féte given at the Sorbonne to celebrate<br />
the jubilee of M. Ernest Lavisse, the well-<br />
known historian. M. Raymond Poincaré, who<br />
had only just been elected President of the<br />
Republic, wished to be present, both as a<br />
fellow Academician and a friend of Lavisse.<br />
<br />
At the Odéon Goethe’s ‘‘ Faust ’’ has been<br />
put on in an excellent translation by M. Emile<br />
Vedel.<br />
<br />
At the Théatre Sarah Bernhardt ‘“‘ Kismet ”<br />
has been the great event of the month. It is<br />
an Arabian story by M. Edward Knoblauch,<br />
with French adaptation by M. Jules Lemaitre.<br />
<br />
At the Gymnase we have had another play<br />
by M. Brieux, ‘‘ La Femme libre,”’ and at the<br />
Théatre Antoine an adaptation by M. Pierre<br />
Frondaie of M. Claude Farrére’s novel,<br />
**L’Homme qui assassina.”’<br />
<br />
Atys HaALLarD.<br />
<br />
<br />
<br />
“ Turquie agonisante.”’ (Calmann-Lévy.)<br />
<br />
“La Cour des Stuarts a Saint-Germain-en-Laye.”<br />
(Emile Paul.)<br />
<br />
“Les Jeunes Gens d’Aujourd’hui.” (Plon.)<br />
<br />
“Le Voyage au Pays de la Quatriéme dimension.”<br />
(Fasqueile. )<br />
<br />
5<br />
<br />
THE COLONIAL BOOK TRADE.<br />
<br />
—<br />
<br />
L<br />
Tue Book MARKET IN AUSTRALIA.<br />
<br />
UNDERSTAND that the writers of<br />
English books are gradually being roused<br />
to the fact that the Australian market is<br />
slipping away from them. The few importers<br />
of books in the large towns here will tell you<br />
that the percentage of publications ordered<br />
from England is very small and rapidly<br />
decreasing year by year. Their place is taken<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
by American periodicals, books and novels.<br />
This change is partly natural, and I see no way<br />
to stop a great deal of it. The 100 million<br />
Americans produce books which are better<br />
suited than any English ones to the needs of<br />
the four million who here form a working com-<br />
munity. Everybody works here, and those<br />
who don’t like to do so soon perceive that<br />
Australia is no place for them. The Australian<br />
can get what books he wants to tell him about<br />
irrigating his bit of land, or about tales of<br />
adventure in the Wild West, cheaper and<br />
better from American publishers than from<br />
English ones. Make no mistake about that.<br />
That portion of the Australian market has<br />
gone out of England’s hands—it was never in<br />
them.<br />
<br />
_ Still, a majority of the people in Australia<br />
were born in the old country and are bound to<br />
read English romance, very much as do the<br />
stay-at-home Britishers, in preference to<br />
American fiction. How comes it that the<br />
‘trade’? supplies them with American fiction<br />
out of all proportion to the real demand, and<br />
pays little attention to the call for the English<br />
novel ?<br />
<br />
Australian booksellers have been much<br />
abused of late and they do not deserve it.<br />
They, like every other shopkeeper, go for what<br />
pays them best. The English publisher plods<br />
along the weary way which his grandfather<br />
peacefully followed. The American, on the<br />
contrary, changes with the changing times—<br />
often a little before them.<br />
<br />
Once a year comes to our seaport towns<br />
{there are no great inland cities) a traveller<br />
from England to take orders for a good, solid,<br />
respectable British firm, armed with ** dummy”<br />
copies of new books, blandly ignorant of the<br />
kind of story each contains, strapped down to<br />
certain prices which he can take, or else “ turn<br />
it down.” Result—a meagre amount of orders.<br />
<br />
The Americans see a brainier way of doing<br />
business. They wait until a book is printed,<br />
and then send complete copies across the<br />
Pacific, with a letter saying that if you order<br />
500 you will be charged a large percentage off<br />
the published price; if you choose to take a<br />
1,000, a further reduction will be made, some-<br />
times two-thirds of the price being deducted,<br />
and this is on books exactly the same as the<br />
$1.50 (6s.) sold in America. We buy the $1.50<br />
book always at 3s. 6d. here.<br />
<br />
The Australian bookseller runs his eye over<br />
the book. He can tell, with surprising exact-<br />
ness, how many will sell and what amount of<br />
advertisement will be needed. Result—a tre-<br />
mendous amount of business, speedily handled,<br />
<br />
141<br />
<br />
and incidentally a much larger royalty to the<br />
author. ee<br />
<br />
What should British authors do, if they<br />
desire to increase their returns from their -<br />
labour? I respectfully suggest that they<br />
should call upon their publishers and urge them<br />
to abandon at once the methods which were<br />
played out a century ago. Possibly this plan<br />
has already been tried and has proved a<br />
failure! Then they should try someone else.<br />
Preferably they should take from the English<br />
publisher the Australian rights and deal<br />
directly with the big importers (or their own<br />
representative) here. I don’t think I need<br />
mention names, but I can say I have seen any<br />
number of books lose a good market in<br />
Australia simply because there was no one to<br />
look after them. It is perfectly certain that<br />
Australia will be a tremendous place of busi-<br />
ness in a very few years—it is a pretty good one<br />
now—and the course I advocate must come<br />
sooner or later. In any case, the returns now<br />
made to the authors on the ‘ Colonial sales ”<br />
are so small that there is not much risk.<br />
<br />
Or the author can transfer the ‘“ Colonial<br />
edition *’ to his American publisher and leave<br />
Australia to be dealt with by him. I do not<br />
wish to speak harshly of the English publisher,<br />
but I must say that, in my opinion as author,<br />
publisher, bookseller and publishing agent (in<br />
all I have been actively engaged during the<br />
last score of years), I have found the American<br />
man of business much better to get on with<br />
than my own fellow countryman. It is a hard<br />
thing to say, yet it must be said, and since we<br />
have entered upon an age in which the civilised<br />
nations have practically agreed to abandon<br />
warfare in the immediate future in favour of<br />
peaceful delights of making as much money out<br />
of one another as possible, I trust I may be<br />
forgiven for my cosmopolitanism.<br />
<br />
There is one thing more. To the advertising<br />
of English books attention must be paid. As<br />
a rule nothing is done by the press, except at<br />
the bidding of our local booksellers. Last<br />
Christmas there appeared twice in the papers<br />
a large advertisement from a famous English<br />
firm, calling attention to the books thay had on<br />
sale—in England! It cost a few pounds which,<br />
were absolutely wasted, for, even if asked for,<br />
they could not be obtained for at least two<br />
months. If advertisements are left to the<br />
local importers, it is plain that they will adver-<br />
tise, not the books you want popularised, but<br />
merely the books they have in stock.<br />
<br />
Take a case. When an English firm has a<br />
suitable book to sell in the Colonies, it may find<br />
that the offer is blankly refused by the two or<br />
142 THE AUTHOR.<br />
<br />
three buyers for Australia. There is a reason<br />
for this. The Australian firm may have an<br />
abundance of the same class of writing on their<br />
hands, and it would not pay them at the<br />
moment to import more. That is not a good<br />
excuse for boycotting a really good book—not<br />
from its author’s point of view at any rate. I<br />
believe this is constantly the case. Now the<br />
only cure is to send out to Australia, say 500<br />
of a book to an independent agent, who would<br />
certainly make a demand for it by judicious<br />
advertisement. H. H. G.<br />
<br />
II.<br />
<br />
AVING recently returned from a visit<br />
to New Zealand, I may be able-to<br />
throw a little further light on the<br />
<br />
subject of the Colonial book trade, although<br />
my experience was only confined to the<br />
North Island.<br />
<br />
English publishers as a whole—there are<br />
exceptions—do not appear to recognise the<br />
vast possibilities of the market in Australia<br />
and New Zealand.<br />
<br />
I was immensely struck with the number<br />
and quality of the bookshops; some were to<br />
be seen in every town. More particularly was<br />
this the case at Napier, a town of 10,000<br />
inhabitants and the centre of a large fruit and<br />
sheep farming district. It is customary to<br />
provide a large library for the use of the<br />
‘*‘ hands” in up country stations, and some-<br />
times these are exchanged among neighbours.<br />
There are also several Carnegie and other<br />
public libraries in the Dominion. Novels are<br />
by no means the only books read, travels are<br />
liked, Foster Fraser beingapopularauthor. The<br />
prices at which books are sold are much below<br />
those charged in England; the 6s. novel is<br />
3s. 6d., and the higher priced books are equally<br />
reduced. Few people would buy a book at a<br />
higher price than 5s.<br />
<br />
It is possible that publishers do not consider<br />
profits sufficient to recoup them for their<br />
trouble, for one bookseller told me fhat 9d.<br />
would be all the English publisher would clear<br />
on a 8s. 6d. book.<br />
<br />
On the other hand the sale of a popular book<br />
must be enormous. I was told that an edition<br />
of 1,000 would go nowhere in Australia.<br />
<br />
To get a book known, copies for review must<br />
be sent to the principal newspapers, a weekly<br />
article on literary subjects appearing every<br />
Saturday in these papers. At the same time<br />
bookshops should be supplied with copies,<br />
otherwise revie ws cannot help the sale.<br />
<br />
The question I should like to put to publishers<br />
is, ‘“‘ Is it better to sell four copies of a book at<br />
<br />
5s. or one—or more probably none—at 10s,<br />
or to ot six copies of a book at 3s. 6d., or one<br />
at 68.2?”<br />
<br />
Author of ‘‘ 1,000 Mites In A MACHILLA.”’<br />
<br />
ROYALTIES ON GRAMOPHONE RECORDS.<br />
<br />
Rupens v. PatHt FrRERES PATHEPHONE, LTD.<br />
MoNCKTON v. THE SAME.<br />
<br />
HESE actions, which were tried together,<br />
are the first cases relating to gramo-<br />
phone records under the new Copyright<br />
<br />
Act, which gives a musical composer the right<br />
to royalties on the reproduction of his com-<br />
positions by means of a gramophone or other<br />
mechanical contrivances of a similar nature.<br />
<br />
The well-known composers, Mr. Paul<br />
Rubens and Mr. Lionel Monckton, sued the<br />
defendants, who are manufacturers of gramo-<br />
phones, and claimed an injunction to restrain<br />
them from selling records of certain musical<br />
pieces composed by the plaintiffs. The claim<br />
of Mr. Rubens had reference to four songs<br />
from ‘*‘ The Sunshine Girl,”’ while Mr. Monckton<br />
claimed in respect of a piece called “ The<br />
Mousmé Waltz.”<br />
<br />
The new Act provides that the musical com-<br />
poser shall be paid certain royalties on gramo-<br />
phone records of his compositions, and that<br />
the Board of Trade may make regulations as<br />
to the mode of payment. Accordingly, regula-<br />
tions have been issued by the Board of Trade<br />
which require that adhesive stamps shall be<br />
purchased from the copyright owner, and shall<br />
be affixed to the records before they are sold.<br />
The plaintiff found that the defendants were<br />
selling gramophone records of their compos -<br />
tions without the adhesive stamps, which the<br />
Board of Trade requires to be affixed to the<br />
records as the method of collecting the royalties.<br />
<br />
It appeared from the evidence that the<br />
defendants had purchased a number of the<br />
stamps sufficient to cover the number of records<br />
sold by them, but that they had not affixed<br />
them to the records, and had sold the records<br />
without the adhesive stamps. It was con-<br />
tended on their behalf that the plaintiffs could<br />
not insist on the defendants purchasing the<br />
stamps or affixing them to the records, on the<br />
ground that the regulations of the Board of<br />
Trade in this respect were ultra vires.<br />
<br />
Mr. Justice Phillimore, in his judgment,<br />
pointed out that it would be extremely difficult<br />
to ensure the collection of small royalties on a<br />
large number of these cheap instruments in<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
any other way than that prescribed by the<br />
<br />
Board of Trade. The first objection alleged<br />
by the defendants was that the Board of Trade<br />
could not order that the payment of royalties<br />
should be made by the purchase of stamps, and<br />
secondly that the purchaser of the stamps<br />
could not be compelled to affix the stamps to<br />
the records. There was some force, his<br />
lordship thought, in the last objection; but<br />
at the same time, if the royalties were to be<br />
paid by purchasing adhesive stamps, he<br />
considered it a proper provision that the stamps<br />
should not do double duty. The object of the<br />
stamps was that they should be used for the<br />
purpose for which they were intended, and<br />
that the purchaser should be prevented from<br />
using them more than once. He held, there-<br />
fore, that the regulations of the Board of Trade<br />
were within the scope of its authority.<br />
<br />
Another point in the case of Mr. Rubens had<br />
reference to the date of publication, and the<br />
effect of an agreement made by his agent with<br />
the defendants. Under the provisions of the<br />
Act the royalties on records of musical works,<br />
published before July 1, 1912, are calculated<br />
at 21 per cent., but on records of works pub-<br />
lished after that date the royalties are raised<br />
to 5 per cent. after the expiration of two years,<br />
that is to say, from July 1, 1914. Mr.<br />
Rubens was advised as to the value of his<br />
rights, and did not wish to publish the songs<br />
until after July 1, 1912. It was found to<br />
be convenient, however, to have gramophone<br />
records made before that date, and in order<br />
that this might be done the defendants gave<br />
an undertaking that if the music was published<br />
before July 1, 1912, they would not sell the<br />
records before that date, and that the com-<br />
poser should get the royalties. This agreement<br />
was made in March, 1912, before the regula-<br />
tions of the Board of Trade had been issued,<br />
Mr. Justice Phillimore considered that the<br />
contract between the parties was that the<br />
royalties should be paid, and that the defen-<br />
dants had so far fulfilled the agreement, but<br />
that in future they must comply with the<br />
regulations of the Board of Trade.<br />
<br />
In the case of Mr. Monckton the records<br />
made before July 1, 1910, were exempt from<br />
the payment of royalties under the Act until<br />
July 1, 1913; but if the defendants sold any<br />
records made since July 1st, 1912, they would<br />
have to pay the royalties by the purchase and<br />
affixing of stamps in accordance with the<br />
regulations of the Board of Trade.<br />
<br />
A point was also taken by the defendants,<br />
that the action was not well founded with<br />
regard to the songs composed by Mr. Rubens,<br />
<br />
<br />
<br />
143<br />
<br />
because the author of the words of the songs<br />
was not joined as a plaintiff. His lordship<br />
held that the owner of the copyright in the<br />
music was entitled to sue for an infringement<br />
of the copyright in the music, notwithstanding<br />
that the owner of the copyright in the words<br />
might also sue in respect of an infringement.<br />
His lordship gave judgment for the defen-<br />
dants, but without costs.<br />
Haroup Harpy.<br />
<br />
ee<br />
<br />
IMPERIAL COPYRIGHT.<br />
<br />
<br />
<br />
OPERATION OF THE NEW CopyricHTt ACT<br />
OUTSIDE THE UNITED KINGDOM.<br />
<br />
T is provided by the Copyright Act, 1911,<br />
that it shall extend throughout the<br />
whole of the British Dominions, with<br />
<br />
the exception of the self-governing dominions,<br />
<br />
i.e. Canada, the Commonwealth of Australia,<br />
<br />
New Zealand, the Union of South Africa, and<br />
<br />
Newfoundland. These dominions have special<br />
<br />
power to adopt the Act, and its provisions do<br />
<br />
not extend to such dominions until the local<br />
<br />
Legislature has declared the Act to be in force.<br />
<br />
In addition to this area of the British<br />
Dominions, there are certain territories under<br />
British protection to which the Copyright Act<br />
has been extended by Order in Council under<br />
the provisions of the Act.<br />
<br />
The date at which the Act comes into opera-<br />
tion varies in different parts, and depends<br />
upon proclamation, Order in Council, or<br />
statute.<br />
<br />
The Act operates—<br />
<br />
In the United Kingdom, from July 1,<br />
1912.<br />
<br />
In the Self-governing Dominions, from<br />
date fixed by local Legislature.<br />
<br />
In the Channel Islands, from date fixed by<br />
the States of the Islands.<br />
<br />
In other British Possessions, from date of<br />
Proclamation by the Governor.<br />
<br />
It will be seen from the following list, which<br />
has been compiled for the purpose of showing<br />
at a glance the area outside the United<br />
Kingdom in which the Copyright Act 1s in<br />
operation, that the Act has been adopted by<br />
the Legislature of Newfoundland, proclaimed<br />
in most of the British Possessions, and extended<br />
by Order in Council to Cyprus and British<br />
Protectorates. :<br />
<br />
In Article 12 of the Somaliland Order in<br />
Council, 1899, the word ‘* Copyright ”’ is deleted<br />
by Order in Council, June 24, 1912.<br />
<br />
<br />
144<br />
<br />
Britisu CoLonies,<br />
<br />
THE AUTHOR.<br />
<br />
IMPERIAL CopPyRIGuHrT,<br />
<br />
POSSESSIONS, AND PROTECTORATES IN WHICH THE CopyriGHur<br />
Act, 1911, IS IN OPERATION.<br />
<br />
<br />
<br />
(North American)<br />
(West Indian)<br />
<br />
* (Windward Islands)<br />
<br />
(Leeward Islands)<br />
<br />
(Mediterranean) .<br />
<br />
(African)<br />
<br />
(Eastern)<br />
<br />
(Australasian)<br />
<br />
<br />
<br />
Newfoundland<br />
<br />
Jamaica .<br />
Turk’s Island<br />
British Honduras<br />
British Guiana<br />
Bahamas<br />
Trinidad<br />
<br />
Tobago<br />
Barbados<br />
<br />
Grenada<br />
St. Vincent.<br />
St. Lucia<br />
<br />
Antigua<br />
Montserrat ..<br />
Nevis. 5<br />
St. Christopher<br />
Virgin Islands<br />
Dominica<br />
<br />
Cyprus<br />
Malta.<br />
Gibraltar<br />
<br />
Gambia<br />
<br />
Sierra Leone<br />
Gold Coast .<br />
Bechuanaland<br />
Swaziland . :<br />
North Rhodesia .<br />
South Rhodesia .<br />
Basutoland<br />
Nyasaland .<br />
<br />
Ug anda é<br />
Bntish East Atrica<br />
North Nigeria<br />
South Nigeria<br />
Somaliland.<br />
<br />
Weihaiwei .<br />
<br />
Hong Kong<br />
<br />
Straits Settlements<br />
Ceylon<br />
<br />
Labuan<br />
<br />
Mauritius<br />
Seychelles .<br />
British India<br />
Burma<br />
<br />
Fiji<br />
<br />
Gilbert & Ellice Islands.<br />
<br />
Solomon Islands .<br />
<br />
Act No. 5 of 1912.<br />
<br />
\ Proclamation, 30th May, 1912.<br />
<br />
o 10th April, 1912.<br />
2 Ist July, 1912.<br />
os 25th June, 1912.<br />
\ cs 12th June, 1912.<br />
> 3lst May, 1912.<br />
<br />
Ordinance, No. 9 of 1912.<br />
Proclamation, 18th April, 1912.<br />
s 14th June, 1912.<br />
<br />
|<br />
Proclamation, 28th June, 1912.<br />
J<br />
<br />
Order in Council, 24th June, 1912<br />
Proclamation, 28th June, 1912.<br />
: 12th April, 1912.<br />
<br />
| ' Order in Council, 24th June, 1912.<br />
<br />
Proclamation, 10th June, 1912.<br />
! Order in Council, 24th June, 1912.<br />
<br />
Proclamation, 16th July, 1912.<br />
<br />
|<br />
|<br />
| Order in Council, 24th June, 1912.<br />
<br />
Order in Council, 24th June, 1912.<br />
Proclamation, 28th June, 1912.<br />
Ist July, 1912.<br />
<br />
De<br />
<br />
\ lith June, 1912.<br />
<br />
J 3°<br />
28th June, 1912.<br />
21st June, 1912.<br />
<br />
l 13th Oct., 1912.<br />
<br />
23<br />
<br />
‘ 27th May, 1912.<br />
<br />
| Order in Coune’l, 24th June, 1912.<br />
<br />
<br />
<br />
Haroitp Harpy.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
AN UNFAIR ADVANTAGE.<br />
<br />
oe<br />
<br />
A MATTER of some importance to writers<br />
LE of educational books is brought from<br />
<br />
time to time to the notice of the Society<br />
of Authors.<br />
<br />
A publisher enters into an agreement with<br />
an author to pay a certain royalty on the sales<br />
of his book. The book after a short time,<br />
perhaps, is taken up by the educational<br />
authorities, whose business not infrequently<br />
appears to be to cut down prices on the<br />
plea that the orders they are giving are very<br />
large. The publisher, seeing his probable<br />
profits diminishing, writes to the author, gives<br />
a statement of the case, and asks the author<br />
if he would be willing to reduce his royalty by<br />
one half in order to enable him (the publisher)<br />
to supply the demand. In one or two cases<br />
the publisher has gone so far as to state that<br />
if the author refuses to reduce his royalty he<br />
will not meet the order. The author could,<br />
of course, say to the publisher, ‘‘ You have made<br />
an agreement and you are bound to act up to<br />
it.” To this the publisher would answer,<br />
‘“* Very well; it is impossible for me to sell the<br />
copies required.” It is very difficult for the<br />
author to decide what to do, as he does not<br />
wish to lose the royalty on so large an order.<br />
The real difficulty of the case, however, lies<br />
in the old question, the old dispute which<br />
was the original reason why the Saciety<br />
of Authors was founded—namely, that the<br />
author is working on insufficient information,<br />
and that the publisher refuses to give any<br />
figures. If the publisher desired to meet the<br />
author fairly he would say, ‘“‘ The cost of the<br />
production of these thousand copies is... .<br />
That works out to a fixed sum percopy. The<br />
usual price at which the books are sold is. .<br />
That works out to a fixed sum per copy,<br />
and your royalty on that copy is ....<br />
per cent. If I sell the book at the price<br />
demanded I am losing so much percentage of<br />
my profits. I ask you, therefore, to bear a<br />
proportionate share of the loss.” If this<br />
information was given the author might<br />
consider whether it was a fair deal and whether<br />
he cared to reduce his royalty in the circum-<br />
stances, but, as a general rule, when the<br />
author makes inquiry as to what the publisher’s<br />
loss of profit is at the reduced price, he is met<br />
either with an evasive answer or by a letter of<br />
regret that the author is trying to throw doubt<br />
on the statement he has made. The author,<br />
therefore, is left in the position of a person<br />
who is asked to buy a house and is forbidden<br />
<br />
<br />
<br />
145<br />
<br />
to look over the premises and see what it<br />
is worth, or in the position of a man who<br />
buys a horse and is refused by the owner a<br />
veterinary surgeon’s certificate. In other<br />
trades the position would be looked upon as<br />
absurd, but in the publishing trade such a<br />
position for the author is not at all uncommon ;<br />
but the author’s position is rather worse than<br />
the buyer in the ordinary market, as he is<br />
already interested in the sales of the work to<br />
the extent of his royalty, and he does not want<br />
to make a loss if it can be avoided.<br />
<br />
We do not want to discuss the question of<br />
how far the purchasing authority has the right<br />
to cut down the publisher. We only desire<br />
to deal with it as between the publisher and<br />
the author, and if a position of confidence is<br />
to be maintained between the author and<br />
publisher, it is essential that the fullest details<br />
should be forthcoming. In the instances that<br />
have been referred to the Society the<br />
publisher has not been willing to give the<br />
requisite details.<br />
<br />
Oa<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
——+ 4<br />
<br />
BooKMAN.<br />
<br />
Lord Morley as a Man of Letters. By Alexander<br />
Mackintosh.<br />
<br />
Galsworthy’s Plays. By W. W. Gibson.<br />
<br />
Poetry. By Edward Thomas.<br />
<br />
BritisH Review.<br />
<br />
The Faery Poetry of W. B. Yeats. By W. T. Stace.<br />
Falstaff: The English Comic Giant. By W. L. George,<br />
<br />
ForRTNIGHTLY.<br />
<br />
The Windows. By Maurice Hewlett.<br />
<br />
St. John Hankin and His Comedy of Recognition. By<br />
P. P. Howe.<br />
<br />
The Grand Prix de Litterature of 1912.<br />
Theodora Davidson.<br />
<br />
By Lady<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS,<br />
<br />
<br />
<br />
{ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.}<br />
<br />
Front Page pS ae aes aaa ae<br />
<br />
Other Pages<br />
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Half of a Page ...<br />
<br />
Quarter of a Page<br />
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Eighth of a Page Pe — She ee<br />
<br />
Single Column Advertisements per inch<br />
<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent, for<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F<br />
Betmont & Co., 29, Paternoster Square, London, E.C.<br />
<br />
<br />
<br />
<br />
HOW TO USE THE SOCIETY.<br />
ON<br />
<br />
lL. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4, Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained im the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
This<br />
The<br />
<br />
7, Many agents neglect to stamp agreements.<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 is per<br />
annum, or £10 10s. for life membership.<br />
<br />
Oo<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
Oe<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price: can be<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
obtained, But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for ‘office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
<br />
I¥. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous te the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
_(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
<br />
<br />
—————<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—— 9<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts, Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (6.) apply<br />
also in this case,<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10, An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
AGN eee<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
—_—<br />
<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
<br />
a registration fee of two shillings and. sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
<br />
<br />
147<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
<br />
— a<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
—_—__——_+—>—_—__<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two.<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
ee<br />
<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society’s<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
—______+—@—+ —____<br />
<br />
THE READING BRANCH.<br />
<br />
oe<br />
EMBERS will greatly assist the Suciety in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The-<br />
Readers are writers of competence and experience. The:<br />
fee is one guinea.<br />
oa<br />
<br />
REMITTANCES.<br />
<br />
<br />
<br />
a :<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be seat by registered<br />
letter only.<br />
<br />
<br />
COLLECTION BUREAU.<br />
<br />
PYNHE Society undertakes to collect accounts and moneys<br />
due to authors, composers and dramatists.<br />
1. Under contracts for the publication of their<br />
<br />
works.<br />
<br />
2. Under contracts for the performance of their works<br />
and amateur fees.<br />
<br />
#%. Under the Compulsory Licence Clauses of the Copy-<br />
right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause I9, referring to mechanical instrument<br />
records.<br />
<br />
The Bureau is divided into three departments ;—<br />
<br />
1. Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amount passing through the<br />
office, the expenses are more than covered, the Committee<br />
of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
The Bureau is, in no sense, a literary or dramatic<br />
agency for the placing of books or plays.<br />
<br />
-—- +<br />
<br />
GENERAL NOTES.<br />
<br />
a<br />
“THE AutTHorS’ LEAGUE OF AMERICA.”’<br />
<br />
WE are glad to hear that ‘“‘ The Authors’<br />
League of America ’”’ was incorporated under<br />
the laws of the State of New York on Decem-<br />
ber 18, 1912. On the council we see the<br />
following names :—Samuel Hopkins Adams,<br />
Gertrude Atherton, Ellis Parker Butler,<br />
Winston Churchill, Rachel Crothers, Walter<br />
P. Eaton, Hamlin Garland, Ellen Glasgow,<br />
Robert Grant, Will Irwin, Owen Johnson,<br />
Charles Rann Kennedy, Cleveland Moffett,<br />
Meredith Nicholson, Harvey J. O'Higgins,<br />
Will Payne, Milton Royle, William M. Sloane,<br />
A. E. Thomas, Augustus Thomas, Louis<br />
Joseph Vance, Carolyn Wells, Jesse Lynch<br />
Williams, and the executive committee, in<br />
whose hands the work of the League will rest,<br />
is composed of the following members :—<br />
Rex Beach, Gilett Burgess, Rupert Hughes,<br />
George Barr McCutcheon, Kate Douglas Riggs,<br />
Ida M. Tarbell, Arthur Train. We wish the<br />
League every possible success, not only for<br />
itself, but for selfish reasons also. The in-<br />
formation it should be possible to obtain on<br />
many difficult points in the American market<br />
will be of the greatest value to the Society of<br />
Authors. The Society of Authors isat present<br />
acting with the League of Dramatic Authors<br />
in America. A notice to this effect is published<br />
on another page. Unlike the dramatic authors<br />
in England it has established itself as a separate<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
body. The same separate organisation exists<br />
in France. This is a pity, because where all<br />
authors are combined, the force of the organisa-<br />
tion, and its financial capacity, is enormously<br />
strengthened. We have received a copy of<br />
the “Constitution and By-Laws” of the<br />
Authors’ League of America, and perceive that<br />
these are to a great extent based on the work<br />
and methods of our own Society. Imitation<br />
is (to use the old proverb) the sincerest flattery,<br />
<br />
Ricuts oF TRANSLATION.<br />
<br />
WE desire to repeat a warning which we<br />
have previously given to writers in connection<br />
with the disposal of foreign rights in their<br />
works. Authors are inclined to treat these<br />
‘‘minor”’ rights as so much money gained if<br />
\they are placed, but as not sufficiently<br />
‘important to justify a firmer stand for decent<br />
prices and fair contracts. A correspondent<br />
in Sweden, who is also an agent in that<br />
country for the disposal of the Swedish rights,<br />
complains to us of English and American<br />
authors (though he lays the blame chiefly<br />
on the English) who sell their rights for<br />
next to nothing. He states: “I have been<br />
preaching all the time £10 for sole or book<br />
right ; £5 for serial right in one newspaper, is<br />
easily to be had by every author.”’<br />
<br />
It is to be hoped that authors will take this<br />
advice to heart. When they contract with the<br />
British publisher they must see, by refusing<br />
to surrender the minor rights which English<br />
publishers are so fond of demanding, that they<br />
are in a position to act upon it. It is the<br />
business of every author to keep up the price<br />
of his literary work to the fair market value,<br />
both in Great Britain and elsewhere.<br />
<br />
NEVER SELL THE COPYRIGHT.<br />
<br />
WE have frequently warned members against<br />
the transfer of copyright to the publisher. Such<br />
a transfer, unwise as it was under the old Copy-<br />
right Act of 1842, is nothing short of disastrous<br />
under the Act £1911. Copyright, as defined<br />
by the latter Act, includes many rights not pre-<br />
viously enjoy.d by auth:rs, dramatists and<br />
composers. Much of the increased protection<br />
given by the Legislature to the creators of<br />
intellectual property was gained by the Society<br />
only after a very keen struggle with the various<br />
trade interests involved. It is important, there-<br />
fore, if the efforts of the Society are not to be<br />
rendered futile, that members should refuse<br />
to part with the copyright however pressing<br />
the assertion of the publishers.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Veto yey Bile, Penna<br />
{LAS Mae fa i.<br />
thc LTE<br />
<br />
a ei<br />
4<br />
<br />
<br />
<br />
THE AUTHOR. 149<br />
<br />
To ComMPposERs.<br />
<br />
Tuts advice, while of general pplication to<br />
authors, ccmposers and dramatists, is of<br />
particular importance in the case of the ocm-<br />
poser. Under the Act of 1911 the composer,<br />
although he had assigned his copyright before<br />
the Act came into force, was still allowed,<br />
subject to certain conditions, to retain the<br />
right of mechanical reproduction in his work<br />
in spite of such assignment. It seems, however,<br />
from recent evidence, that composers consider<br />
this principle applies to any contract entered<br />
into after the Act comes into force, that is<br />
after July, 1912; that, in fact, although they<br />
assign their copyright, they do not assign the<br />
rights of mechanical reproduction. This<br />
deduction is entirely false. Any assignment of<br />
copyright after the Act has come into force<br />
assigns to the publisher the right of mechanical<br />
reproduction. Indeed, the copyright of the<br />
composer is so wide, and embraces so many<br />
points nowadays under the Act of 1911, that<br />
any transference leaves the composer in a<br />
hopeless condition, But it is with regard<br />
to the production by mechanical instruments<br />
that he is likely to suffer most if he assigns<br />
the copyright to the publisher.<br />
<br />
The publisher will have the right to license or<br />
refuse to license the work for reproduction by<br />
mechanical instrument, and the composer will<br />
have no voice and will be, as usual, at the<br />
publisher’s mercy. Then, from the financial<br />
point of view, it is possible that the com-<br />
poser, through ignorance, might not make<br />
any stipulation for payment and if he had<br />
assigned the copyright, and there was no special<br />
payment to be made on mechanical reproduc-<br />
tion, then he would receive no payment at all<br />
beyond the royalty which might be due to<br />
him on printed copies of the sheet music.<br />
But when the financial question is mentioned<br />
the publishers generally claim that 30 or even<br />
50 per cent. should be paid to themselves.<br />
They have put forward as an argument<br />
that the publication of the work, brought<br />
out at their expense (they might perhaps<br />
have said by their generosity) and by their<br />
business capacity, alone makes the mechanical<br />
rights of zny value whatever; but the<br />
exact opposite is gradually getting to be<br />
the case; for the production of the work on<br />
the pianola and other mechanical instruments<br />
acts as an enormous advertisement for the sale<br />
of the sheet music. Instead, therefore, of the<br />
publisher be ng paid 30 per cent. of the fees as<br />
a reward for his generous publication, he ought<br />
really to pay the author a certain sum, if he will<br />
allow his work to be mechanically reproduced,<br />
<br />
,<br />
<br />
The Society’s Collection Bureau undertakes<br />
the collection of these fees on a 15 per cent.<br />
basis, merely asking the composer to defray<br />
the cost of manufacture of the necessary stamps.<br />
<br />
This point, then, must be repeated, that<br />
unless the composer retains the copyright of<br />
his composition, he cannot veto the mechanical<br />
reproduction of his work, as he may, in some<br />
cases, desire todo. In the case of compositions<br />
published after the Act came into force, the<br />
copyright owner has power to say whether or<br />
not he will permit the work to be mechanically<br />
reproduced. If he permits one such reproduc-<br />
tion, then other companies may reproduce<br />
subject to the terms of the Act. This power,<br />
it is clear, should rest with the composer, who<br />
has created the work, and not with the<br />
publisher. But it will rest with the publisher<br />
if the composer is so unwise as to assign his<br />
copyright.<br />
<br />
New Year Honours.<br />
<br />
New Year’s honours were conferred upon<br />
Mr. G. W. Forrest and Dr. Francis Darwin,<br />
both of whom have been members of the<br />
Society of Authors for some years. Sir G. W.<br />
Forrest is well known for his ‘‘ History of<br />
the Indian Mutiny,” in three volumes, and for<br />
his ‘* Life of Sir Neville Chamberlain,” and for<br />
the compilation of records from the India<br />
Record Office, while Sir F. Darwin has upheld<br />
his father’s reputation in his scientific studies<br />
and research.<br />
<br />
THE SOCIETY OF AMERICAN DRAMATISTS<br />
AND COMPOSERS.<br />
<br />
eae<br />
HE Society of American Dramatists<br />
and Composers forwarded the following<br />
letter to the Dramatic Sub-Committee<br />
of the Society.<br />
<br />
“ Ata meeting of the directors of the Society of American<br />
Dramatists and Composers, on the motion of the secretary,<br />
seconded by the treasurer, it was unanimously voted to<br />
make an effort to establish some relation between the<br />
American Society and the Society of Authors in England.<br />
Mr. Charles Klein was appointed chairman of a committee<br />
whose duty it shall be to draft a set of propositions which<br />
will tend to establish reciprocal relations between the two<br />
societies. i<br />
<br />
“Your committee submits the following tentative<br />
suggestions :—<br />
<br />
“That any dramatist, ‘a member of the Society of<br />
Authors in England, having the proper credentials, or a<br />
card from the Society of the English organization, shall be<br />
entitled to use the American Society's rooms as his postal<br />
or business address for three months without payment of<br />
any dues.<br />
<br />
* He shall also be entitled to receive all benefits enjoyed<br />
<br />
<br />
150<br />
<br />
by members in good standing—attend the meetings, etc.,<br />
etc., but shall not be permitted to vote.<br />
<br />
** The officers of the Society will furnish him all advice<br />
and information concerning managers, authors, agents,<br />
etc., and other theatrical men; in fact, any information<br />
incidental to the pursuit of his calling.<br />
<br />
** Should it be necessary for him to go to law concerning<br />
his play, its copyright, etc., the Society will advise him in<br />
regard to the proper lawyer to undertake such case or, at<br />
his request, would undertake to settle his case through the<br />
Society’s regular arbitration board, consisting of seven of<br />
the leading dramatists in this Society ; thus giving the<br />
applicant not only a valuable professional standing, but a<br />
fair guarantee of protection against unscrupulous lawyers<br />
and managers.<br />
<br />
“The committee submits that the above propositions<br />
will not only be a valuable aid to the aspiring playwright<br />
who decides to make America a temporary home or whilst<br />
placing his play ; but it will give him an opportunity to<br />
meet his fellow craftsmen under circumstances which will<br />
make it not only a duty but a pleasure for them to render<br />
him all the assistance within their power.<br />
<br />
“It shall be the duty of the secretaries of each Society<br />
to keep their members posted as to all changes in copy-<br />
right laws and, if possible, to co-operate in an effort to<br />
pass an international law which shall be mutually<br />
advantageous.”<br />
<br />
The Dramatic Sub-Committee referred the<br />
matter to the Committee of Management with<br />
a warm recommendation to accept, as far as<br />
possible, the proposal for reciprocity set out<br />
in that letter. At the last meeting of the<br />
Committee of Management, the secretary was<br />
instructed to write to the secretary of the<br />
Society of American Dramatists and Com-<br />
posers, saying that as far as their letter referred<br />
to business relations between the members of<br />
both societies, the Committee would be ex-<br />
ceedingly pleased to adopt the suggestion put<br />
forward to give the American dramatic author<br />
every help and assistance in the publication<br />
and production of his works in England, and<br />
in the matter of confidential advice as to the<br />
responsibility of those who were connected with<br />
the theatrical and dramatic business. The com-<br />
mittee regretted, however, that as the Society<br />
of Authors was purely a business Society, they<br />
could not offer the further hospitality of the<br />
use of rooms, as the Society had no rooms at<br />
their disposal for social gatherings.<br />
<br />
It is to be hoped that this closer union of<br />
the two Societies may afford great assistance<br />
to the members of the Society of Authors, as the<br />
secretary from time to time is in need of advice<br />
and help concerning the responsibility of<br />
managers in America, and that the Society’s<br />
lawyers in New York may find the aid which<br />
the Dramatic Society in America can give of<br />
the greatest value in any action that may be<br />
taken in America. It is to be hoped also that<br />
the American Society will utilise the informa-<br />
tion at the disposal of the English Society’s<br />
offices.<br />
<br />
THE AUTHOR.<br />
<br />
MESSRS. JOHN LONG, LTD., AND THE<br />
SOCIETY OF AUTHORS.<br />
<br />
pee<br />
W* have received the following letter<br />
from Mr. John Long, managing<br />
<br />
director of John Long, Ltd :—<br />
<br />
12, 13 & 14, Norris Street,<br />
Haymarket,<br />
<br />
London.<br />
<br />
9th January, 1913.<br />
Dear Sin,—Seeing that The Author, in its current<br />
number, gives publicity only to an extract—this of its own<br />
choosing—from our recent correspondence, we trust your<br />
Society, which always represents itself as zealous in secur-<br />
ing the observance of principles of justice and equity, will<br />
now have the goodness to publish the full text. In the<br />
event of the Society failing to do so the false impression<br />
created remains. We enclose you copies of our two letters<br />
in question and hope to see them printed in the next issue<br />
of The Author, thereby affording members an opportunity<br />
<br />
of drawing their own conclusions.<br />
Faithfully yours,<br />
Joun Lone, Limrrep.<br />
Joun Lone,<br />
Managing Director.<br />
G. Hersert Turing, Esq.<br />
<br />
We accordingly publish in full the letters to<br />
which he refers :—<br />
<br />
[copy.]<br />
15th November, 1912.<br />
Dear Sir,—We have to acknowledge receipt of your<br />
letter of the 12th inst. and much regret the position you<br />
have taken up. Obviously it is not your intention, and<br />
thus the intention of your Society, to be interested in the<br />
equity of the matter nor indeed to promote harmony in<br />
settling questions between author and publisher. Primaril<br />
we should have thought a Society such as yours would have<br />
seen to it that its workings were directed to the achieve-<br />
ment of that pacific object, but unfortunately evidence to<br />
the contrary is constantly being brought to our notice. It<br />
would appear that immediately an author joins the Society<br />
he is taught to look on the publisher in the most odious<br />
light, as witness the repeated articles against publishers as<br />
a class in its monthly periodical. We know of no other<br />
publication run on similar lines.<br />
Faithfully yours,<br />
Joun Lone, Limirep.<br />
(signed) Joun Lone,<br />
Managing Director.<br />
G. Hersert Trine, Esq.<br />
<br />
[copy.]<br />
21st November, 1912.<br />
<br />
Dear Sir,—We have yours of the 16th inst. and main-<br />
tain that our last communication is justified. We speak<br />
for ourselves and from our own experience. Authors have<br />
originally been on friendly terms with us, socially as well<br />
as in the course of business, and yet have subsequently<br />
adopted a different and frequently hostile attitude towards<br />
us, the change synchronizing with their becoming members<br />
of your Society. This we ascribe, in the main, to their<br />
having become imbued with the views expressed in the<br />
Society’s monthly publication and other literature issued<br />
by it.<br />
<br />
We have no desire to prolong correspondence with you<br />
on this subject. The policy the Society would appear to<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
pursue is one of aggression to publishers generally—we<br />
wish we could think otherwise. Unless an agreement is<br />
such as the Society of Authors would approve, the pub-<br />
lisher who makes it is, as you will admit, liable to be<br />
pilloried in their monthly publication. We think it would<br />
<br />
be only just that you should acquaint yourself as to how<br />
the particular accounts figure in publishers’ ledgers before<br />
comment is made upon the workings of agreements between<br />
authors and publishers. You would then find that the<br />
hypothetic profits you allege are, not infrequently, losses<br />
to the publishers. The fact cannot be lost sight of that,<br />
in dealing with publishers’ agreements, your Society in<br />
effect takes upon itself the triple réle of counsel for the<br />
prosecution, judge and jury—you present the case from<br />
the point of view of the author's interest, give the verdict<br />
(always against the publisher), and inevitably condemn<br />
hi<br />
<br />
im.<br />
<br />
There is no bigger gamble in the commercial world than<br />
publishing as, after all, it is really a toss of the coin which<br />
way the cat will jump. I have been thirty years a pub-<br />
lisher and think you will admit I have some knowledge of<br />
my business. I most strongly deprecate the false impres-<br />
sions that are bruited abroad about publishers.<br />
<br />
Faithfully yours,<br />
Joun Lone, LIMITED.<br />
Joun Lone,<br />
<br />
(signed)<br />
Managing Director.<br />
<br />
G. Hersert THRING, Esq.<br />
<br />
We leave the letters to make what impression<br />
they may, but must state that in the cases<br />
between authors and Mr. John Long’s firm, to<br />
which we have given publicity, upon “ the toss<br />
of the coin” the cat has never jumped on the<br />
author’s side.<br />
<br />
ee<br />
<br />
ROYALTY AGREEMENTS.<br />
<br />
——<br />
<br />
<br />
<br />
PUBLISHERS’<br />
<br />
Royvatties ON EnciisH SAEs, PRoFit<br />
SHarine IN U.S.A. SALES.<br />
<br />
‘2 an agreement which has come frequently<br />
before the society, issued by one of the<br />
most important publishing houses in<br />
<br />
London, there is a clause which needs very<br />
drastic comment. It is essential, owing to the<br />
importance of the house from which the agree-<br />
ments are issued, that authors should take the<br />
matter into their serious consideration and<br />
should be prepared to deal with the clause<br />
should it at any time be submitted to them<br />
for signature.<br />
<br />
It is an arrangement by which the author is<br />
paid a royalty on all English sales, but, if the<br />
United States copyright is not obtained, half<br />
profits on sales to the United States. If this<br />
clause is inserted in the usual half profit agree-<br />
ment, there is little to be said against it; in<br />
that case the only points at issue are: Isa profit-<br />
sharing agreement desirable ; in what propor-<br />
tion should profits be divided between author<br />
and publisher? But if the clause is inserted<br />
<br />
151<br />
<br />
in an agreement where the author is to obtain<br />
a royalty on the publication of the English<br />
edition, there is one very strong point of<br />
objection.<br />
<br />
The objection rests on the fact that a clause<br />
drafted on these lines is a distinct pitfall to the<br />
author. Itisa pitfall for the following reasons:<br />
Because to the ordinary person the difficul-<br />
ties with which the clause is pregnant are<br />
altogether invisible. Because the amount the<br />
author receives in royalty is always calculated<br />
see the books of the Society on this point—on<br />
<br />
<br />
<br />
the basis that the full cost of composition is |<br />
<br />
charged against the English edition.<br />
were not the case the author ought to receive<br />
a higher royalty on British sales. Let us<br />
explain what we mean more fully.<br />
Take the ordinary 6s. book :—<br />
£ sid:<br />
<br />
Cost of composition<br />
copies oe<br />
<br />
Cost of printing<br />
<br />
Cost of paper .<br />
<br />
of 3,000<br />
ve 2. 735<br />
20<br />
30<br />
<br />
ooo<br />
Oo ooo<br />
<br />
£85<br />
<br />
oS<br />
<br />
<br />
<br />
Of the 3,000 copies the publisher sends<br />
1,000 to America, and receives for the same<br />
(say) 1s. per copy £50. The cost of composi-<br />
tion was compulsory for the completion of the<br />
English edition, the author’s royalty, as stated,<br />
being based on this understanding ; but the<br />
publisher takes one-third of this cost towards<br />
the American edition, as well as one-third of<br />
the cost for the print and the paper, leaving to<br />
be divided between himself and the sao<br />
<br />
£. s. d.<br />
<br />
By sale of 1,000 copies to<br />
<br />
America os , ve<br />
<br />
: 50 0 0<br />
One-third cost of production. .<br />
<br />
28 6 8<br />
<br />
<br />
<br />
£21 138 4<br />
<br />
<br />
<br />
Thus each party would get £10 16s. 8d.<br />
But the cost of composition ought not to be<br />
charged against the American edition, only<br />
the cost of print and paper, so that the real<br />
half-profit arrangement would be - :<br />
e4.<br />
By sale of 1,000 copies in<br />
America. s<br />
One-third cost<br />
<br />
paper<br />
<br />
: . 50 0 O<br />
of print and<br />
< .. 1618 4<br />
<br />
————————<br />
<br />
£38 6 8<br />
<br />
<br />
<br />
Thus each party would get £16 13s. Ad.<br />
<br />
Tf this |<br />
<br />
<br />
<br />
<br />
<br />
Instead, therefore, of the author receiving<br />
£10 16s. 8d. he ought to get £16 13s. 4d.<br />
<br />
To show how this method may be worked<br />
out in the interests of untrustworthy pub-<br />
lishers unfairly to the author, say the pub-<br />
lisher in the first instance only publishes a<br />
<br />
thousand copies. The cost of production<br />
would be :—<br />
£ & wd.<br />
Cost of composition .. >. 85 70-0<br />
Cost of printing 2 -. 10 0 ©<br />
Cost of paper .. Se -. 150 0<br />
£60 0 0<br />
<br />
He sells 500 copies to America, and on the<br />
same principle the following sum is worked<br />
out :—<br />
<br />
<br />
<br />
2 gd.<br />
<br />
Half cost of production is 30 0 0<br />
By sale of 500 copies to<br />
<br />
America at 1s. copy -. 26°90 0<br />
<br />
Loss on sale £5 0 0<br />
<br />
<br />
<br />
This’ would leave a deficit against the<br />
author's account of £2 10s. as the sale to<br />
America has apparently failed to cover the<br />
cost of production. Whereas, if the profits<br />
had been worked out fairly, the cost of composi-<br />
tion being chargeable to the English edition,<br />
the figures would have come out :—<br />
<br />
<br />
<br />
£6. od:<br />
Sale of 500 copies to<br />
America aS ae 25: 0-0<br />
Half the cost of print and<br />
paper oe i -. 12: 10° 0<br />
£12 10 O<br />
<br />
Thus the author would have a profit of<br />
£6 5s. instead of a deficit of £2 10s.<br />
<br />
As soon as the edition is sold and the amount<br />
is worked out against the author the pub-<br />
lisher prints 10,000 copies for the English<br />
edition, but never takes into account the<br />
proportion of the cost of production of the<br />
500 sent to America to the 10,000 printed in<br />
England. Again, suppose you take the first<br />
instance, and 20,000 were sold subsequently,<br />
the cost of the 1,000 sold to America is still<br />
taken in proportion to the cost of the 3,000 of<br />
the first edition printed, and not in proportion<br />
to the whole cost.<br />
<br />
It will be seen, therefore, that quite apart<br />
from the contract being unfair, and a pitfall<br />
to the unwary (as on the face of the agreement<br />
the difficulty is invisible), even if it is worked<br />
out by a publisher with an honest idea of doing<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
nothing dishonourable, the result of its work-<br />
ing, its natural evolution, becomes a fraud on<br />
the author, as it is impossible to calculate his<br />
sale to America on the basis of future sales.<br />
It must always be calculated on the basis of<br />
the number produced in the first edition.<br />
The position is ridiculous.<br />
<br />
i ge<br />
<br />
UNREVIEWED BOOKS.<br />
<br />
—— a<br />
<br />
Wi becomes of them? What is their<br />
‘Y ultimate fate? The Bookseller lately<br />
<br />
informed us that in the year 1910<br />
about 5,000 new books were published, and in<br />
1911, 8,500, or an increase of 70 per cent.<br />
Not by any possibility could a moiety of these<br />
be reviewed. The exigencies of an editor’s<br />
time and space would prevent any possible<br />
notice or review. What then is the destiny of<br />
these unfortunate volumes? It is a puzzling<br />
problem. There is no waste paper basket in<br />
any periodical office strong or big enough to<br />
hold even a month’s discarded books.<br />
<br />
Do they become the office boy’s perquisites,<br />
to fill the void of his uncompleted education<br />
at the school board? Perchance they serve<br />
as weapons of defiance, missiles to hurl at cruel<br />
and unforgiving parents in East End courts.<br />
Are these unreviewed waifs and strays of<br />
literature eventually sold as waste paper to a<br />
rag and bone merchant, to be wrought again<br />
into pulp and paper so that the fine conceptions<br />
and emanations of a fruitful brain may be<br />
converted into virgin sheets on which new<br />
aspirants to literary fame may score their<br />
original ideas ? Do the weary and despondent<br />
editors, irate at the fate that compels them to<br />
sit in judgment on other people’s work,<br />
deliberately burn these effete and sad volumes,<br />
so that transmitted thought, like the brains<br />
that originated it, may eventually become only<br />
dust and ashes !<br />
<br />
Perhaps the collected volumes, after a time,<br />
have to be cleared out of the office in order to<br />
economise space, and these en bloc, are sold<br />
for waste paper to neighbouring grocers or<br />
milkmen. This may be their end after all;<br />
the book which demanded and obtained fame<br />
may afterwards be turned to base uses !<br />
<br />
‘‘Imperious Cesar, dead and turned to clay,<br />
Might stop a hole to keep the wind away.”<br />
<br />
It might happen that these printed visions<br />
may come home to their authors wrapped in<br />
<br />
their original leaves, containing margarine or<br />
a piece of indigestible steak. Who knows?<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 1:<br />
<br />
ao<br />
53<br />
<br />
The hapless author may well be filled with<br />
dread in imagining the ultimate fate of his<br />
unreviewed book, and give up the haunting<br />
puzzle in despair.<br />
<br />
I dare say the book-lover, in looking over<br />
the displays of very cheap volumes on the<br />
stands in the open street may feel a sad wistful-<br />
ness at beholding one of his cherished<br />
unreviewed volumes for sale, let me say, at an<br />
unreasonable price of twopence.* Even with<br />
the comfort that splendid thoughts cannot be<br />
valued in sordid cash, that the vulgar dross of<br />
pennies may be quite eliminated from ennobling<br />
aspiration expressed in print, still an arriére<br />
pensée must linger of misplaced effort and<br />
wasted hours—all computed to be worth two<br />
pennies !<br />
<br />
2% * * *<br />
<br />
I am of opinion that every publisher and<br />
author should enclose the necessary stamps<br />
for the return of the book, should it be found<br />
that its review was an impossibility. After<br />
all, the book was to serve an end intended by<br />
the author for the public, and I don’t think that<br />
any editor has the moral right to retain what<br />
is sent him for one purpose only. It may be<br />
said that this would prove a needless waste of<br />
the editor’s or his deputy’s time, that the<br />
volume, like an MS., never asked for, lies at<br />
the writer’s risk; and yet, I imagine that a<br />
little human consideration for the author might<br />
not be amiss in the matter.<br />
<br />
At all events, a mass of unreviewed books is<br />
a positive fact—and their possible fate is only<br />
a conjecture. And, if not returned, I might<br />
suggest that instead of coming to any ultimate<br />
base uses, they might serve a more worthy<br />
purpose.<br />
<br />
We have homes for stray dogs and cats,<br />
why not then a home for unreviewed books,<br />
whence they might be sent to hospitals for the<br />
benefit of those pining for something fresh to<br />
read. Consider the number of pent-up, suffer-<br />
ing men and women, whose lives might be<br />
cheered, comforted and delighted with these<br />
new unreviewed books. This, then, seems<br />
their proper end and destination—and surely<br />
in this altruistic land there are very many<br />
who have the means and energy to cast this<br />
idea of mine into practical form. Then the<br />
fate of unreviewed books need no longer be a<br />
matter of uncertainty, and their writers,<br />
instead of desponding, would be gladdened.<br />
<br />
IstporE G. ASCHER.<br />
<br />
* I once bought one of my own novels in perfect<br />
condition at this figure, and an early vol. by Hichens at<br />
threepence.<br />
<br />
<br />
<br />
STAGE COPYRIGHT.<br />
Deo ee<br />
<br />
HE perusal of a number of books by<br />
experts on any giv n subject should<br />
not, in the mind of the ardent student,<br />
<br />
tend to confuse the issues, but should rather<br />
enable him to organise his cwn pinions and<br />
assist him in making his own de uctions.<br />
Every student of the Copyright Law will<br />
therefore welcome another scholarly book on<br />
the subject, ‘* Stage Copyright at Home and<br />
Abroad,” by Bernard Weller, published from<br />
the Stage office, 16, York Street, Covent<br />
Garden. The book shows a careful and earnest<br />
study. There is one remark in the introduc-<br />
tion to which special attention should b » drawn.<br />
The author, dealing with the performing<br />
rights, after pointing out the advantages<br />
obtained under the Act, realises the importance<br />
—as copyright runs from the day the play, etc.,<br />
is set down in writing—that that date should<br />
be accurately fixed, and suggests that the<br />
author should get his typewriter to date the<br />
copy and procure creditable witnesses of the<br />
fact; the point is indeed well taken. With<br />
the object of fixing the date, the Society in-<br />
stituted some time ago a Register of Scenarios,<br />
which has been found increasingly useful. No<br />
doubt those who study Mr. Weller’s book will<br />
take the hint.<br />
<br />
He suggests in his preface that much has<br />
been done to protect the dramatist against<br />
infringement and piracy, though perhaps not<br />
so much as for other classes of authors, but<br />
sums up that the Act is comprehensive, and<br />
with the Berlin Convention, is caleulated to<br />
give our authors nearly all that they can<br />
reasonably desire.<br />
<br />
With the first part of the statement it is<br />
difficult t» agree. It is true that the summary<br />
proceedings may prove inadequate—they were<br />
ruthlessly and quite unwarrantably cut down<br />
in Committee—but they do give, first, a<br />
protect on never before afforded, and they do<br />
give a good ceal to the dramatist. On other<br />
points it would eppear that the dramatist has<br />
a wider security and a larger field than others.<br />
<br />
The real point, however, in a work of this kind<br />
is not the author's opinion of the Act, though<br />
on the whole it is sound and reasonable, but<br />
his critical treatment of th» different clauses,<br />
and his explanations of the new position. On<br />
these points he has shown trustworthy judg-<br />
ment, and his hints to authors on their newly<br />
acquired property are wise'y conceived. He<br />
draws attention to the fact that assignment of<br />
copyright in a literary, dramatic and musical<br />
<br />
<br />
<br />
<br />
154<br />
<br />
work includes the rights of mechanical repro-<br />
duction, and that this fact is one to be borne<br />
in mind, especially by musical composers.<br />
He should have < dded equally, if not more so,<br />
by dramatists, for it is almost impossible to<br />
conceive whit may be the result of cinemato-<br />
graph production in the near future.<br />
<br />
His chapter devoted to this method of<br />
repr-duction is cne of the most interesting<br />
and instructive.<br />
<br />
Finally, it becomes necessary to deal with<br />
the forms of agreement. The introduction to<br />
this portion of the work is not unsatisfactory,<br />
but a careful perusal of the forms brings<br />
conviction that any attempt to make an<br />
exhaustive standardisation must be wholly<br />
unsatisfactory. Forms are excellent aids for<br />
the lawyer or for the man who knows, but they<br />
are terrible pitfalls for the amateur.<br />
<br />
Mr. Weller’s forms are good as a basis, but<br />
they are not and cannot be, by the very nature<br />
of the subject, all embracing, for instance, no<br />
account seems to be taken of repertory pro-<br />
duction which has become so frequent recently,<br />
and he does not anywhere deal with the right<br />
of the author to be present in the theatre and<br />
have tickets for the performance. There are<br />
several other notes of omission, but it is<br />
hardly fair in the very limited space to be too<br />
captious and hypercritical. What the dramatist<br />
should guard against before anything is, that he<br />
should never license out his play for countries<br />
or towns where the manager does not intend<br />
to produce, or if he intends, has not produced<br />
within a definite time. Mr. Weller, although<br />
he does not emphasise the point, has shown<br />
amply how the dramatist should protect<br />
<br />
<br />
<br />
<br />
<br />
himself.<br />
op +—~e<br />
<br />
GUIDE TO THE COPYRIGHT ACT, 4941."<br />
pare<br />
<br />
HROUGH the courtesy of the Publishers’<br />
Association, the Society of Authors has<br />
been able to add another work on<br />
<br />
Copyright to its copyright library.<br />
<br />
When the Act of 1911 was passed, Mr. E. J.<br />
Macgillivray published, with Stevens & Sons, a<br />
work setting out the Act, explaining clause by<br />
clause the then existing law, and the law under<br />
the Act.<br />
<br />
The present book, by the same author, is not<br />
so ambitious in its scope ; it is merely, what its<br />
title states, a guide.<br />
<br />
It does not follow the clauses of the Act in<br />
detail, but adopts a different arrangement. One<br />
<br />
* «Quide to the Copyright Act, 1911,” by E. J’<br />
<br />
Macgillivray. Published by. The Publishers’ Association<br />
St ationery Hall Court, London.<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
that will make things easier for those who want<br />
a guide.<br />
<br />
The order of chapters is as follows :—<br />
<br />
I. Range of Imperial Copyright.<br />
<br />
II. Works Protected: oe<br />
<br />
III. Duration of Copyright.<br />
<br />
IV. Content of Copyright.<br />
<br />
V. Right to reproduce without licence<br />
or payment to owner of Copy-<br />
right.<br />
<br />
VI. Right to reproduce without licence<br />
on payment of a Royalty.<br />
VII. First owner of Copyright.<br />
VIII. Passing of Copyright by Operation<br />
of Law.<br />
IX. Assignment of Copyright.<br />
<br />
X. Licence.<br />
<br />
XI. Infringement and Remedies.<br />
XH. Mechanical Instruments.<br />
XIII. Notice to Commissioners of<br />
Customs.<br />
XIV. Delivery of Books to Libraries.<br />
XV. Copyright in Foreign Countries.<br />
XVI. Copyright in United States of<br />
America.<br />
XVII. Copyright in Foreign Works.<br />
<br />
The book is, without the Appendix, ninety<br />
pagesinlength. It would be impossible within<br />
that space to cover all the ground, but there is<br />
much useful information which should not<br />
escape the careful study of those who are<br />
anxious to learn. The Chapters on “ the<br />
Assignment of Copyright,” IX., and ‘‘ Licence”’<br />
X., are especially illuminating.<br />
<br />
Some of the Chapters—I., II., III., for<br />
instance—are little more than statements of<br />
facts, but others show the full knowledge and<br />
keen insight of the author.<br />
<br />
It is certainly a useful book within its<br />
limitations.<br />
<br />
——————————<br />
<br />
BOOK-PRICES CURRENT.*<br />
<br />
—<br />
<br />
ARTS IV. and V. for 1912, completing<br />
Pp the twenty-sixth volume of “* Book<br />
Prices Current,”’ are lying before us.<br />
<br />
We always have occasion to bestow the highest<br />
praises on this publication, and to repeat that<br />
it can be rightly appreciated only by those<br />
who peruse its contents. The preface of the<br />
present volume is more than usually interesting.<br />
The whole sum resulting from the book sales,<br />
aud the average prices of the lots have, during<br />
1912, reach unprecedented sums. The total<br />
value is £181,780, and the average price<br />
exceeds £5. The Huth sale, not yet completed,<br />
<br />
<br />
<br />
* © Book-Prices Current.’ London. Elliot Stock, 1912.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 155<br />
<br />
has produced these unprecedented results, two<br />
portions of the Huth sale alone having brought<br />
in nearly £81,000. Only one sale held in this<br />
<br />
country has represented a larger sum of money :<br />
<br />
that of the library of William Beckford, of<br />
Fonthill (1823—-1883), which produced £89,200.<br />
Of the Huth library, letters A—D alone have as<br />
yet been sold, so that it may be regarded as<br />
certain that this collection will in the end prove<br />
the most valuable that has ever entered the sale<br />
room. In the preface of the volume will be<br />
found a comparison of all the most valuable<br />
libraries dispersed, a comparison which is<br />
necessarily based upon purely commercial<br />
considerations, and duly qualified by the<br />
editor’s remark that allowances must. be made<br />
for differences of date. What the Duke of<br />
Roxburghe’s library, which in 1812 sold for<br />
£12,000, would now fetch can hardly be<br />
imagined.<br />
<br />
The sales recorded extend from April 15,<br />
1912, to July 31, 1912. Everything else is<br />
throwninto theshade by themarvels of the Huth<br />
library, and where there is so much to be noted,<br />
we regret that our want of space obliges us to<br />
select out of countless entries of interest<br />
only a few of those which would command the<br />
attention of various authors. In the library<br />
of “A Collector” (Puttick, May 13 and 14), was<br />
sold, George Meredith, holograph manuscript<br />
of “ Jump-to-Glory Jane,” for £105. This<br />
is the first draft of the poem, differing very<br />
considerably from what was ultimately pub-<br />
lished. On June 5 Messrs. Sotheby began<br />
the sale of the second portion of the<br />
Huth library, Lots 1229—2596, realising<br />
£30,169 15s. 6d. The record of the books<br />
covers 139 pages, and there is not one of them<br />
that does not mention items of interest. A<br />
first edition of ‘‘ Don Quixote,”’ Parts I. and II.<br />
(1605—1615) uniformly bound, sold for £1,460.<br />
A first edition of Chaucer’s ‘* Canterbury<br />
Tales,’ Caxton, about 1478 (with fifteen leaves<br />
in facsimile) sold for £905. Only two perfect<br />
copies of the book are known to exist. Very<br />
worthy of attention are the various early<br />
editions of the works of the poets Samuel<br />
Daniel and Michael Drayton, and of the plays<br />
of John Dryden. Of the works of De Foe<br />
there were 176 lots, many of them first editions.<br />
The first edition of ‘The Adventures of<br />
Robinson Crusoe,” and of ‘The Farther<br />
Adventures of Robinson Crusoe,’ 2 volumes,<br />
both published in 1719, sold for £70. A sale<br />
of remarkabl: exceptionality was that by<br />
Christie, July 16, of the first four folio<br />
editions of Shakespeare. All were <old<br />
together to Quaritch for £3,500.<br />
<br />
CORRESPONDENCE.<br />
<br />
——— + —<br />
<br />
EprroriaL Courtesy.<br />
<br />
Dear S1r,—It is, I know, ill work quarrelling<br />
with Editors. A conscientious pursuit of the<br />
policy of taking all things lying down is the<br />
only high road to success. Still one must have<br />
one’s fling sometimes, even at the cost of losing<br />
a market. Believing, as I do, that examples<br />
of the editorial method of conducting business<br />
(which must really read like a fairy tale to other<br />
business men) are of interest to your readers,<br />
I send an account of a recent experience of my<br />
own.<br />
<br />
I sent an article to a weekly review on<br />
January 2 last. It was one of those papers<br />
which definitely state on the front page of each<br />
issue that they do not return MSS., and will<br />
not enter into any correspondence concerning<br />
them. Also they say “any MS. not acknow-<br />
ledged within a month is rejected.” That<br />
would appear to be clear enough.<br />
<br />
Very well: weeks passed. I always like to<br />
be on the safe side, so I gave the editor two<br />
months. Even then I thought it might be<br />
dangerous to take him at his word, so I wrote<br />
and asked him what had become of the article.<br />
To that [had noreply. Very well, more weeks<br />
passed. Towards the end of April I offered<br />
the article elsewhere, and sold it. It appeared<br />
in May. Many weeks passed. In August I<br />
sent another article to the first editor, of which<br />
he promptly sent me a proof. Then I must<br />
suppose he found the original article lying<br />
about the office. It’s curious how things do<br />
turn up. Perhaps he was having a belated<br />
spring cleaning or something—I don’t know.<br />
Anyhow, at the beginning of September I<br />
received, somewhat to my surprise, a proof of<br />
this first article. I wrote by return of post to<br />
tell him that it had already appeared. But I<br />
was too late to stop it. Now that he had found<br />
it he didn’t mean to lose any time (perhaps he<br />
was afraid of it going astray again ?). It went<br />
in the next issue.<br />
<br />
I need hardly say that he never answered<br />
my letter.<br />
<br />
Very well, that left me in the unpleasant<br />
position of appearing to sell the same article<br />
twice. But I don’t think the editor himself<br />
came so badly out of it. At least, as the<br />
direct result of three successive blunders, he<br />
got an article without paying for it. But I<br />
now find that I have done him a grievous<br />
wrong. There has been another spring clean-<br />
ing or something, and he has discovered the<br />
proof of the second article—which he accepted<br />
<br />
<br />
156<br />
<br />
in August. So he writes to ask me “ in view of<br />
what happened last time,” if this one has ever<br />
appeared before, going on to point out gently<br />
but firmly that I did not treat him at all well<br />
on that occasion.<br />
<br />
There is no need to quote my reply. I<br />
suppose it only means another market lost.<br />
But there are some editors in connection with<br />
whom one is left wondering how they live—if<br />
they ever answer invitations to dinner, or<br />
remember to wind up their watches at night, or<br />
have a clear idea of the day of the week.<br />
<br />
I am, yours faithfully,<br />
Tue Worm THAT TURNED.<br />
<br />
—<br />
<br />
Co-OPERATIVE PUBLISHING.<br />
<br />
Sir,—In recent issues of The Author the<br />
question of °‘ Co-operative Publishing’’ has<br />
several times been brought forward, and—<br />
dropped! Why not keep a good ball rolling ?<br />
It is quite time for authors to have a greater<br />
mede of justice respecting the products of their<br />
own brains, and the only way to attain this is<br />
to lessen the power of the publishers. In this<br />
age of “unions” and _ “co-operative ”<br />
societies of all kinds, nothing but close co-<br />
operative working will bring us the desired<br />
result.<br />
<br />
Even the bookseller, in many cases, has a<br />
greater percentage on a book than the author.<br />
Why so?<br />
<br />
I think Mr. Justice Darling’s suggestion is<br />
admirable. Why not form the Society of<br />
Authors into a publishing union, on a profes-<br />
sional basis ? Publishers would then be only too<br />
glad, even anxious, to give better terms to<br />
authors. Why not approach one of the<br />
millionaires on behalf of such a union for<br />
a start? Those who have the cause of<br />
‘‘ libraries ’’ so near at heart would surely<br />
further the cause of the authors who supply<br />
the art and literature for such. :<br />
<br />
Also, why not have an extra fortnightly<br />
Supplement to The Author, to facilitate inter-<br />
change of correspondence on matters of vital<br />
importance to Authors? During the month<br />
questions are apt to die down.<br />
<br />
Yours Faithfully,<br />
** PROGRESS.”<br />
<br />
oo a<br />
<br />
Tue Lirerary YEAR Boox.<br />
<br />
<br />
<br />
Dear Sir,—As others, besides your reviewer,<br />
have questioned the desirability of separate<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
pagination for each part of the current issue of<br />
the “* Literary Year Book,” may I explain that<br />
this arrangement has been adopted in order to<br />
expedite the preparation of the volume for<br />
press. By treating each part as if it were a<br />
separate book, composition and corrections<br />
can be proceeded with simultaneously through-<br />
out the volume in each section. Owing to the<br />
large amount of matter in the book and the<br />
short time available to prepare each new<br />
volume, some such arrangement has become<br />
necessary. I have endeavoured to minimise<br />
any inconvenience arising from this arrange-<br />
ment by supplying a much fuller index than<br />
hitherto.<br />
<br />
The calendar is relegated to the end because<br />
there is no room for it in the first thirty-two<br />
pages (which are printed last).<br />
<br />
As I propose, in future, to discontinue—<br />
except in a much reduced form—a particular<br />
section which is at present of very little prac-<br />
tical use to authors, I hope to be able to devote<br />
more pages to the article on “ Law and<br />
Letters.”’ I agree with your reviewer in that<br />
this section deserves rather fuller treatment, as<br />
it is of importance to authors, expecially to<br />
those entering upon a literary career.<br />
<br />
Yours faithfully,<br />
B. STEwart.<br />
ge<br />
<br />
Tue DisGracE oF NOVEL-WRITING. ‘<br />
<br />
Drar Srr,—Since writing my article on<br />
‘The Disgrace of Novel-Writing,”’ I have had<br />
the truth of my statements brought home to<br />
me vividly. A week or two before Christmas<br />
I had sent me for review in a certain paper<br />
novels which had been issued from their pub-<br />
lishing houses early last October. I reviewed<br />
them as soon as I could, but the notices have<br />
not yet appeared (January 16), and I have had<br />
more novels sent me, one of which bears as its<br />
date of publication October 2, 1912. Heaven<br />
knows when my review of that will appear, but<br />
certainly not this month! Several of these<br />
poor despised books are already in the second-<br />
hand lists, and two or three of them are excel-<br />
lent novels, cleverly conceived, well-written,<br />
bearing signs of care and good craftsmanship.<br />
Yet every day we see other books—essays,<br />
biographies, or novels by popular writers—<br />
reviewed at unnecessary length on the very<br />
day of publication. Does not this show plainly<br />
the deep disgrace into which all those novelists<br />
who do not happen to strike the larger public<br />
taste have fallen ?<br />
<br />
ONE oF THE DISGRACED, | https://historysoa.com/files/original/5/525/1913-02-01-The-Author-23-5.pdf | publications, The Author |
| 526 | https://historysoa.com/items/show/526 | The Author, Vol. 23 Issue 06 (March 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+06+%28March+1913%29"><em>The Author</em>, Vol. 23 Issue 06 (March 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-03-01-The-Author-23-6 | | | | | 157–186 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-03-01">1913-03-01</a> | | | | | | | 6 | | | 19130301 | The Huthbor.<br />
<br />
Monthly.)<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. X XILI.—No. 6.<br />
<br />
Marca 1, 1913.<br />
<br />
[Price SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
874 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
—____—_e——_e—__<br />
<br />
NOTICES.<br />
<br />
— ++<br />
<br />
TCR the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 89, Old<br />
Queen Street, Storey’s Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
ease. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
SO<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
—_——>— +<br />
<br />
“Tj YROM time to time members of the Society<br />
} desire to make donations to its funds in<br />
<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund, This fund is slowly<br />
<br />
increasing, and it is hoped will, in time, cover<br />
<br />
the needs of all the members of the Society.<br />
<br />
<br />
<br />
<br />
THE PENSION FUND.<br />
—+<br />
<br />
N January, the secretary of the Society<br />
<br />
I laid before the trustees of the Pension<br />
<br />
Fund the accounts for the year 1912, as<br />
settled by the accountants. After giving the<br />
matter full consideration, the trustees in-<br />
structed the secretary to invest a sum of £300<br />
in the purchase of Buenos Ayres Great<br />
Southern Railway 4°% Extension Shares, 1914,<br />
£10 fully paid. The number of shares pur-<br />
chased at the current price was twenty-five<br />
and the amount invested £296 1s. 11d.<br />
<br />
The trustees desire to thank the members<br />
of the Society for the continued support which<br />
they have given to the Pension Fund.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
to £4,764 6s., details of which are fully set out<br />
in the following schedule :—<br />
<br />
<br />
<br />
Nominal Value.<br />
<br />
£ 6s. a<br />
Local Loans ......-seeeeeeree 500 0 0<br />
Victoria Government 8% Consoli-<br />
<br />
dated Inscribed Stock .......- 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ........-+-- 250 0 O<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ......-- 200 0 0<br />
Cape of Good Hope 33% Inscribed<br />
<br />
Stock 6... 20sec ee ec teens 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4%, Preference Stock .... 228 0 0<br />
New Zealand 34% Stock........ 247 9 6G<br />
Irish Land 23°% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1927—57.....--.- sees 4388 2 4<br />
Jamaica 34% Stock, 1919-49 .. 18218 6<br />
Mauritius 4°% 1987 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 33%<br />
<br />
Land Grant Stock, 1938 ...... 198 38 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock ........-- 237 0 O<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock ..........-.0+-. 232 0 O<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44° Gold Bonds ........-++-- 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares .......-.. 250 0 O<br />
55 Buenos Ayres Great Southern<br />
<br />
Railway 4°% Extension Shares,<br />
<br />
1914 (fully paid) ..........-- 550 0 O<br />
<br />
3 Central Argentine Railway £10<br />
Preference Shares, New Issue.. 80 0 0<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
PENSION FUND.<br />
<br />
—+—~ +<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
October 1, 1912.<br />
<br />
It does not include either donations given<br />
prior to October, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
anccooooooesosescoesosesoo<br />
<br />
Subscriptions.<br />
<br />
1912. £ eg<br />
Oct. 2, Todhunter, Dr. John. 1 6<br />
Oct. 10, Escott, T. H. S. : - 0 8<br />
Oct. 10, Henderson, R. W. Wright 0 5<br />
Oct. 10, Knowles, Miss M. W. . 0 3<br />
Oct. 11, Buckley, Reginald . 0-5<br />
Oct. 12, Walshe, Douglas 0 10<br />
Oct. 12, “‘ Penmark” . : 0 10<br />
Oct. 15, Sinclair Miss Edith . 0 10<br />
Oct. 16, Markino, Yoshio Lot<br />
Oct. 20, Fiamingo, Carlo 0 5<br />
Oct. 29, Henley, Mrs. . : ta<br />
Nov. 8, Jane, L. Cecil . 0 5<br />
Nov. 14, Gibb, W. 0 6<br />
Dec. 4, De Brath, S. . : 0 5<br />
Dec. 4, Sephton, The Rev. J. 0° 5<br />
Dec. 4, Cooper, Miss Marjorie 0 10<br />
Dec. 7, MacRitchie, David 0.5<br />
Dec. 11, Fagan, James B. 1 0<br />
Dec. 27, Dawson Forbes 0 10<br />
<br />
19138.<br />
<br />
Jan. 8, Toynbee, William (in addi-<br />
<br />
tion to his present sub-<br />
<br />
scription). 010 0<br />
Jan. 9, Gibson, Frank . ; 0 5 8<br />
Jan. 29, Blackley, Miss E. L. 0 5 0<br />
Jan. 31, Annesley, Miss Maude 010 6<br />
Feb. 6, Rothenstein, Albert . 0 7G<br />
Feb. 10, Bradshaw, Percy V. 010 6<br />
<br />
Donations.<br />
<br />
1912.<br />
<br />
Oct. 2, Stuart, James . ‘ 1 £<br />
Oct. 14, Dibblee, G. Binney . - 0 16<br />
Oct. 14, Michell, The Right Hon.<br />
<br />
Sir Lewis, C.V.O. 5 5<br />
Oct. 17, Ord, H. W. . : Ce<br />
Oct. 20, Yorke-Smith, Mrs. . > @ &<br />
Nov. 10, Hood, Francis . = . 0 2<br />
Nov. 20, Kennard, Mrs. N. H. 5 0<br />
Dec. 4, McEwan, Miss M. S. 0 10<br />
Dec. 4, Kennedy, E. B. 0 5<br />
Dec. 11, Begarnie, George . «0 3<br />
Dee, 11, Tanner, James T. 3 8<br />
Dec. 11, Toplis, Miss Grace . 0 5<br />
<br />
esos oooeses 89S<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
oad Dec.<br />
Dec.<br />
ZT Dec.<br />
9G Dec.<br />
a Dec.<br />
<br />
>» Jan.<br />
6 «CJ an.<br />
sl Jan.<br />
Jan.<br />
. Jan.<br />
s— Jan.<br />
5 Jan.<br />
<br />
ist Jan.<br />
is Jan.<br />
isu Jan.<br />
<br />
, Jan.<br />
5 G Jan.<br />
fs& Jan.<br />
[| Jan.<br />
| Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
<br />
THE AUTHOR.<br />
COMMITTEE NOTES.<br />
<br />
—+~>—+<br />
<br />
14, Watson, Mrs. Herbert A. .<br />
14, French, Mrs. Warner<br />
<br />
17, Smith, Miss Sheila Kaye .<br />
17, Marras, Mowbray<br />
<br />
27, Edwards, Percy J. .<br />
<br />
1913.<br />
<br />
1, Risque, W. H.<br />
<br />
1, Rankin, Mrs. F. M.<br />
<br />
2, Short, Miss L. M.<br />
<br />
2, Mackenzie, Miss J.<br />
<br />
2, Webling, Miss Peggy<br />
<br />
3, Harms, Mrs. EH.<br />
<br />
8, Church, Sir Arthur,<br />
<br />
K.C.V.O., ete.<br />
<br />
4, Douglas, James A.<br />
<br />
4, Grant, Lady Sybil<br />
<br />
6, Haultain, Arnold<br />
<br />
6, Beveridge, Mrs. :<br />
<br />
6, Clark, The Rev. Henry<br />
<br />
6, Ralli, C. Searamanja .<br />
<br />
6, Lathbury, Miss Eva .<br />
<br />
6, Pryce, Richard<br />
<br />
7, Gibson Miss L. 8.<br />
<br />
10, K. : :<br />
<br />
10, Ford Miss May<br />
<br />
12, Greenstreet, W. J.<br />
<br />
14, Anon . :<br />
<br />
15, Maude Aylmer<br />
<br />
16, Price, Miss Eleanor .<br />
<br />
17, Blouet, Madame<br />
<br />
90, P. HH. andM. K. ..<br />
<br />
22. Smith, Herbert W. .<br />
<br />
25, Anon, . ; :<br />
<br />
27, Vernede, R. E. :<br />
<br />
29, Plowman, Miss Mar ;<br />
<br />
29, Todd, Miss Margaret, M.D.<br />
<br />
31, Jacobs, W. W.<br />
<br />
1, Davy, Mrs. E. M.<br />
<br />
8, Abraham, J. J.<br />
<br />
4, Gibbs, F. L. A.<br />
<br />
4, Buckrose, J. E. :<br />
<br />
4, Balme, Mrs. Nettleton .<br />
<br />
6, Coleridge, The Hon. Gilbert<br />
<br />
6, Machen, Arthur :<br />
<br />
6, Romane-James, Mrs. ;<br />
<br />
6, Weston, Miss Lydia . :<br />
<br />
14, Saies, Mrs. F. H. (in addi-<br />
tion to her subscription)<br />
<br />
14, Maunsell, A. E. Lloyd<br />
<br />
14, O’Higgins, H. G. .<br />
<br />
15, Stephens, Dr. Ricardo<br />
<br />
15, Jones, Miss E. H.<br />
<br />
17, Whibley, Charles<br />
<br />
—<br />
<br />
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<br />
COPE OH OH ONHOOCOOCHH OHM COCO OPO WOORNWH ooocooo<br />
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<br />
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<br />
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<br />
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<br />
—<br />
Ane eH AHF COCK ONF NHK OOC RH SH Or<br />
<br />
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<br />
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<br />
cooocoocoF<br />
<br />
cococoooaoooaocooanoascooocosooocosoecece|ce|ces ooococo<br />
<br />
ASTAADSS<br />
<br />
HE February meeting of the Committee<br />
was held at the Committee Room of the<br />
Society, 18, Queen Anne’s Gate, S.W.,<br />
<br />
on the 8rd ult.<br />
<br />
The committee dealt first with elections.<br />
Thirty-three members and associates were<br />
elected, bringing the total elections for the<br />
year—that is, for the two months of 1913—up<br />
to sixty-seven. The committee accepted,<br />
with regret, resignations for the past two<br />
months, to the number of thirty-two. At<br />
the beginning of the year the resignations are,<br />
naturally, more numerous than during other<br />
periods, and the number is not unreasonable<br />
considering the size of the Society, nor above<br />
the number for the corresponding two months<br />
of last year.<br />
<br />
The solicitor then reported on the cases that<br />
had passed through his hands. In the first<br />
case the defendant had agreed to pay the<br />
amount of the debt and costs. The second,<br />
referring to a claim for dramatic fees, had<br />
been withdrawn by the plaintiff on the death<br />
of the defendant, and the solicitors’ charges<br />
had been defrayed by the member concerned.<br />
The next two cases related to unsatisfied<br />
judgments. In the first, the solicitor reported<br />
that he had obtained a sum of £10 and was<br />
still pressing the defendants for the balance,<br />
but was doubtful whether anything more<br />
would be recovered. In the second, after<br />
considerable difficulty, the defendant had been<br />
found and had undertaken to pay the debt by<br />
small instalments per week. Two _instal-<br />
ments had already been paid. Of two actions<br />
for accounts and money against a publisher,<br />
one had been settled, where the claim was for<br />
a small amount. In the second, an arrange-<br />
ment had been made for the payment of the<br />
sum due, under the personal guarantee of one<br />
of the directors of the company, and_ the<br />
solicitor hoped that the matter would be<br />
satisfactorily carried through. Against another<br />
publisher there were two claims. In _ one,<br />
the author had received part of the money<br />
he had paid towards the production of his<br />
book on the understanding that the contract<br />
should be cancelled, and that he should be<br />
free to deal elsewhere. In the second, as<br />
the solicitor remarked, there was the usual<br />
struggle to get the publisher to produce the<br />
book approximately in accordance with his<br />
contract. In a claim against a music pub-<br />
lisher, as no reply had been received, the<br />
solicitor was instructed to proceed at once,<br />
<br />
<br />
160<br />
<br />
Three claims against another firm had been<br />
delayed owing to the fact that the representa-<br />
tive of the firm was abroad, but on the repre-<br />
sentative’s return to England, immediate<br />
action, it was decided, would be taken. The<br />
solicitor then reported a case between a<br />
composer and an English music publisher<br />
which had been settled without going into<br />
Court. The publisher had undertaken to<br />
withdraw all the offending copies and to<br />
deface the plates. Some difficult questions<br />
arising under the Copyright Act were next<br />
reported by the solicitor. The questions<br />
arose under the mechanical contrivances<br />
sections of the Act. The committee decided<br />
that nothing could be done until one of the<br />
members was willing to allow the Society to<br />
take action on his behalf. As the point in<br />
question is likely to arise very shortly, it will<br />
soon, no doubt, be possible for the Society to<br />
carry through a test case.<br />
<br />
The solicitor reported at length on a question<br />
of alleged libel arising out of a review. After<br />
a careful consideration and on the opinion of<br />
the Society’s lawyers, the committee decided<br />
that it would be impossible to support the<br />
member in an action.<br />
<br />
The secretary then placed one or two<br />
disputes before the committee for their<br />
consideration. ‘The committee decided to<br />
take up a case of the infringement of dramatic<br />
rights, but in a case of infringement of an<br />
author’s book rights in Canada, they instructed<br />
the secretary to interview the author and<br />
discuss matters with him, as the case seemed<br />
likely to involve the Society in expense which<br />
the committee hardly felt justified in incurring.<br />
Another case of alleged infringement of copy-<br />
right in England the committee decided to<br />
take up, subject to the solicitors’ opinion on<br />
the evidence being in favour of an action.<br />
<br />
The next question was one of some impor-<br />
tance. The editor of a magazine received a<br />
contribution from one of the members of the<br />
Society. He published it without any refer-<br />
ence before publication to the author as to<br />
terms, and after it had been published sent<br />
the author a cheque, and, at the same time,<br />
a printed receipt which stated that the cheque<br />
was in full payment for the copyright. Other<br />
cases closely allied were also brought before<br />
the committee. Certain editors, it appeared,<br />
were in the habit of sending cheques, the<br />
endorsement of which purported to convey the<br />
copyright of the article to the paper, in spite<br />
of the fact that a contract made before publica-<br />
tion provided for the trarsfer of the serial<br />
rights only. The committee felt that the<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
matter was of considerable importance, as<br />
many authors in need of money, rather than —<br />
<br />
take action and run the risk of having their<br />
<br />
contributions refused in the future, endorse the<br />
cheque. This has the same effect as signing<br />
the form of receipt mentioned in the first<br />
instance. In either event the authors are pre-<br />
vented from re-publishing their work in book<br />
form without the sanction of the proprietors<br />
of the magazines or papers. The secretary was<br />
instructed to raise the whole matter in The<br />
Author, but before doing so, the committee<br />
decided to communicate with certain papers<br />
that are accustomed to issue cheques bearing<br />
on their backs the receipt form in question, in<br />
order to obtain, if possible, their views on the<br />
position. In the last case, a case of dispute<br />
between an author and a printer, the committee<br />
gave instructions as to the line of settlement.<br />
The next matter before the committee was<br />
an important question of copyright between<br />
Great Britain and the United States. Mr. E.<br />
J. MacGillivray had been asked to explain to<br />
the committee his view of the situation ; this<br />
he did, in full detail. The committee under-<br />
stood from their correspondent in America<br />
that the issues had been referred to the<br />
Foreign Office, and it was accordingly decided<br />
that the chairman, with the secretary and<br />
Mr. MacGillivray should communicate with<br />
the Foreign Office on the matter, but that,<br />
before any appointment was sought, a minute<br />
of the proposed representation of the Society's —<br />
views should be sent to all members of the ~<br />
committee in order that the chairman of the —<br />
Society might be fully instructed as to the line —<br />
to adopt. p<br />
The secretary reported that, in accordance —<br />
with the decisions come to at the last meeting,<br />
he had addressed to the editors of various<br />
important papers and magazines a letter<br />
settled by the chairman of the Society, raising _<br />
the question of payment of contributions<br />
on acceptance or within a reasonable time —<br />
from acceptance. The secretary reported the<br />
receipt of valuable answers to the letters sent —<br />
out, the editors in question recognising the —<br />
difficulties of the situation and the views of<br />
the committee. The committee decided to<br />
wait further replies, and then to consider the<br />
line of action to be taken. It is hoped to make |<br />
some authoritative declaration on the subject<br />
in The Author.<br />
At the suggestion of the Composers’ Sub- —<br />
Committee, the Committee of Management —<br />
decided to send a circular to British composers, —<br />
dealing with certain important questions —<br />
arising out’of the transfer of their copyrights, —<br />
<br />
<br />
<br />
<br />
<br />
<br />
iby<br />
<br />
TOME<br />
<br />
jade.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
and with the forms of contract placed before<br />
them by music publishers—this with a view<br />
to combined and effective action. The secre-<br />
tary read a letter which had been approved<br />
by the Composers’ Sub-Committee, and it was<br />
agreed that it should be sent.<br />
<br />
It was decided to invest £150 out of the Life<br />
Membership Account, the amount to be added<br />
to the Capital Fund.<br />
<br />
The committee passed the Annual Report,<br />
which had been circulated to them during the<br />
month of January. The accounts and financial<br />
statement had been delayed owing to the fact<br />
that the accountants had not completed the<br />
audit, and it was decided that this should be<br />
circulated at the earliest possible moment in<br />
order that the Report might then be printed.<br />
<br />
A question raised by a member of the com-<br />
mittee as to the Society charging a commission<br />
on all moneys obtained by legal action was<br />
considered, and the committee decided to<br />
refer it to the Council.<br />
<br />
The question of a new advertisement con-<br />
tract was next discussed, and the secretary<br />
was instructed to settle the form of contract<br />
and carry it through as soon as possible.<br />
<br />
It was decided to give the League of Authors<br />
in the United States all possible assistance, but<br />
the committee regretted that they were<br />
unable to accept an offer of interchange of<br />
membership between the two Societies.<br />
<br />
A question was raised as to the sale of cheap<br />
edition rights by American publishers, and it<br />
was decided that if any member should bring<br />
forward a clear case, the committee would,<br />
under legal advice, fight the matter in the<br />
American Courts.<br />
<br />
Papers forwarded by a Danish Literary<br />
Agency and by the Dutch Society of Authors<br />
were considered and noted for the benefit of<br />
members of the Society.<br />
<br />
The committee have to thank Mrs. Went-<br />
worth James for a donation of £2, contribution<br />
to the Capital Fund, paid out of a sum of £10<br />
recovered during the month by the Society on<br />
her behalf.<br />
<br />
——_ +<br />
<br />
Dramatic SuB-COMMITTEE.<br />
<br />
Tur second meeting of this sub-committee<br />
was held on Friday, February 21, at 13, Queen<br />
Anne’s Gate, S.W. After the signing of the<br />
minutes of the previous meeting, the sub-<br />
committee considered the question of the<br />
agenda for the Conference of Dramatists. The<br />
committee decided, however, to defer the settle-<br />
ment of the date till the next meeting, as also<br />
<br />
161<br />
<br />
the agenda. It is hoped that before that meeting<br />
a satisfactory issue may be come to in regard<br />
to the Managerial Treaty.<br />
<br />
A circular referring to the Collection Bureau<br />
was ordered to be set up in type, that it might<br />
be discussed finally at the next meeting, with<br />
a view either to circularising the dramatic<br />
section, or to printing it in The Author, for the<br />
benefit of members of the Society.<br />
<br />
The question of foreign agents then came<br />
forward, and the arrangement of the terms on<br />
which the agents appointed should conduct<br />
the business of the Society was considered.<br />
The secretary read letters he had received<br />
from the agents, and he was instructed as to<br />
the terms of his replies. He was also instructed<br />
to write to the Society of Dramatic Authors<br />
in Berlin.<br />
<br />
Mr. Walter Jordan, the agent of the Society<br />
in the United States, had forwarded to the<br />
Society’s office lists of plays produced by the<br />
stock companies in America. These lists the<br />
secretary submitted to the meeting, and the<br />
secretary was instructed to go through them as<br />
soon as they arrived and, in those cases where<br />
he saw English authors’ works being pro-<br />
duced, to write to the authors, if they were<br />
members of the Society, enquiring whether<br />
the performances had been authorised or not.<br />
<br />
The dramatic cases were then discussed.<br />
The secretary reported that the Committee of<br />
Management had taken up a case of alleged<br />
infringement of copyright on behalf of one of<br />
the members. Another case was reported of<br />
a difficulty experienced by a member of the<br />
Society with an agent in Hungary. As none<br />
of the members of the sub-committee could<br />
give any information about the gentleman in<br />
question, the secretary was instructed to make<br />
what enquiries he could on_ behalf of the<br />
member through the Society’s Hungarian<br />
lawyers, and to report. The third case was<br />
one of alleged plagiarism of one of the members’<br />
plays by a play by another dramatist. The<br />
member concerned put before the sub-com-<br />
mittee a full statement of the resemblances<br />
between the two plays, and a report on the<br />
position was read to the sub-committee. The<br />
sub-committee decided to refer the matter to<br />
the solicitors of the Society, and to request<br />
them to report their views on the case to the<br />
next meeting of the Committee of Management,<br />
with a recommendation that the Committee of<br />
Management should take the matter in hand,<br />
if the solicitors’.opinion was favourable to the<br />
member’s claim.<br />
<br />
The consideration of the dramatic pamphlet<br />
was adjourned to the next meeting.<br />
<br />
<br />
162<br />
<br />
ComvosErs’ SuB-COMMITTEE<br />
<br />
THE Composers’ Sub-Committee met at<br />
the committee room of the Society of Authors,<br />
13, Queen Anne’s Gate, on Saturday, Feb-<br />
ruary 8, at 11 o'clock. After the reading<br />
of the minutes of the previous meeting<br />
the agenda were considered. The first<br />
matter before the sub-committee was Messrs.<br />
Curwen’s agreement. A letter which had<br />
been received from the firm, in answer to<br />
certain comments submitted to them by the<br />
sub-committee, was considered. The sub-com-<br />
mittee came to the conclusion that Messrs.<br />
Curwen’s desire to have entire control of the<br />
performing rights and mechanical instrument<br />
rights could not be approved, and instructed<br />
the secretary to write to Messrs. Curwen<br />
accordingly, pointing out the reason for the<br />
sub-committee’s conclusions. They further<br />
instructed the secretary to point out that as<br />
the agreement had already been published in<br />
The Author as approved by the sub-committee,<br />
it would be necessary to insert in The Author<br />
a statement of the sub-committee’s inability<br />
to accept the agreement in its new and altered<br />
form.<br />
<br />
The next question related to an agreement<br />
from another publishing house which had<br />
been offered to one of the members of the<br />
Society, and it was decided to publish a<br />
criticism of the document in a future issue of<br />
The Author.<br />
<br />
The secretary then read a circular letter<br />
which had been approved by the Committee<br />
of Management, and which it was decided to<br />
send round to composers—both those who<br />
were, and those who were not members of the<br />
Society. Suggestions were made with a view<br />
to enabling the secretary to obtain for the<br />
circular the widest possible circulation. It<br />
is hoped to send to at least 500 composers,<br />
in order, if possible, to obtain a strong com-<br />
bination of composers to act in unison for the<br />
benefit of the profession.<br />
<br />
The secretary reported the result of an<br />
action taken by the Committee of Management<br />
for a composer, against a. music-publishing<br />
firm. The result had been entirely satis-<br />
factory, and the secretary mentioned that he<br />
had received a letter of thanks from the<br />
composer concerned.<br />
<br />
‘A letter from the Society's solicitor dealing<br />
with certain difficult points arising under<br />
section 19 of the Copyright Act was read, and<br />
the secretary explained that the Committee<br />
of Management would be willing to consider<br />
taking action in a case when one was pre-<br />
<br />
THE AUTHOR.<br />
<br />
sented, in order to obtain the opinion of the<br />
Courts on the points raised.<br />
<br />
Another agreement from a publishing house<br />
dealing with American rights was read, and it<br />
was agreed to ask a representative of the firm<br />
to call and discuss the questions arising out<br />
of it with the sub-committee.<br />
<br />
—— +<br />
<br />
Cases.<br />
<br />
Durine the past month twenty-two cases<br />
have passed through the secretary’s hands.<br />
It is as well to mention from time to time that<br />
these cases are matters in which the secretary<br />
actually intervenes between the author and the<br />
publisher, editor, or manager, and not those<br />
cases on which the secretary only gives advice<br />
to the member.<br />
<br />
Demands for the return of MSS. have been<br />
the most numerous. Of these the secretary<br />
has dealt with ten. In four cases the MSS.<br />
have been returned, in two cases the editors<br />
have given every assistance in their power, but<br />
have been unable to find the MSS., and no<br />
further action has been possible owing to the<br />
fact that legal evidence has been wanting. Of<br />
the four remaining cases two have only recently<br />
come to the office, and in the other two no<br />
answer has as yet been received.<br />
<br />
There have been six demands for money.<br />
Of these three have been successful and cheques<br />
have been paid. The other three are ina satis-<br />
factory state. In two of the cases there has<br />
been a slight dispute as to the amount, but<br />
cheques have been promised as soon as the<br />
figures have been settled, and in the last case,<br />
although a cheque has not been received, a date<br />
has been fixed for payment.<br />
<br />
In three cases out of four demands for<br />
accounts, the accounts have been rendered.<br />
The fourth is still in the course of settlement,<br />
the publisher having promised the returns<br />
within the next week.<br />
<br />
One dispute on an agreement has been<br />
settled, and one complicated question of moneys<br />
due on accounts is in the course of favourable<br />
negotiations.<br />
<br />
There are very few cases left over from<br />
former months. ‘There is no matter which has<br />
not either been placed in the hands of the<br />
solicitors or concerning which replies have not<br />
been received from the opposite party and a<br />
settlement promised.<br />
<br />
<br />
<br />
——<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 163<br />
<br />
Elections.<br />
<br />
Barnes-Lawrence, Ash-<br />
ley ;<br />
<br />
Blake, Ernest<br />
<br />
Blunt, Reginald .<br />
<br />
_~ Bradshaw, Percy V.<br />
Brooks, H. Jamyn :<br />
Brown, R. Cuthbert .<br />
Crawford, Albert Ed-<br />
<br />
ward Bredin<br />
<br />
L Finck, Hermann :<br />
<br />
Foxwell, A. K., M.A.<br />
Lond.<br />
<br />
Greenaway, Mrs. O. C.-.<br />
<br />
y7 Greene, Harry Plun-<br />
kett ; : ‘<br />
Harding, Ernest<br />
Charlton<br />
<br />
Harington, Miss Ethel .<br />
Hinton, Arthur<br />
<br />
Jones, E. Hasler<br />
Korbay, Francis .<br />
<br />
Lawrence, Margery<br />
<br />
Menzies, Mrs. Stuart of<br />
Wood Hall<br />
<br />
O’Mara, H. M. S. :<br />
<br />
Quirke, Helen M. L.<br />
(Ellen Svala)<br />
<br />
7 Rothenstein, Albert .<br />
<br />
Round, Mina (Maurice<br />
Reynold).<br />
<br />
Sargent, Miss Maud E. .<br />
<br />
Schlenssner, Miss Ellie<br />
<br />
Simpson, Mrs. Katha-<br />
<br />
rine.<br />
<br />
Vernon, George . ‘<br />
<br />
Silton Rectory,<br />
Zeals, Wilts.<br />
<br />
12, Carlyle Man-<br />
sions, Chelsea,<br />
S.W.<br />
<br />
87, Dacres Road,<br />
Forest Hill, S.E.<br />
Savage Club, Adelphi<br />
<br />
Terrace, W.C.<br />
<br />
14, Devonport Street,<br />
Hyde Park, W.<br />
71, Carlisle Road,<br />
<br />
Eastbourne.<br />
<br />
207, Adelaide Road,<br />
N.W.<br />
<br />
19a, Wellesley Road,<br />
Harrow - on - the -<br />
Hill, Middlesex.<br />
<br />
42, West Cromwell<br />
Road, Earl’s<br />
Court, S.W.<br />
<br />
48, Iverna Gardens,<br />
W.<br />
<br />
1, Hartington Road,<br />
Chorlton-cum-<br />
Hardy, Manches-<br />
ter:<br />
<br />
14, St. John’s Wood<br />
Road, N.W.<br />
<br />
Portalegre, Portugal.<br />
<br />
47, Devonshire<br />
Street, W.<br />
<br />
Eversleigh, Wol-<br />
verhampton.<br />
<br />
Crickett Court, Il-<br />
minster.<br />
<br />
Swanage, Dorset.<br />
<br />
17, Yarrell Mansions,<br />
Queen’s Club<br />
Gardens, W.<br />
<br />
Savile Club, 107,<br />
Piccadilly, W.<br />
<br />
11, rue d’Artois,<br />
Paris (8 emi).<br />
<br />
Chasefield, Grove<br />
Road, Havant,<br />
Hants.<br />
<br />
44, Rosslyn Hill,<br />
Hampstead, N.W.<br />
<br />
Piazza S. Barto-<br />
lomeo degli Ar-<br />
meni 8-2, Genoa,<br />
Italy.<br />
<br />
Vickers, John H., B.A. Offley Grove, New-<br />
port, Shropshire.<br />
<br />
Weston, Miss Lydia ~. 28, Gwydyr Man-<br />
sions, Hove, Sus-<br />
sex.<br />
<br />
a<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
4<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the oftice<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
AGRICULTURE.<br />
<br />
RursaL DENMARK AND ITs Lessons. By H. River<br />
Haaearp. New Edition. 8 x 54. 335 pp. (The<br />
Silver Library.) Longmans. 33s. 6d.<br />
<br />
Ture Utiiry Poutrry Crus YEAR Book AnD REGISTER.<br />
Edited by A. A. Strrone. 72x 5. 114 pp. 68z.,<br />
Lincoln’s Inn Fields.<br />
<br />
ART.<br />
<br />
Tue BritisH ScHoout. An Anecdotal Guide to the Britisk<br />
Painters and Painting in the National Gallery. By<br />
E. V. Lucas. 63 x 4}. 264 pp. Methuen. 2s. 6d. n.<br />
<br />
Tue Yrar’s Art, 1913. Compiled by A. C. R. CartEr.<br />
74 x 43. 598 pp. Hutchinson.<br />
<br />
BIOGRAPHY.<br />
<br />
A Littie Sister. By Maurice Lanprievx. Translated<br />
from the Third French Edition by Leonora L. YORKE<br />
<br />
Surrn. 7: x 5. xvii +303 pp. Kegan Paul. 5s. n.<br />
<br />
DEVOTIONAL.<br />
<br />
Tue Way oF Victory. By JEAN Roperts. 2s., 1s., 6d.<br />
<br />
Tur Emancipation or Woman. By JEAN ROBERTS.<br />
Mowbray. ls.<br />
<br />
DRAMA AND ELOCUTION.<br />
<br />
Peur Gyxt. By Henrik Issen. A New Translation by<br />
R. Exuis Roperts. 7} x 54. xxix + 254 pp. Martin<br />
Secker. 5s. n.<br />
<br />
Passers-By. A Play in Four Acts. By C. Happon<br />
CHamBers. 6} x 5. 139 pp. Duckworth. 2s.<br />
<br />
Five Onu-Act Prays: The Dear Departed, Fancy Free,<br />
The Master of the House, Phipps, The Fifth Command-<br />
ment. By S. Houcuron, author of Hindle Wakes.<br />
7; x 42. 111 pp. Sidgwick & Jackson. 1s. 6d. n.<br />
<br />
EDUCATIONAL.<br />
<br />
Wuere Epvcation Fars. By Preston Were. With<br />
an Introduction by the Rigur Hon. Lorp SHEFFIELD<br />
74 x 5. 114 pp. Ralph, Holland. 1s. n.<br />
<br />
FICTION.<br />
<br />
Tur Ware Case. By Gerorce Pisypett. Methuen<br />
& Co. 6s.<br />
<br />
Our Own Country. By Lovurse Sracpoote Kunny.<br />
Dublin: James Duffy, Ltd. 2s.<br />
<br />
Nevertuetess. By Isapen Smrrx, author of Mated,<br />
The Minister's Guest, etc. Alston Rivers. 6s.<br />
<br />
<br />
164<br />
<br />
Joux CHRISTOPHER. JOURNEY’S Enp. By Roman<br />
Rottanp. Translated by GILBRET CANNAN. 7Z Xx 5.<br />
540 pp. Heinemann. 6s.<br />
<br />
Tue BeLoveD ENemy. By E. Marta ALBANESI. 73 x 5.<br />
<br />
323 pp. Methuen. 6s.<br />
<br />
Swirr Nick or THE YorK Roap. By GEORGE EpGAR.<br />
73 x 5. 412 pp. Mills & Boon. 6s.<br />
<br />
Skipper Anne. A Tale of Napoleon’s Secret Service. By<br />
Maran Bower. 74 x 5. 316pp. Hodder & Stough-<br />
ton. 6s.<br />
<br />
East or THE SHapows. By Mrs. Husurt Barcvay.<br />
73 x 5. 304 pp. Hodder & Stoughton. 6s.<br />
<br />
PaRENTAGE. By Guapys MENDL. 72 x 5. 308 pp.<br />
Chapman & Hall. 6s,<br />
<br />
CHILD oF THE Storm. By H. Riper HaGGARD. 72 Xx 5.<br />
348 pp. Cassell. 6s.<br />
<br />
An Arram or Sats. By J. C. Snairu. 74 x 5<br />
351 pp. Methuen. 6s.<br />
<br />
Concert Prrcu. By Frank Dansy. 7} X 43. 380 pp.<br />
Hutchinson. 6s.<br />
<br />
Tue Lirtir Grey SHor. By P. J. BREBNER. 74 x 5.<br />
312 pp. Hodder & Stoughton. 6s.<br />
<br />
Tue Peart Stringer. By Praay WEBLING. 7j X 5.<br />
<br />
313 pp. Methuen. 6s.<br />
<br />
THe Lapy oF THE Canartes. By Sr. Jonn Lucas:<br />
7k x 5. 346 pp. Blackwood. 6s.<br />
<br />
New WINE AND OLp Borries. By ConsTANCE SMEDLEY.<br />
74 x 43. 307 pp. Fisher Unwin. 6s.<br />
<br />
A Master or Deception. By RicHarpD MaRsH.<br />
336 pp. Cassell. 6s.<br />
<br />
Tur Hovsr oF THE OTHER WORLD.<br />
<br />
7% Xx 5.<br />
<br />
By VioLtet TWEE-<br />
<br />
DALE. 7% x 5. 320 pp. John Long. 6s.<br />
<br />
dipary’s Career. By Parry Truscott. 7} x 5<br />
305 pp. Werner Laurie. 6s.<br />
<br />
Her Srcrer Lire. By Rosurr Macuray. 7} X 5<br />
312 pp. F.V. White. 6s.<br />
<br />
Puyiiipa Fouts Mz. By Mary L. PENDERED. 73 X 5.<br />
286 pp. Mills and Boon. 63.<br />
<br />
No Otner Way. By Louis Tracy. 7} X 9. 318 pp.<br />
<br />
Ward Lock. 6s.<br />
<br />
Tun LANE THAT HAD NO TuRNING. By GILBERT PARKER.<br />
<br />
260 pp. (Sevenpenny Library.) 6} x 44. Hodder<br />
& Stoughton.<br />
<br />
Tu ExpLorrs or BRIGADIER GERARD. By A. Conan<br />
Doyie. (Cheap Reprint.) 6} x 44. 334 pp. Smith<br />
Elder. 1s. n.<br />
<br />
Vurtep Women. By MarMapUKE PICKTHALL, 7} X 5.<br />
<br />
320 pp. Nash. 6s.<br />
<br />
Wo,. By Mavrice Drake. 7} X 5. 316 pp. Methuen.<br />
6s.<br />
<br />
Hetexa Brerr’s Carzer. By Desmond CoKE. 7] X 9.<br />
320 pp. Chapman & Hall. 6s.<br />
<br />
Her Convict Huspanp. By Marte Connor LEIGHTON.<br />
<br />
73 x 5. 320 pp. Ward Lock. 6s.<br />
HISTORY.<br />
France. By Cecrs Huaptam. 8} X 5k. 408 pp. (The<br />
Making of the Nations.) Black. 7s. 6d. n.<br />
MILITARY.<br />
BrermsH Batrues: Crucy. By Hrare BELLoc.<br />
64 x 44. 113 pp. Swift. 1s. n.<br />
MUSIC.<br />
<br />
A Coxcisp History or Music. For the Use of Students.<br />
By the Rey. H. G. Bonavia Hunt, Mus.D., F.R.S.E.<br />
New and Cheaper Edition. 63} x 4. 184 pp. Bell.<br />
28. n.<br />
<br />
THE AUTHOR.<br />
<br />
NATURAL HISTORY.<br />
<br />
A History or British Mammats. By Geratp E. H.<br />
BarRett- HAMILTON. Part XIII. 10. x. Oe<br />
pp. 313—360. Gurney & Jackson. 2s. 6d. n.<br />
<br />
POETRY.<br />
<br />
Porms. By JosEpHINE V. Rows.<br />
Lynwood. 2s. 6d. n.<br />
<br />
POLITICAL.<br />
<br />
Tur Lorps or THE Devit’s Panavise, By G. SIDNEY<br />
PATERNOSTER. 7% x 5. 327pp. Stanley Paul. 5s.n.<br />
<br />
7% x 5. 224 pp.<br />
<br />
REPRINTS.<br />
Tur Dynasts. By Tuomas Harpy. Parts I. and II.<br />
<br />
xvi + 404 pp. Part IV. 423 pp. (Wessex Edition.)<br />
9 x 53. Macmillan. 7s. 6d. n. each.<br />
SCIENCE.<br />
<br />
Voucanozs. Their Structure and Significance. By T. G.<br />
Bonney, Sc.D., LL.D. Third Edition. 379 pp. _6s. n.<br />
Tus INTERPRETATION OF Rapium. By F. Soppy, F.R.8.<br />
Third Edition. Revised and Enlarged. 284 pp. 6s.n.<br />
Herepity. By J. A. THomson. Second Edition.<br />
<br />
667 pp. 9s. n. (The Progressive Science Series.<br />
8} x 53. Murray.<br />
THEOLOGY.<br />
<br />
Tur Lieut or Inpra. By Haroup Beasiy. A New and<br />
Revised Edition of ‘Other Sheep.” 74 x 43. 224 pp.<br />
Hodder and Stoughton. Is. n.<br />
<br />
TOPOGRAPHY.<br />
<br />
Gattant Lirree Waxes. Sketches of its People, Places,<br />
and Customs. By JEANNETTE Marks. 7} X 0-<br />
189 pp. Constable. 5s. n.<br />
<br />
——_+— > o—_—__<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
—+—< + —<br />
<br />
Messrs. Macmillan & Co. announce the pub-<br />
lication in April of the first two volumes of<br />
the “‘ Bombay Edition of the Works of Rudyard<br />
Kipling,” containing all the author’s writings,<br />
verse and prose, newly arranged and cor-<br />
rected by himself. The edition, which will<br />
be limited to 1,050 copies, will occupy twenty-<br />
three volumes, and the first of every set will<br />
be autographed by Mr. Kipling. Two<br />
volumes will appear every two months until<br />
the edition is complete. The price will be<br />
one guinea net per volume, and the work will<br />
only be sold as a whole.<br />
<br />
The same firm are the publishers of Mr.<br />
Maurice Hewlett’s ‘‘ Helen Redeemed and<br />
Other Poems,” a volume of verse mainly<br />
concerned with classical subjects; the prin-<br />
cipal poem occupies half the book, which<br />
concludes with fourteen sonnets and some<br />
fragments.<br />
<br />
<br />
<br />
<br />
<br />
<br />
00<br />
<br />
ab<br />
th<br />
<br />
E<br />
100<br />
Ye<br />
HE<br />
OE<br />
<br />
> a<br />
: We ors Seog<br />
<br />
re<br />
<br />
¢ *-<br />
Ser pe i Sang int sa Sa poe Gath<br />
<br />
oe ~ ee<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Messrs. Macmillan have also recently pro-<br />
duced ‘ Portraits and Speculations,” a col-<br />
lection of essays by Mr. Arthur Ransome on<br />
literary and artistic topics; “ Highways and<br />
Byways in Somerset,” Mr. Edward Hutton’s<br />
contribution to the Highways and Byways<br />
Series ; and “‘ The Reef,’ Mrs. Edith Wharton’s<br />
new novel, the scenes of which are chiefly laid<br />
in France.<br />
<br />
Mr. Arnold Bennett’s new novel, ‘“‘ The<br />
Regent,” is published by Messrs. Methuen<br />
& Co.<br />
<br />
“The Faith of All. Sensible People,” by<br />
Mr. David Alec Wilson, is appearing this<br />
spring through the same firm, at the price of<br />
2s. 6d. net.<br />
<br />
Miss Ellen Key’s latest work is a survey of<br />
the feminist question in its entirety, and is<br />
published by Messrs. G. P. Putnam’s Sons<br />
under the title of “‘ The Woman Movement,”<br />
with an introduction from the pen of Mr.<br />
Havelock Ellis. The author includes in her<br />
book a statement of what she considers to be<br />
the new phase upon which the feminist move-<br />
ment is entering, in which the claim to exert<br />
the rights and functions of man is less impor-<br />
tant than the claim of woman’s rights as the<br />
mother and educator of the coming generation.<br />
<br />
A second edition of Professor Charlton<br />
Bastian’s ‘‘The Origin of Life,’ with an<br />
important appendix and two new plates, is<br />
published by Messrs. Watts & Co. at 3s. 6d.<br />
A French translation of the same work, by<br />
Professor L. Guimet, is appearing through M.<br />
Lamertin, of Brussels.<br />
<br />
Mr. Herbert Jenkins, Ltd., is about to pro-<br />
duce an anonymous book entitled ‘* National<br />
Revival, a Restatement of Tory Principles,”<br />
with a preface by Lord Willoughby de Broke.<br />
It is claimed for this that it re-affirms the<br />
vital principles of Conservatism, and appeals<br />
eloquently to the Conservative elements in<br />
the nation to rally round a new ideal of<br />
patriotism, a new conception of national<br />
policy; that it vindicates the Conservative<br />
conception of the Constitution, and develops<br />
a Conservative doctrine of social reform, which<br />
provides a real alternative to the panaceas of<br />
Radical-Socialism; and that it gives to<br />
patriotic Englishmen of every class a new<br />
confidence, a new inspiration, and a new hope.<br />
<br />
Mr. A. Abram has brought out, through<br />
Messrs. George Routledge and Sons in England<br />
and Messrs. KE. P. Dutton & Co. in the United<br />
States, a book on “‘ English Life and Manners<br />
in the Later Middle Ages,” with 77 illustra-<br />
tions from contemporary prints reproduced<br />
from MSS. at the British Museum, &c. In an<br />
<br />
165<br />
<br />
appendix of over 50 pages a detailed list of<br />
authorities is furnished. The price of the<br />
English edition is 6s.<br />
<br />
Father Sebastian Boden has written the<br />
preface to “A Little-Sister,”’ translated by<br />
Miss Leonora L. Yorke-Smith from the French<br />
of Mgr. Maurice Landrieux, Vicar-General of<br />
Rheims. Messrs. Kegan, Paul, Trench, Tritbner<br />
& Co. are the publishers.<br />
<br />
Messrs. Hutchinson & Co. publish on<br />
the 4th inst Mr. Philip W. Sergeant’s “ Little<br />
Jennings and Fighting Dick Talbot: a Life<br />
of the Duke and Duchess of Tyrconnel.”’<br />
This is an attempt to do justice, late in the<br />
day, to James II.’s great Irish Viceroy and<br />
his wife, who have suffered heavily in the<br />
past from the “‘ Whiggishness”’ (as the late<br />
Mr. Andrew Lang expressed it once) of the<br />
muse of English history. The work is in two<br />
volumes and is illustrated with 17 portraits.<br />
<br />
The same publishers have added to their<br />
Colonial Library Mr. F.. Bancroft’s “ The<br />
Veldt Dwellers,’ which appeared in 6s. form<br />
last October and has gone through six editions.<br />
They are now bringing out a sequel to this<br />
Anglo-Boer War story, under the title of<br />
“Thane Brandon.” Mr. Bancroft has dis-<br />
posed of the American rights of both “ The<br />
Veldt Dwellers’? and ‘‘ Thane Brandon” to<br />
Messrs. Small, Maynard & Co.<br />
<br />
Mrs. Mary Gaunt brought out last month,<br />
through Mr. T. Werner Laurie, her new novel,<br />
‘“‘ Every Man’s Desire,” a story of life in West<br />
Africa, a part of the world with which she is<br />
well acquainted. She has started for an<br />
expedition through unknown China, after a<br />
visit to her brother-in-law, Dr. Morrison, in<br />
Peking.<br />
<br />
A second edition has appeared of Mr. C. E.<br />
Gouldsbury’s ‘‘ Life in the Indian Police,” of<br />
which the publishers are Messrs. Chapman &<br />
Hall.<br />
<br />
The same firm last month, published Miss<br />
Violet A. Simpson’s new novel, “ The Beacon<br />
Watcher.”’<br />
<br />
Mr. James Baker, F.R.G.S., has published,<br />
through the Bodley Head, “Austria: Her<br />
People and their Homelands.’’ The book is<br />
illustrated with forty-eight pictures in colour,<br />
and is issued at 21s. net.<br />
<br />
Messrs. Longmans announce that they have<br />
in preparation a limited issue of a book by<br />
Mr. J. G. Millais, the son of the artist and a<br />
well-known naturalist, on ‘“ British Diving<br />
Ducks.” It will be published in two quarto<br />
volumes, and is intended to afford a complete<br />
history of all the species of diving ducks that<br />
are indigenous in or visitors to the British<br />
<br />
<br />
<br />
<br />
166<br />
<br />
Isles. The illustrations will be on an un-<br />
usually elaborate scale.<br />
<br />
Messrs. Ralph, Holland & Co., have issued<br />
a book entitled ‘‘ Where Education Fails,” by<br />
Mr. Preston Weir. Additional interest is lent<br />
to the work by the fact that the introduction is<br />
contributed by Lord Sheffield, better known<br />
among educationists as the Hon. Lyulph<br />
Stanley.<br />
<br />
Mr. G. Sidney Paternoster has published,<br />
through Messrs. Stanley Paul & Co. at the<br />
price of 5s. net, “ The Lords of the Devil’s<br />
Paradise. The grim story of rubber collec-<br />
tion in the Putumayo.” The author has been<br />
for twenty-two years connected with Truth.<br />
He has collected the stories of the witnesses<br />
and collated the evidence. In this book he<br />
tells the story in its entirety.<br />
<br />
“ Rita’s ’ new novel, “‘ A Grey Life,” is a<br />
romance of Bath in the seventies and eighties—<br />
a period not hitherto touched on by authors<br />
writing of the famous City of Waters. A<br />
brilliant Irish adventurer is the central figure of<br />
the tale. The publishers are Messrs. Stanley<br />
Paul.<br />
<br />
The same firm has just produced Mr.<br />
Rafael Sabatini’s ‘‘ The Strolling Saint,’ the<br />
imaginary memoirs of Augustine, Lord of<br />
Mondolfo, at the time of the Italian<br />
Renaissance.<br />
<br />
Miss Annesley Kenealy’s “The Poodle<br />
Woman,” is the first of a Votes-for-Women<br />
series of 6s. novels from the same house.<br />
““'The Poodle Woman ”’ is a love-story, as well<br />
as an attempt to answer the question, What<br />
do women want ?<br />
<br />
Messrs. Stanley Paul are also the publishers<br />
of four novels—Mr. Hamilton Drummond’s<br />
«¢ Sir Galahad of the Army”; Miss Theodora<br />
Wilson Wilson’s ‘A Modern Ahab”; Miss<br />
May Wynne’s “The Destiny of Claude ” ;<br />
and Mr. Charles McEvoy’s “‘ Brass Faces ””—<br />
and of Mrs. Edith Cuthell’s ‘A Vagabond<br />
Courtier.’’ In the last-named biography, Mrs.<br />
Cuthell returnsto the period of her‘* Wilhelmina,<br />
Margravine of Baireuth.” In it she tells,<br />
from his letters and memoirs, the story of<br />
<br />
Baron von Péllnitz, courtier of Frederic I. of<br />
Prussia, Frederic William, Frederic the<br />
Great, the Princess Palatine, the Duchesse<br />
d’Orléans, and several other European<br />
royalties.<br />
<br />
Messrs. Mills & Boon have published a new<br />
novel by Miss Mary L. Pendered. It is<br />
called ‘‘ Phyllida Flouts Me,” and is a country<br />
comedy, laid in Northamptonshire. The hero<br />
is a farmer, and the villain turns out to be a<br />
woman! Phyllida is the heroine, who reads<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
poetry, while her father worships roses, and<br />
her mother runs the farm. She “* flouts ”’ her<br />
true lover and takes up with an engaging —<br />
artist who proves exceedingly disappointing,<br />
But all ends as well as library readers expect.<br />
<br />
Messrs. Mills & Boon are also the publishers _<br />
of Mr. George Edgar’s ‘‘ Swift Nick of the<br />
York Road,” a story of the romantic type,<br />
dealing with life on the highway, its hero being ~<br />
Swift Nick Nevison, who really made the<br />
journey to York for which Dick Turpin got the<br />
credit.<br />
<br />
Mr. Richard Marsh’s new novel, “* A Master<br />
of Deception,” is issued by Messrs. Cassell & Co.<br />
<br />
Mrs. E. W. Savi’s “The Daughter-in-Law ”<br />
(Messrs. Hurst & Blackett) has its scene laid<br />
in India, a country with which the author<br />
displays a thorough acquaintance. Mrs. Savi<br />
has also had a complete story, of which the<br />
title is ‘‘ The Saving of a Scandal,”’ accepted by<br />
the editors of The Red Magazine. :<br />
<br />
Messrs. Holden & Hardingham, who brought<br />
out Miss Edith Kenyon’s Welsh novel, “ The<br />
Wooing of Mifanwy,” will follow this in May<br />
with another from the same pen, entitled,<br />
‘*The Winning of Gwenora.”<br />
<br />
Miss Beatrice Kelston is the author of ©<br />
‘Seekers Every One,” the publishers being —<br />
Messrs. John Long, Ltd. The story deals with —<br />
a girl driven by disappointed love to go upon<br />
the stage.<br />
<br />
Miss Peggy Webling last month had a novel,<br />
“The Pearl Stringer,’ published by Messrs<br />
Methuen.<br />
<br />
Mr. Max Rittenberg has three books appear<br />
ing this year. A first novel, called “Th<br />
Mind-Reader,”’ will be brought out in April -<br />
by Messrs. Appleton both in London and in_<br />
New York. A second book, a story of public<br />
school life with the title of ‘‘ The Cockatoo,” —<br />
is to be published in May by Messrs. Sidgwick<br />
& Jackson. Another novel, the title of which —<br />
is not definitely settled, is scheduled for<br />
September by Messrs. Methuen in London, and<br />
Messrs. Appleton in New York. :<br />
<br />
Mr. S. B. Banerjea, author of ‘‘ Tales of<br />
Bengal,” ‘‘ Indian Detective Stories,” ete., 1s<br />
writing a romance dealing with modern”<br />
crime, the scene of which is laid partly in<br />
England and partly in Sweden. The hero<br />
falls in love with a girl, who firmly refuses<br />
to marry him, as she is ‘“‘ wedded to a sacred<br />
cause,” which she will not disclose. A riv<br />
appears on the scene, and the two decide<br />
upon a novel plan of settling their difference.<br />
They fall, however, in the clutches of th<br />
“‘ wickedest man on earth,’? who has resolved<br />
to commit the most revolting crime that<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
human being can think of. The two rivals<br />
resolve to thwart his scheme. What they do,<br />
under what circumstances they discover their<br />
lady love, and what becomes of the “ sacred<br />
eause ’’ are, so far, the secret of the author.<br />
<br />
Mr. Banerjea is also translating an Oriental<br />
tale, which, in his opinion, almost resembles<br />
the *“‘ Arabian Nights ” in its breadth of con-<br />
ception and flight of imagination. It is small<br />
in bulk, but makes very entertaining reading<br />
for both young and old. :<br />
<br />
Early in March Messrs. Ouseley will publish<br />
Mr. Harry Tighe’s new novel, “‘ A Watcher of<br />
Life.” The book opens with a sketch of life<br />
in a modern French country house. From<br />
there it takes the reader to Paris, London,<br />
Surrey, and the South Austrian Tyrol, de-<br />
picting houses and scenes well known to the<br />
author.<br />
<br />
We learn from the ‘‘ Poetry Bookshop,” of<br />
35, Devonshire Street, Theobalds Road, that<br />
owing to the exceptional demand for “ Geor-<br />
gian Poetry, 1911—12” (3s. 6d. net), pub-<br />
lished in December last, there has been much<br />
difficulty in the prompt execution of orders,<br />
and many of those who were anxious to obtain<br />
copies of the first edition have been unavoid-<br />
ably disappointed. The second edition is<br />
exhausted. A third edition is ready, and all<br />
orders can now be promptly executed.<br />
<br />
Last month, at Glasgow, Mr. William Miles<br />
gave the fourth of his recitals from the poetical<br />
works of Mr. Mackenzie Bell. Like its pre-<br />
decessors, the recital was well attended and<br />
successful.<br />
<br />
Mr. Clifford King has had the satisfaction,<br />
rare for a writer of verse, of seeing his<br />
**Poems’’ (Messrs. Kegan Paul, Trench,<br />
Triibner & Co.) run into a fourth edition.<br />
<br />
Mr. E. Hamilton Moore’s ‘“‘ An Idyll and<br />
Other Poems,” published by Messrs. Melrose,<br />
is a collection very varied, both in subject and<br />
in manner of treatment. The principal feature<br />
is a series of octosyllabic verses in sonnet form.<br />
<br />
Mr. H. Osmond Anderton’s ‘‘ The Song of<br />
Alfred” (Messrs. Constable) is an epic dedi-<br />
cated ‘To All the Folk of All the Britains,”<br />
and tells in ballad measure the story of the<br />
first true King of England.<br />
<br />
Miss Josephine Rowe subdivides her<br />
“Poems”? (Messrs. Lynwood & Co.) under<br />
the heads of Irish Lays and Lyrics, Poems of<br />
Human Nature, London Lays, Poems of<br />
Passion, Poems for Children, and Poems of<br />
Nature. One or two have already appeared<br />
serially.<br />
<br />
Miss Gertrude Robins’s collection of plays,<br />
‘Makeshifts and Realities,’ has been pub-<br />
<br />
167<br />
<br />
lished in a fourth and revised edition by<br />
Mr. Werner Laurie at 1s. net.<br />
<br />
‘* A Woman of Imagination” is a four-act<br />
play, written by Lloyd St. Clair and privately<br />
printéd. It deals with the influence of a<br />
young woman upon her surroundings—which<br />
include a middle-aged, money-making husband.<br />
<br />
In “ Living Music’ Mr. Herbert Antcliffe<br />
endeavours to indicate the main currents of<br />
modern music (in its more serious aspects),<br />
while disclaiming any intention of providing<br />
a complete guide to the tendencies and in-<br />
fluences now at work. In small compass the<br />
author covers a great deal of ground, and the<br />
volume is a worthy addition to the Joseph<br />
Williams Series of handbooks on music. We<br />
note that in The Churchman for January<br />
Mr. Antcliffe had an article on ‘ Congrega-<br />
tional Singing,’ and in the February West-<br />
minster Review one on Franz Liszt.<br />
<br />
Miss Josephine Riley’s ‘‘ Notes of Lessons<br />
on Pattern Drafting’ (Sir Isaac Pitman &<br />
Sons) is a volume with numerous plates,<br />
addressed to the Schools of the Dominions,<br />
and dealing with the teaching of needlework.<br />
Generally speaking, the book includes lessons<br />
in pattern-drafting and cutting-out, graduated<br />
for all classes. The author aims at presenting<br />
a recognised system which, correlated with art,<br />
can be earried from class to class; based on<br />
the latest requirements of the Board of<br />
Education.<br />
<br />
Last month was published. by Messrs.<br />
Methuen, ‘‘ Health through Diet,’”’ by Kenneth<br />
G. Weis, L.A.C.P. Lond, M.B.CS5. Eng.,<br />
with the advice and assistance of Alexander<br />
Haig, M.A., M.D. The sub-title of the book<br />
shows that it is ‘‘a practical guide to the<br />
uric-acid-free diet, founded on eighteen years<br />
of personal experience.”<br />
<br />
Mr. E. J. Solano edits ‘‘ The Imperial Army<br />
Series of Training Manuals,’ written by officers<br />
of the regular Army, and published by Mr.<br />
John Murray, at 1s. each. Of these manuals,<br />
four have been issued, on Physical Training<br />
(senior and junior courses), Drill and Field<br />
Training, and Signalling; and others are<br />
announced on Musketry, Field Engineering,<br />
Camp Training, and First Aid.<br />
<br />
Those who have read Mr. Jeffery Farnol’s<br />
“The Broad Highway ” will welcome an illus-<br />
trated edition at the price of 10s. 6d. The<br />
illustrations are by G. E. Brock, and the book<br />
will make a sound present.<br />
<br />
Yet another monthly review is on the market<br />
at the moderate price of 1s. net. The English<br />
Review was the first. Now the British Review<br />
follows; does it intend to outstrip its rival ?<br />
<br />
<br />
168<br />
<br />
In the prospectus it is stated, “ The outlook<br />
will be imperial ; whilst all sides will be given<br />
impartial hearing, combined with fearless<br />
candour in proclaiming facts. Literature and<br />
criticism will be treated from the newest stand-<br />
points.” This latter statement is reassuring,<br />
for the present treatment of literature and<br />
criticism needs some revision.<br />
<br />
Mr. Eveleigh Nash published last month a<br />
volume by Clare Jerroldon “ The Married Life<br />
of Queen Victoria,” in which both the Queen<br />
and her Consort are shown “according to<br />
contemporary information and impressions,<br />
rather than in the purely and impossibly<br />
idealistic way of the various lives written<br />
upon them.”<br />
<br />
Professor Geddes has written, ‘‘ The Masque<br />
of lLearning’’—a medieval and modern<br />
pageant of education throughout the ages.<br />
which is to be produced in the Great Hall of<br />
the University of London on the evenings of<br />
March 11, 12, 18, 14 and 15, under the general<br />
direction and stage managership of Mrs.<br />
Percy Dearmer. Tickets may be obtained of<br />
Messrs. Chappell & Co., and of the Masque<br />
Secretary, Crosby Hall, Chelsea.<br />
<br />
We regret that, owing to an oversight, we<br />
omitted to mention a book published last<br />
summer by Mr. Allen Fea, through Mr.<br />
Eveleigh Nash. It was entitled ‘‘ Old World<br />
Places,” and treated principally of the Mid-<br />
lands and the Fen Country. There were fifty<br />
illustrations to the work.<br />
<br />
DramarTIc.<br />
<br />
On January 24, at the Abbey Theatre<br />
Dublin, Mr. Sidney Paternoster’s play, “‘ The<br />
Dean of St. Patrick’s,’’ was produced for the<br />
first time, the Abbey No. 2 Company making<br />
a very good show in it. The aspect of Jonathan<br />
Swift which is presented in Mr. Paternoster’s<br />
work is the romantic Dean, the lover of Stella<br />
and Vanessa; and the story is made to end<br />
with the bringing of the news of Stella’s death<br />
to the broken-down wreck that once was so<br />
imposing a figure. The playwright has been<br />
very ambitious in his attempt to put Swift<br />
upon the stage, but he met with more than a<br />
small measure of success, whether or not his<br />
play is destined to be seen in London one day.<br />
<br />
In Mr. Jerome K. Jerome’s ‘“‘ Esther Cast-<br />
ways,” at the Prince of Wales’s Theatre, Miss<br />
Marie Tempest made a notable hit, and if the<br />
author cannot be said to have used a very<br />
novel theme, he certainly has worked out his<br />
plot in a manner calculated to show off his<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
leading lady to excellent advantage, and<br />
provided visitors to the Prince of Wales’s,<br />
with a good evening’s entertainment. a<br />
Mr. Edward Knoblauch, in collaboration<br />
with Mr. Wilfred Coleby, and with the assist- —<br />
ance of Mr. Cyril Maude in the title rile, has —<br />
tickled London with ‘‘ The Headmaster,” and —<br />
the only grievance which one can bring ~<br />
<br />
against all concerned in the production is that<br />
<br />
the spectator at the Playhouse cannot make _<br />
up his mind whether he is witnessing a farce<br />
or an idyll. But, whichever it is, it is vastly<br />
attractive, and has already added another to<br />
Mr. Knoblauch’s successes as a collaborator.<br />
<br />
Mr. Stanley Houghton’s “‘ Trust the People” _<br />
was produced at the Garrick Theatre on ~<br />
February 6, and within a few days we heard ~<br />
that the Chancellor of the Exchequer had been —<br />
to see it, while the Speaker and the Colonial —<br />
Secretary had written to the author to con- —<br />
gratulate him on the success of the electioneer- _<br />
ing scenes in the play. The leading part, the<br />
man of the people, who has risen to be Cabinet —<br />
Minister, was played by Mr. Arthur Bourchier. —<br />
<br />
Mr. H. V. Esmond produced his three-act —<br />
comedy, ‘‘ Eliza Comes to Stay,” at the —<br />
Criterion Theatre, on February 12, the Eliza —<br />
being Miss Eva Moore (Mrs. Esmond), and the —<br />
author playing hero. A capital start was ~<br />
made, and, to judge by the first week’s houses, —<br />
a prosperous career seems in store for the play. —<br />
<br />
Mr. William Archer’s version of Ibsen’s —<br />
great historical drama, known in this country —<br />
as ‘‘ The Pretenders,’ met with a genuine —<br />
artistic triumph at the Haymarket on<br />
February 13.<br />
<br />
At the Comedy Theatre on February 15, ~<br />
““Lady Noggs, Peeress,’’ an adaptation by<br />
Miss Cicely Hamilton, from Mr. Edgar Jepson’s ©<br />
novel of that name, was presented for the first<br />
time to a sympathetic audience. :<br />
<br />
Mr. Basil Gill has recently accepted a play, —<br />
which Mr. Tighe has written in collaboration -<br />
with Mr. Cecil Rose, and hopes to produce it —<br />
at an early date. a<br />
<br />
A new comedy entitled ‘‘ Her side of the<br />
House,”’ by Mr. Letchmere Worrall and Miss —<br />
Atté Hall, has been put into rehearsal at the ©<br />
Aldwych, and will be produced on March 4.<br />
<br />
The Theatre in Eyre gave two performances<br />
on January 31 at Crosby Hall, More's”<br />
Garden, Chelsea Embankment, the selected<br />
pieces being “‘ The Veil of Happiness,’’ trans- —<br />
lated from the French of M. Georges<br />
Clemenceau (ex-Premier of France), ane<br />
‘*Home from the Ball ’’—according to th<br />
Times report, “‘a quite charming little fane<br />
by Edith Lyttelton.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
PARIS NOTES.<br />
<br />
2 ee<br />
ry E que demande la Cité,” is a little<br />
: ) 2 volume containing twenty causeries,<br />
by M. Raymond Poincaré. The<br />
.vesf President of the Republic informs the young<br />
sen men of to-day what their country expects of<br />
od them, and explains to them the working of<br />
‘sev French social life. It is a book to be read<br />
“1 9% by Frenchmen and foreigners alike, for in it<br />
. a4 the author explains clearly much that should<br />
_4 « be known concerning the State, the Constitu-<br />
‘act tion, the President of the Republic, the Minis-<br />
vt ters, the Chamber of Deputies, the Senate,<br />
ed the Budget, Taxes and Military Service.<br />
e4 No one is better qualified for giving this<br />
‘sola information than M. Raymond Poincaré.<br />
~ 6H He was elected Deputé at the age of twenty-<br />
“ove. seven, Minister of Education when thirty-two,<br />
ed) then Minister of Finances, Senator, Rappor-<br />
/ 9) teur Général du Budget. He has been a Member<br />
4 i, of the French Academy for some years, and<br />
ee was elected President of the Conseil des<br />
#iailf Ministres in 1912, and President of the French<br />
99%) Republic in 1913.<br />
<br />
T ‘The book of the month, which everyone<br />
ef 4) is now reading is “La Mort,” by Maurice<br />
$58M Maeterlinck. It came out some little time<br />
# 02) ago as a serial, and now that it is in volume<br />
ma) form it promises to be as much read as<br />
<br />
“The Treasure of the Humble.”<br />
<br />
‘Ta Maison brile,’? by Paul Margueritte,<br />
is another of the clever novels by this author,<br />
the theme of which is the question of divorce. In<br />
“ Les Fabrecé ” we had an excellent example<br />
of solidarity, and saw all the members of the<br />
family sacrificing their own interests for th><br />
general good. In “La Maison brile,’’ the<br />
husband is unhappily married, but, for the<br />
sake of his two children, he will not repudiate<br />
his wife. Finally, in order to marry again, he<br />
decides to ask for a divorce, but his wife will<br />
not consent to this, until she finds it is to her<br />
interest. The story is an interesting one and<br />
is cleverly handled.<br />
<br />
“Les Sables mouvants,’’ by Collette Yver,<br />
is another novel by the author of “‘ Princesses<br />
de Science.” Most of this writer’s books are<br />
written with some special purpose. In this<br />
one a curious psychological study is given to<br />
us, but the book is too crowded. ‘There is<br />
matter enough for two or three stories con-<br />
tained in one.<br />
<br />
“Le Duc Rollon,” by Léon de Tinseau, is<br />
a story which opens in the year 2000 and the<br />
scene is laid in Washington. The book is a<br />
curious one and not at all in the usual style<br />
of this author.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
169<br />
<br />
“ Pernette en Escapade” is a distinctly<br />
adventurous story by Charles Foley. Per-<br />
nette, as the title indicates, is one of the<br />
emancipated. She goes as far as she can in<br />
her adventure, and the situation becomes<br />
dramatic. The story is told in a_ bright,<br />
amusing way.<br />
<br />
La Fontaine has been very much in vogue<br />
this winter. M. Faguet has been lecturing<br />
on him, and M. Louis Roche gives a most<br />
interesting ‘volume entitled “‘ La Vie de Jean<br />
de La Fontaine.’”’ We have a full account of<br />
him as a child, and as a man, and, after reading<br />
this book, much that had seemed almost<br />
incomprehensible in his life is explained.<br />
<br />
“Au Chevet de la Turquie,’ by Stephane<br />
Lauzanne, is an account of a recent journey<br />
to Constantinople. The author had forty days’<br />
experience of the struggles of a dying Empire.<br />
<br />
‘De la Plata a la Cordillére des Andes ”’ is<br />
the title of Jules Huret’s second volume on<br />
the Argentine. No better guide than M.<br />
Huret exists for the exploration of foreign<br />
countries. In the books he has written on<br />
America and Germany we are accustomed to<br />
strict impartiality and accurate information.<br />
He is a conscientious writer and a keen observer,<br />
and, while preparing his books he does not<br />
neglect the one essential thing for the subject<br />
he has undertaken, namely, to study it himself<br />
before writing on it, and this study, for M.<br />
Huret, usually means long months of exile in<br />
the country about which he intends to write.<br />
As a result of this thoroughness, the books<br />
he gives us are trustworthy documents, which<br />
will remain as landmarks in the history of<br />
nations, supplying information as_ to the<br />
physical, political, and human aspects of the<br />
countries described.<br />
<br />
“ [’Kpitre au fils de loup,” by Bahiou ‘lah,<br />
the founder of Bahaism, has been translated<br />
from the Persian into French by M. Hippolyte<br />
Dreyfus. “Le Fils de Loup,”’ was the name<br />
given to the High Priest of Ispahan, on account<br />
of his cruelty. Under the form of an open<br />
letter, Bahiou’llih explains to him the object<br />
of his mission, and reminds him of the chief<br />
events of his troubled life. It was the last<br />
work written by this prophet of a religion<br />
which claims to embrace all religions (as the<br />
keynote to Bahaism is universal fraternity).<br />
In 1892, Bahiou’llah died at St. Jean d’Acre.<br />
There is a fairly large group now in Paris of<br />
disciples of this prophet, and the members of<br />
the group are of all nationalities.<br />
<br />
“‘ Saynetes et Farces ”’ is the title of a little<br />
volume by M. Maurice Bouchor, which will<br />
be of great service for amateur theatricals.<br />
<br />
<br />
170<br />
<br />
“ Alfred Tennyson,” by M. Frédéric Choisy,<br />
is a remarkable study of the works and per-<br />
sonality of the English Poet Laureate. The<br />
author's object is to give the French reader<br />
a clearer idea than he has hitherto had of a<br />
poet who is comparatively little known in<br />
France.<br />
<br />
Among the more interesting articles in the<br />
Reviews lately are the following ones in the<br />
Revue hebdomadaire, “‘ Les Effets d’une Per-<br />
sécution sur la Vie d’une Eglise,” by Georges<br />
Goyau; “Un Lorrain (M. Raymond Poin-<br />
caré),’’ by M. Louis Madelin, and in the Figaro<br />
an excellent article by André Beaunier on<br />
“ Pere et Fils,” the translation of “ Father<br />
and Son,” by Edmund Gosse.<br />
<br />
We learn with great pleasure that Brazil<br />
has now decided to join the Berne Convention.<br />
The late M. Edouard Sauvel was largely<br />
instrumental in bringing this about. He was<br />
seconded by M. de Lalande, French Minister<br />
in Rio, and thanks are due to the Senator<br />
Guanabara for presenting the proposition to<br />
the Brazilian Congress and getting the Bill<br />
through within a year.<br />
<br />
A curious legal case has just been tried in<br />
Italy. Sardou’s play, ‘“* Fédora,” was given<br />
in Paris in 1882, but was not published in<br />
France until 1908. In 1883 Sardou authorised<br />
M. Bersezio to put on the stage an Italian<br />
translation of ‘“ Fédora.” The drama was<br />
printed and published in Italian in 1892 by<br />
Messrs. Treves. In 1889 Bersezio retroceded<br />
his rights to Sardou, and after Sardou’s death,<br />
his heirs transferred the Italian rights in<br />
“Fédora”’ to M. Riceardi for a period of<br />
twenty-five years, dating from January 1,<br />
1910. In August, 1911, M. Lombardi put on<br />
Bersezio’s translation in Rome, at the Adriano<br />
Theatre. M. Riccardi claimed an indemnity.<br />
The case was tried, and the verdict was in<br />
favour of M. Riccardi. M. Lombardi claimed<br />
that ‘‘ Fédora’’ was in the domaine public,<br />
and that, by virtue of other special laws,<br />
he had a right to use this translation of<br />
Bersezio’s. The case was brought before a<br />
higher court. By virtue of the law of 1882,<br />
the Court maintained that Bersezio, having<br />
fulfilled all the formalities necessary, and<br />
then having retroceded his rights to Sardou,<br />
and M. Riccardi, having arranged with the<br />
heirs of Sardou, he alone had the right<br />
to use the translation in question. M. Lom-<br />
bardi has, therefore, lost his case.<br />
<br />
Maurice Donnay’s play, in four acts, ‘* Les<br />
Eclaireuses,’’ has been, and still is, a great<br />
success at the Comédie Marigny.<br />
<br />
At the Vaudeville, Sacha Guitry’s play,<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
><br />
<br />
‘La Prise de Berg-op-Zomm,’<br />
bill.<br />
<br />
‘“‘La Femme Seule,” is being given at the<br />
Gymnase, and at the Variétés, “‘ L’Habit vert,”<br />
a comedy in four acts, by M.M. Robert de Flers<br />
and Gaston A de Caillavet.<br />
<br />
is still on the<br />
<br />
><br />
<br />
Autys HALLARD.<br />
<br />
<br />
<br />
“Ce que demande la Cité.”<br />
“La Mort.” (Fasquelle.)<br />
“La Maison brile.” (Plon.)<br />
“ Les Sables mouvants.” (Calmann-Lévy.)<br />
“Le Duc Rollon.” (Calmann-Levy.)<br />
“Pernette en Escapade.”’ (Tallandier.)<br />
<br />
“La Vie de Jean de La Fontaine.” (Perrin.)<br />
** Au Chevet de la Turquie.” (Fayard.)<br />
“ De la Plata 4 la Cordillére des Andes.”<br />
“ L’Epitre au fils du loup.”<br />
<br />
(Hachette.)<br />
<br />
(Fasquelle.)<br />
(H. Champion.)<br />
<br />
THE COLONIAL BOOK TRADE.<br />
<br />
<br />
<br />
i? is very flattering to The Author to know<br />
that its renown has gone round the world<br />
and back again. Towards the end of last<br />
<br />
year certain articles were published in its<br />
<br />
columns dealing with Colonial copyright. One<br />
of these was re-published in the enterprising<br />
periodical known as the Publishers’ Weekly in<br />
the United States. This got into the hands of<br />
the editor of a periodical called The Bookfellow,<br />
published in Sydney, Australia, and the editor<br />
has devoted some two pages to traversing<br />
the statements made in the article that<br />
originally appeared in The Author. He<br />
begins by denying the following statement<br />
that ‘‘ English works—in comparison with<br />
<br />
American—do not get a fair circulation on the<br />
<br />
Colonial markets.” In answer to that he<br />
<br />
states as follows :—<br />
<br />
“* Speaking for Australia and New Zealand, this is untrue ;<br />
every bookseller will agree with us that this is untrue ;<br />
statistics will prove it to be untrue. Look at the contrast<br />
between Australian imports from Great Britain—value in<br />
1911 £618,043 ; and from America—value 1911 £53,668.<br />
‘Works’ means general literature; and nearly all<br />
general literature that we sell is published in Great Britain.<br />
Tf what is meant (but not said) is fiction, the statement is<br />
still untrue; English novels in comparison with American<br />
do get a fair circulation on the Australian market. They<br />
get the lion’s share of the circulation; there is no doubt<br />
whatever about that.”<br />
<br />
We are very glad to print this statement, but<br />
still wonderful stories are told of the energy<br />
and push of the American book agent. The<br />
editor then turns from general literature to<br />
novels, thinking apparently that the Society of<br />
Authors and The Author represent writers of<br />
fiction only, and he gives some facts about<br />
the Australian book trade that are worth<br />
<br />
reprinting :—<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
“ A bookseller usually has to leave the first purchase of<br />
books to his London agent—simply because most books<br />
cannot be shown round at the Australian distance on or<br />
before publication. The bookseller himself remains an<br />
active controlling foree; he orders a likely seller in<br />
advance of publication, or if he gets insufficient stock of<br />
what looks a likely seller, he cables at once for a fresh<br />
supply. All the time he is on the look-out for steady<br />
sellers with the hope of a long run. Unluckily most<br />
English novels are not sellers—to our sorrow. They are<br />
worth about the number of copies the London agent sends ;<br />
and then ‘ it isn’t worth re-ordering.’ That isn’t the fault<br />
of the bookseller ; it’s the fault of the books.”<br />
<br />
He continues with a statement headed<br />
<br />
“‘ DIFFERENCE IN ‘ CoLoNIAL’ PUBLISHERS.”<br />
<br />
‘Tt is quite correct to say that some London publishers<br />
are worth, for ‘ Colonial’ sale, a lot more to an author than<br />
are others. Some publishers simply drop their novels on<br />
the market ; if they sell, welland good ; if they don’t sell,<br />
the publisher makes his profit on the average. Others<br />
circulate a few review copies. Others really push every<br />
book with the aid of local agents; and these, we may<br />
modestly say, supplement agents’ visits to the trade—<br />
which, because of the vast extent of territory to cover, can<br />
only be made annually or semi-annually—by advertising<br />
to the trade in The Bookfellow. It stands to reason that<br />
these pushing publishers in relation to our trade are the<br />
best for authors who have an eye to ‘ Colonial royalties.’<br />
The publisher who keeps his goods before trade and public<br />
all the time pushes many a languid or reluctant bookseller<br />
to purchase. Booksellers aren't infallible, and sometimes<br />
they turn down a book which, when it is pushed by the<br />
publisher, turns up trumps. So that, on this head, there<br />
is some truth in our author's complaint. But it is the<br />
business of his publisher, not of booksellers, to see that his<br />
book gets the fullest Australasian publicity. And if his<br />
publisher doesn’t do that, and he values his ‘ Colonial ’<br />
royalties, the cure for his complaint is not to abuse the<br />
bookseller, but to change his publisher.”<br />
<br />
This latter paragraph certainly contains<br />
some valuable information for the benefit of<br />
the members of the Society. It now remains<br />
to discover, if possible, those publishers to<br />
whom the editor of The Bookfellow makes<br />
reference. But the statement on which all<br />
these articles have been written is still true,<br />
that the Colonial sales in proportion to the<br />
English sales are not as large as they should be.<br />
Colonials are better buyers of books because<br />
there are fewer and in some cases no lending<br />
libraries. The returns on the accounts should<br />
therefore show a better proportionate result.<br />
Why don’t they ?<br />
<br />
——_—___-_+-—¢—<br />
<br />
DRAMATISATION OF NOVELS AND<br />
PUBLICATION OF PLAYS.<br />
<br />
+<br />
Important AMERICAN DECISIONS.<br />
<br />
HE Report of the Register of Copyrights<br />
in the United States for the vear<br />
1911—1912 contains two important<br />
<br />
eases, which more particularly concern the<br />
<br />
<br />
<br />
<br />
<br />
17i<br />
<br />
interests of British dramatic authors and<br />
novelists owing to the change in the law<br />
effected by the Copyright Act, 1911. Under<br />
the Act the public performance of a play is no<br />
longer equivalent to publication, and_ the<br />
novelist is given the exclusive right of dramatis-<br />
ing his novel. These changes in the law are<br />
very material to the American cases reported<br />
below, which were decided before the new<br />
Copyright Act came into operation.<br />
<br />
The question in the first case is one which<br />
may arise under the English law, namely,<br />
whether the manufacturer of films, for produc-<br />
tion by cinematograph of scenes taken from a<br />
novel, has infringed the copyright of the<br />
novelist, who has the exclusive right of<br />
dramatising his work.<br />
<br />
The second case calls attention to the fact<br />
that British authors resident in England are<br />
entitled to protection in respect of unpublished<br />
works by the common law in the United States ;<br />
while by the English Copyright Act the<br />
common law rights are abolished, and the<br />
statute gives no protection to American<br />
authors resident in the United States in respect<br />
of their unpublished works. The abrogation<br />
of the common law rights has a serious effect,<br />
since the public performance of a play no<br />
longer amounts to publication according to<br />
English law; and the so-called “ copyright<br />
performance ”’ of a play in England will not<br />
confer the statutory right which attaches to a<br />
published work. The American dramatist<br />
must print and publish his play in order to<br />
acquire statutory copyright in England, but<br />
the English dramatist is entitled to protection<br />
in the United States without publication.<br />
<br />
Karem Co. v. Harper Bros.<br />
<br />
This was an appeal by the Kalem Co. against<br />
an order restraining an infringement of the<br />
copyright in the novel “ Ben Hur” by the<br />
late Gen. Lew Wallace. The appellant com-<br />
pany were manufacturers of films, which were<br />
used in cinematograph reproductions, and they<br />
employed someone to read the novel and to<br />
write a description of certain scenes, which<br />
might be reproduced in cinematograph exhibi-<br />
tions. They took photographs of these scenes<br />
and manufactured films, which they advertised<br />
under the title ‘‘ Ben Hur.’’ They then sold<br />
the films, and public representations were given<br />
of these scenes in cinematograph exhibitions.<br />
<br />
It was contended that, as authors have the<br />
statutory right of dramatising their novels. the<br />
representation of the scenes, which was founded<br />
upon a dramatisation of the story, was an<br />
infringement of the author’s copyright.<br />
<br />
<br />
172<br />
<br />
On the other hand, it was urged on behalf<br />
of the appellant company that an attempt was<br />
being made to extend copyright to ideas, as<br />
distinguished from the words in which those<br />
ideas were clothed, and further that they had<br />
not infringed the copyright, because they did<br />
not exhibit the pictures, but merely made the<br />
films and sold them.<br />
<br />
The Court held that the novel was dramatised<br />
by what the appellants had done, for drama<br />
may be achieved by action as well as by<br />
speech. Action could tell a story, display all<br />
the most vivid relations between men, and<br />
depict every kind of human emotion, without<br />
the aid of a word. A novel might be drama-<br />
tised by pantomine, and it made no difference<br />
whether the effect was produced by living<br />
figures, or mechanical means, or reflection from<br />
a glass. The essence of the matter was not<br />
the mechanism employed, but that the<br />
spectators saw the incidents of the story or the<br />
story lived.<br />
<br />
Further, the appellants had invoked by<br />
advertisement the use of their films for<br />
dramatic reproduction of the story, and that<br />
was the purpose for which the films were<br />
made. If they did not contribute to the<br />
infringement it would be impossible to do so<br />
except by taking part in the final act.<br />
<br />
The appellants had infringed the copyright<br />
in the novel and the appeal was dismissed.<br />
<br />
FERRIS v. FROHMAN.<br />
<br />
In this appeal Mr. Ferris claimed the<br />
statutory copyright in the play entitled “ The<br />
Fatal Card,” by Mr. Haddon Chambers and<br />
Mr. B. C. Stephenson, who were British sub-<br />
jects resident in London at the time of its<br />
composition in 1894, The play was performed<br />
in London on September 6, 1894, and had not<br />
been copyrightea by the authors in the United<br />
States. Mr. Frohman acquired American<br />
rights under an agreement, and the play had<br />
been represented by him in the United States.<br />
Mr. George McFarlane made an adaptation of<br />
the play and assigned his rights to Mr. Ferris,<br />
who copyrighted it in August, 1900, and repre-<br />
sented it in the United States. The adapted<br />
play contained the essential features of the<br />
original play, though it differed in various<br />
details.<br />
<br />
On behalf of Mr. Frohman it was contended<br />
that, as the performance of the play in England<br />
was not publication, the authors had not lost<br />
their common law rights; and that it was not<br />
necessary to comply with the statutory<br />
provisions for the protection of the copyright.<br />
<br />
THE AUTHOR.<br />
<br />
Butit was argued that the English authors being<br />
domiciled in England were not entitled to<br />
common law rights in the United States, and<br />
that Mr. Ferris having copyrighted his adapta-<br />
tion of the play in America was the owner of<br />
the statutory copyright.<br />
<br />
The Court held that the authors of the<br />
“Fatal Card’? had a common law right of<br />
property and were entitled to protection against<br />
its unauthorised use in the United States.<br />
The common law right was not lost by public<br />
performance of the play, which was_ not<br />
equivalent to publication. The play had not<br />
been printed and published, and the statute<br />
did not deprive the authors of their common<br />
law right. The adaptation of the play was a<br />
piratical composition, and Mr. Ferris could<br />
not secure the fruits of piracy by copyrighting<br />
it under the statute.<br />
<br />
The judgment of the Supreme Court of<br />
Illinois, which had decided against the claim<br />
of Mr. Ferris, was affirmed.<br />
<br />
Haroitp Harpy.<br />
<br />
—_—_—__—_.——e____<br />
<br />
RIGHTS IN UNPUBLISHED MANUSCRIPT.<br />
<br />
++<br />
<br />
CANADIAN Law SvIT.<br />
<br />
(Published by permission of the editor of the<br />
“* Publisher's Weekly,” U.S.A.<br />
<br />
LAWSUIT of considerable interest to<br />
both publishers and authors has just<br />
<br />
been decided by the High Court of<br />
Justice of Ontario. In effect, the case is a<br />
sequel to an earlier case which was fully re-<br />
ported in the Publishers’ Weekly of October 28,<br />
1911. Briefly, an author, Dr. W. D. LeSueur,<br />
of Ottawa, was invited to prepare a life of<br />
William Lyon Mackenzie for the “ Makers of<br />
Canada” series, published by Morang & Co.<br />
Through the courtesy of the Mackenzie family,<br />
he was allowed access to a collection of papers<br />
and documents left by Mackenzie and, with<br />
the assistance of this material, compiled his<br />
biography. When his manuscript was sub-<br />
mitted, however, it was found that he had<br />
taken such a prejudiced view of the subject<br />
that it was deemed inadvisable to publish his<br />
work in the series, and another life was pre-<br />
pared in its place.<br />
Doubtless influenced by the Mackenzie<br />
family, Morang & Co. refused to return the<br />
manuscript to Dr. LeSueur. The latter sent<br />
back the money which had been paid him in<br />
the first instance and brought suit against the<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
‘ide publishers for the recovery of his property.<br />
4 The case was carried from court to court, and<br />
22. was finally decided in favour of the plaintiff<br />
-~by the Supreme Court of Canada in October,<br />
“61911. The Court directed that Morang & Co.<br />
of should forthwith hand over the manuscript to<br />
<br />
6 the author.<br />
<br />
4 Following the return of the manuscript Mr.<br />
5 £G. G. S. Lindsey, grandson of Mackenzie and<br />
2m custodian of his papers, took steps to prevent<br />
~ ej its publication by Dr. LeSueur. He brought<br />
<br />
‘i suit against him to compel him to deliver up<br />
<br />
ii all extracts from and copies of any manu-<br />
“to, scripts, books, papers, writings, and docu-<br />
‘gg; ments of every kind, obtained from the<br />
‘sal Mackenzie collection, and to restrain him from<br />
i4gq publishing them or causing them to be pub-<br />
sei lished. This case has just been heard, and<br />
<br />
) judgment in favour of the plaintiff delivered on<br />
idsl January 9.<br />
a ‘Tt seems to me clear,” said Mr. Justice<br />
<br />
@ Britton in rendering his decision, ‘* that the<br />
lq plaintiff (Lindsey) and the late Charles Lindsey<br />
<br />
q) (plaintiff's father) supposed that the defen-<br />
<br />
<6 dant (LeSueur) intended to write of William<br />
<br />
I Lyon Mackenzie as one of the men in Canadian<br />
sid history who can fairly be called, speaking<br />
"45 colloquially, as one of the ° Makers of Canada.’<br />
<br />
7% The conduct of the defendant and what he<br />
<br />
2 said warranted the plaintiff and Charles<br />
uJ Lindsey in so thinking. I must find as a fact<br />
4 that the defendant gave the plaintiff and<br />
3 Charles Lindsey to understand that the views<br />
* and feclings of the defendant towards Mac-<br />
ed kenzie were friendly, and that his attitude in<br />
<br />
| presenting Mackenzie to the public was a fair<br />
°f@ one, that he had no bias against Mackenzie,<br />
‘es and that-he had no feeling or opinion which<br />
<br />
»# would prevent him, as a writer, from truly<br />
2#/@ presenting the facts and circumstances of<br />
1 Mackenzie’s life and character. The defen-<br />
4b dant, in my opinion, intended that the plaintiff<br />
<br />
bes and Charles Lindsey should believe as they<br />
vb. did in reference to defendant’s feeling and<br />
46 attitude.<br />
- “At the time of defendant’s arrangement<br />
with the plaintiff, the defendant did hold<br />
strong views against Mackenzie. At that<br />
time the defendant intended to write the life<br />
of Mackenzie on other than conventional lines.<br />
‘He intended to write of Mackenzie, not as one<br />
of the ‘ Makers of Canada,’ but as a ‘ puller-<br />
down,’ as was stated during the trial.<br />
<br />
“J am of the opinion, upon the evidence,<br />
that the defendant made use of the Mackenzie<br />
collection of books and papers other than was<br />
in accord with the understanding between<br />
him and the plaintiff and Charles Lindsey.<br />
<br />
<br />
<br />
173<br />
<br />
The use was made contrary to the wish, and<br />
contrary to what was known to be the wish,<br />
of the plaintiff's father. It is inconceivable<br />
upon the facts that either Charles Lindsey or<br />
the plaintiff would have permitted access to<br />
the Mackenzie papers had either known or<br />
supposed that such manuscript as the defen-<br />
dant produced would have resulted. It is<br />
plain to me that the defendant knew that he<br />
could not have obtained access to the collec-<br />
tion had he revealed his true feelings or<br />
declared his real intention. :<br />
<br />
‘“No question of copyright is involved. It<br />
is a question of getting access to the house of<br />
another and using the property therein for<br />
personal purposes, different to what was con-<br />
sented to by the owner.”<br />
<br />
W. A.C.<br />
<br />
—_—_——_—_+—_>—_o—__—__<br />
<br />
THE SORROWS OF A FREE-LANCE.<br />
<br />
—+—<—+—<br />
<br />
HIS subject has been tackled before, but<br />
every day competition gets keener, and<br />
the “‘ sorrows” greater; a few hints<br />
<br />
may help ‘‘ would-be ” writers.<br />
<br />
The free-lance offers something for sale, the<br />
supply of which far exceeds the demand ; no<br />
editor requires any free-lance, every free-lance<br />
requires some editor, what is more, requires<br />
many editors if he is to make a living with his<br />
pen. Strikingly uncommon, clever people<br />
compel attention—there is always room on the<br />
top—but these mostly are annexed by editors,<br />
becoming members of the staff of well-known<br />
papers, or their work is commissioned. They<br />
sueceed ; but they cease to be typical free-<br />
lances.<br />
<br />
Now, each person should ask himself, if he<br />
really has something to say, and if he is<br />
prepared to face obstacles and rebuffs, endless<br />
anxiety, and disappointments in order to say<br />
it. If he thinks he can make an easy living<br />
by free-lancing, he is much mistaken; it is<br />
quite possible for a free-lance to have contri-<br />
buted to over thirty publications, included<br />
among thenumber being Is. and 6d. magazines,<br />
and yet not make a net income of £40 a year.<br />
If anyone wishes, let him try and see for him-<br />
self whether the game is. worth the candle.<br />
The most important thing of all is for him to<br />
find out what the character of the paper is, and<br />
what the views of the editor are, also what<br />
regular contributors he has already working<br />
for him, and what subjects he has already<br />
dealt with. All this “scouting,” is very<br />
difficult, and constitutes the “via erucis ”” of<br />
<br />
<br />
*<br />
<br />
174<br />
<br />
whoever tramps Grub Street with something<br />
to sell. Advertisements increase daily, the<br />
staff does a good deal of the letterpress,<br />
agencies supply endless illustrations, topical<br />
subjects take up much space, so that it<br />
becomes hard for even a willing editor to<br />
squeeze in the work of a new free-lance, unless<br />
by doing so he believes he is enhancing the<br />
worth of the magazine he edits. It is a<br />
question of the survival of the fittest amongst<br />
the too numerous publications, the editor<br />
must make his paper pay, and is forced to<br />
snuff out all mediocrities from its pages.<br />
<br />
There are only three ways of reaching the<br />
powers that be :—<br />
<br />
1st. Sending manuscripts by post.<br />
<br />
2nd. Interviewing the editors.<br />
<br />
3rd. Writing a_ preliminary<br />
suggestions.<br />
<br />
The first is the worst system. It is as easy<br />
to get MSS. sent at random, accepted for<br />
publication, as it is for a blindfolded man to<br />
hit a target ; only a crack shot succeeds.<br />
<br />
The second is arduous labour; for the<br />
editors have no time to spare, detest being<br />
interviewed, do not require contributions, and<br />
resent being cross-questioned as to what they<br />
do want. They look upon the person carrying<br />
a pile of manuscripts as.one generally looks at<br />
a hawker, sometimes with pity, generally with<br />
irritation.<br />
<br />
The third is, to my mind, the less thorny<br />
path ; if no answer is received, one can take it<br />
for granted that contributions are not required,<br />
or that what one offers is unsuitable; if any<br />
subject appeals to the editor, he is almost sure<br />
to ask for the article to be submitted to him ;<br />
it also has the advantage of placing twenty or<br />
thirty subjects before his notice. This could<br />
not be done ina brief interview ; and if method<br />
number (1) were adopted, it would entail a<br />
fearful postage expense to the author in<br />
manuscript and a fearful loss of time to the<br />
editor.<br />
<br />
If once a subject is asked for, a careful study<br />
of the style of the publication should be made<br />
by reading a few back numbers. An idea<br />
must be formed as to what class of people it<br />
eaters for; every paper caters for a different<br />
public. The same subject would have to be<br />
dealt with entirely differently, if meant for<br />
a ls. magazine, or a 3d. rag. But—and here<br />
the “‘ sorrows ”’ come in, if the article does get<br />
accepted, the author must wait and see when<br />
it gets published and how and when he gets<br />
paid for it; he will often have to send in his<br />
account or solicit payment repeatedly. When<br />
he receives a cheque in any other profession,<br />
<br />
letter with<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
his troubles would be at an end ; not so with th<br />
free-lance. At the back of the cheque he wil<br />
find: ‘All British rights,’ ‘* Copyright,’<br />
** Artist’s rights,’”’ “‘ All author’s rights,” “* Al<br />
rights,’ ‘‘ Serial rights,” and many mor<br />
assertions of “rights”? for which he has no<br />
bargained for, and which he only vaguel<br />
understands. If he signs the cheque he ma<br />
land himself into no end of trouble in th<br />
future ; if he does not sign, or alters the wordin<br />
of the cheque, he cannot get payment ;<br />
asserts himself, or in any way ruffles the<br />
editors, he never will be allowed to contribut<br />
to their papers again, so that he is hemmed in<br />
on every side. As matters now stand, the<br />
author is always at a disadvantage. Of course.<br />
a good agent could overcome all these difficul-<br />
ties, but where are “‘ good ”’ agents to be found ?.<br />
More often by going to them one only gets<br />
more sorrows. Be not deceived—financially<br />
free-lancing is a poor game against uneven<br />
odds; morally—well—to me at least, it has<br />
been very well worth while.<br />
<br />
A FREE-LANCE.<br />
<br />
<br />
<br />
ee<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
— +<br />
<br />
Bookman.<br />
Charles Reade. By Lewis Melville.<br />
George Saintsbury. By Thomas Seccombe.<br />
A French Study of Chaucer. By W. H. Hudson.<br />
Bookman Gallery. Mr. Maurice Baring. By Robert<br />
Birkmyre.<br />
ENGLISH.<br />
Phoneties and Poetry. By Lascelles Abercrombie.<br />
Copyright and the Case of Coleridge Taylor. By Dr.8.<br />
Squire Sprigze.<br />
Under the Collar.<br />
FoRTNIGHTLY.<br />
Greek Drama: The Dance. By G. Warrett Cornish.<br />
The Aims and Dutiés of a National Theatre.<br />
<br />
NATIONAL.<br />
<br />
A Great Artist and his Little<br />
Richmond, K.C.B.<br />
The Early Years of Madame Royale.<br />
<br />
Critics. By Sir Wm. _<br />
<br />
By Austin Dobson. -<br />
<br />
<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS,<br />
<br />
<br />
<br />
<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT,] e<br />
<br />
Front Page £4 0 0<br />
Other Pages <6 O38<br />
Halt of a Page ... «= 110-9<br />
Quarter of a Page « O16 6<br />
Highth of a Page ins ae ane ae Le<br />
Single Column Advertisements perinch 0 6 0<br />
<br />
Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for<br />
Twelve Insertions,<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
Be.mMont & Co., 29, Paternoster Square, London, B.C. ae<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
——<br />
<br />
& VERY member has a right toask for and to receive<br />
HK advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover. where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
9. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4, Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7. Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on bebalf of members.<br />
<br />
This<br />
The<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9, The subscription to the Society is £1 1s. per<br />
annum, op £10 10s. for life membership.<br />
<br />
————_—_+—_+___—_<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
oo<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement, There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper vrice can be<br />
<br />
175<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society. :<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for * office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher,<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in 7he Author,<br />
<br />
1¥. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
Allother forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
tothe author. Weare advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
—_——_—__+—__+—___—_<br />
<br />
EVER sign an agreement without submitting it to the<br />
<br />
ce ges<br />
~<br />
N Secretary of the Society of Authors or some com-<br />
<br />
2, It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
dramatic contract for plays<br />
<br />
<br />
176<br />
<br />
(0.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts, Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed. :<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (2.c., fixed<br />
nightly fees). I'his method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5, Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable, ‘They should never be included in Hnglish<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9, Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
—__+—_—>—_ _—_____<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
——<br />
<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
Original Plays may also be filed subject to the same<br />
<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
<br />
—_— oe *<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
—-—~>——_______<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
—_——— +<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
ee ee ge<br />
<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
———_—+-9 +<br />
THE READING BRANCH.<br />
<br />
mga<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS, includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea.<br />
~~ e<br />
REMITTANCES.<br />
<br />
<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
COLLECTION BUREAU.<br />
<br />
———+<br />
<br />
up : i a Society undertakes to collect accounts and moneys<br />
T due to authors, composers and dramatists.<br />
<br />
: 1. Under contracts for the publication of their<br />
.2d70% works.<br />
© 2, Under contracts for the performance of their works<br />
a, Dae and amateur fees. .<br />
ae 3. Under the Compulsory Licence Clauses of the Copy-<br />
, right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause 19, referring to mechanical instrument<br />
records.<br />
<br />
The Bureau is divided into three departments ;—<br />
<br />
1. Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amount passing through the<br />
<br />
mie office, the expenses are more than covered, the Committee<br />
ie of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
The Bureau is in no sense a literary or dramatic<br />
agency for the placing of books or plays.<br />
<br />
<br />
<br />
———_——__+ ><br />
<br />
CHANGE OF ADDRESS.<br />
<br />
—— ><br />
<br />
Ox and after March 1, 1913, the Society’s<br />
Offices will be at No. 1, Central Buildings,<br />
Tothill Street, Westminster, S.W.<br />
<br />
<br />
<br />
GENERAL NOTES.<br />
<br />
—— +<br />
CHANGE OF ADDRESS.<br />
<br />
Ow1nc to the great increase in the Society’s<br />
work, it has been necessary to remove into<br />
larger offices.<br />
<br />
On and after March 1, the Society—and its<br />
recent established Collection Bureau—will<br />
occupy rooms at No. I, Central Buildings,<br />
Tothill Street, Westminster, 5.W<br />
<br />
GENERAL MEETING.<br />
<br />
Tyr Annual General Meeting of the Society<br />
—notice of which, with the Annual Report for<br />
1912, will be sent to all members and associates<br />
during the current month—will be held on<br />
Thursday, April 3, at 4.30, at the rooms of the<br />
Society of Arts, 18, John Street, Adelphi, W.C.<br />
<br />
Avuruors, DRAMATISTS, AND CHARITIES.<br />
<br />
Ir is a common experience of authors to<br />
receive requests for the contribution of gratui-<br />
<br />
<br />
<br />
177<br />
<br />
tous literary work, to be published in some<br />
annual or other production on behalf of<br />
charities. While we have nothing to urge<br />
against the charities for which these appeals<br />
are made, we do wish to suggest to authors<br />
that there are more direct and more advan-<br />
tageous ways of supporting a charity than<br />
by acceding to these requests. If the author<br />
is really interested in, and anxious to help<br />
the charity, it is far better that he should<br />
make a donation to its funds than that he<br />
should give gratuitous literary work to be<br />
published in an annual very often run by one<br />
man under no effective control. In the former<br />
ease, the author is reasonably sure of the<br />
charity getting the benefit of his benevolence,<br />
but in the latter he has no such guarantee.<br />
There are always expenses attaching to these<br />
projects, with the result not infrequently that<br />
very little is left for the cause for which the<br />
project was started. Moreover, it is not a<br />
good thing for the public to get accustomed<br />
to the fact that authors are in the habit of<br />
contributing literary work for nothing.<br />
<br />
Associated with this question of gratuitous<br />
contributions from authors to literary annuals<br />
is the question of the terms given by dramatic<br />
authors to amateur societies for the per-<br />
formances of their works. Dramatists are con-<br />
stantly being asked to consent toa reduction of<br />
fees on the ground that the performance is to<br />
be given for the benefit of some charity. Here,<br />
also, our advice to the dramatist is to refuse<br />
the request, but to send a donation direct to<br />
the charity. By adopting this course he<br />
will be sure of the charity getting the full<br />
contribution, and will have the satisfaction of<br />
knowing that he is not lowering the standard<br />
rate for his work.<br />
<br />
$$ ——__—_<br />
<br />
THE JUMP OF THE CAT.<br />
<br />
—-———<br />
<br />
> a letter which, at the request of Mr. John<br />
Long, Manager of Messrs. John Long, Ltd.,<br />
was published in The Author for Feb-<br />
<br />
ruary, 1913, the following statement occurs :-—<br />
<br />
<br />
<br />
“Phere is no bigger gamble in the commercial world<br />
than publishing as, after all, it is really a toss of the coin<br />
which way the cat will jump.”<br />
<br />
It seems, however, that we need not toss<br />
the coin, because it is quite clear from the<br />
beginning which way the cat will jump. The<br />
quadruped, however agile, can only jump one<br />
way, while the other ways are fenced off.<br />
<br />
<br />
LD<br />
<br />
17%<br />
<br />
The following proposal from Messrs. John<br />
Long, Ltd., was placed before a member of the<br />
<br />
<br />
<br />
Society, whose leave we have for its<br />
reproduction :—<br />
[copy.]<br />
12, 13 & 14 Norris STREET,<br />
Joux Lone, Limirep, HAYMARKET,<br />
Publishers. Lonpon.<br />
15th May, 1912.<br />
DEAR ,—I have received my reader’s report on<br />
<br />
this and, on the whole, it may be considered favourable.<br />
The MS., however, would have to be revised in parts<br />
where you are too profuse. This could be dealt with later<br />
on.<br />
<br />
You have not yet that hold on the public as would<br />
induce me to advise my firm to undertake the entire<br />
risk in publishing the book; therefore, we could only<br />
entertain publication conditional to your contributing<br />
towards the expenses. Authors now-a-days must have a<br />
sufficient public to warrant a publisher running the whole<br />
risk in producing and publishing his work.<br />
<br />
With regard to the amount you should contribute<br />
towards th expenses. We should mention that, if you<br />
can give u a really good book and will at the same time<br />
sink £500, we feel sure we can ensure a permanent demand<br />
for all you write. It would be a good and sound invest-<br />
ment and one which we feel sure you would not regret.<br />
With respect to this £500. The integral portion of it<br />
would be spent in advertising, and a handsome royalty<br />
would be paid to you on all sales. If you think well of<br />
the suggestion, we shall be pleased to lay before you the<br />
whole scheme.<br />
<br />
We feel certain you can write, and there is no reason<br />
why you should not gain a footing, but at the same time<br />
you must be prepared for a fair outlay in order to secure<br />
a sound literary foundation.<br />
<br />
Very truly yours,<br />
(Signed) Joun Lone.<br />
<br />
On receipt of this proposal, the author, for<br />
whom Messrs. John Long had already pub-<br />
lished one book, enquired for further details,<br />
to which request the following letter is a reply.<br />
An alternative scheme was also submitted,<br />
but the one which follows was especially<br />
advocated :—<br />
<br />
[cory.]<br />
<br />
12, 13 & 14 Norris StREET,<br />
<br />
JoHN Lone, LIMITED, HaAyYMARKET,<br />
<br />
<br />
<br />
Publishers. Lonpon.<br />
30th May, 1912.<br />
DEAR ,—I have your letter of the 24th inst. and<br />
<br />
now set forth the alternative terms upon which my firm<br />
is prepared to publish the above :<br />
<br />
<br />
<br />
(1)<br />
<br />
That you pay to us the sum of £500 (£250 when you sign<br />
the agreement and £250 when the work is in type) in<br />
consideration of which we should produce the book in the<br />
best style, publish at the outset at the nominal price of<br />
6s. per copy, advertise in the leading London, Provincial<br />
and possible Irish newspapers to a sum not less than £400<br />
(full details of the expenditure of which would in due course<br />
be submitted to you) and pay to you every six months the<br />
following royalties :—<br />
<br />
(a) 1s. 6d. per copy on all sales of the English 6s. edition.<br />
<br />
(6) 3d. per copy on all sales of the special cheap colonial<br />
<br />
edition.<br />
<br />
(c) 74 per cent. of the nominal published price on all<br />
<br />
sales of any other cheap edition or editions.<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
(d) 75 per cent of the net profits derived from any sale<br />
<br />
of the American copyright.<br />
<br />
(e) 75 per cent. of the net profits derived from any sale<br />
<br />
of the foreign rights. :<br />
<br />
(f) 75 per cent. of the net profits derived from any sale<br />
<br />
of the serial rights.<br />
<br />
In the event of your accepting these terms, it must be<br />
understood that we have the first refusal of the next srx<br />
new novels you MAy write suitable for publication in 6s.<br />
volume form. Should we accept one or all of them, it<br />
or they would be published at our entire expense, we<br />
paying to you royalties as over :—<br />
<br />
(a) 20 per cent. of the nominal published price on all<br />
<br />
: copies sold of the English 6s. edition.<br />
<br />
(b) 3d. per copy on all sales of the special cheap colonial<br />
<br />
edition.<br />
<br />
(c) 10 per cent. of the nominal published price on all<br />
<br />
sales of any other cheap edition or editions.<br />
<br />
(d) 50 per cent. of the net profits derived from any sale<br />
<br />
of the American copyright.<br />
<br />
(e) 50 per cent. of the net profits dervied from any sale<br />
<br />
of the foreign rights.<br />
<br />
(f) 50 per cent. of the net profits derived from any sale<br />
<br />
of the serial rights . ..<br />
Very truly yours,<br />
(Signed) Joun Lona.<br />
<br />
Now, what do the terms of this proposal<br />
amount to ?<br />
<br />
Suppose 1,500 copies of the book to be<br />
printed at the outset, and 1,000 copies to sell.<br />
The publisher will then obtain :—<br />
<br />
zs<br />
Profit on cost of production (put<br />
at £100). : : ge 8<br />
1,000 copies at 1s. 9d. (1s. 6d.<br />
per copy going to the author). 87 10<br />
£117 10<br />
<br />
In addition to this solid pecuniary gain,<br />
the firm obtains the enormous advantage pro-<br />
vided by the author’s expenditure of £400 in<br />
advertising. Such advertising would be sure<br />
to bring to the publisher’s firm a reputation<br />
among new writers unfamiliar with the con-<br />
ditions which produced it.<br />
<br />
It is true that the publisher denies that he<br />
gets from the trade as much as 3s. 3d. a copy,<br />
but it may be taken for granted that this<br />
figure is correct and represents a fair average<br />
price all through. The result, then, on the<br />
sale of the first 1,000 copies, is to give to the<br />
publisher a profit of £117 10s. without in-<br />
volving him in any risk, and to the author, who<br />
receives ls. 6d. a copy, a loss of £425.<br />
<br />
The cat is jumping the publisher’s way.<br />
<br />
Take the matter a little further.<br />
<br />
3,000 copies, or, say, 3,300, to cover odd<br />
copies, are printed and 3,000 sold.<br />
<br />
It is possible, then, that the cost of produe-<br />
tion may over-run the £100 in the publisher’s<br />
hands by £20. That is, that it may cost £120<br />
to produce an edition of 3,000.<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
SS.<br />
On 3,000 copies at 1s. 9d. (the<br />
author still taking 1s. 6d.) will<br />
produce for the publisher<br />
Less £20 balance cost of pro-<br />
duction : : :<br />
<br />
262 10<br />
20 (0<br />
<br />
£242 10<br />
<br />
It may be as well to add that £120 leaves a<br />
<br />
6: good margin for the cost of such an edition.<br />
i The result to the publisher is a total profit<br />
i of £242 10s., and an enormous advertisement<br />
<br />
“o) for his firm.<br />
The author, on the other hand, will have<br />
i made :—<br />
<br />
Cost of production and advertise- £<br />
ment - : ‘ ‘ 5<br />
3,000 copies at 1s. 6d. . . 2<br />
<br />
<br />
<br />
Loss : 3<br />
<br />
i Therefore, the comparative result will be :—<br />
g<br />
<br />
Profit to publisher . : , 242-10<br />
<br />
Loss to the author . ; ~ 275-0<br />
<br />
The obstinate cat still jumps the publisher’s<br />
Sway.<br />
<br />
It is really unnecessary to<br />
<br />
+ tration further, for it is evident that the<br />
<br />
carry the illus-<br />
<br />
publisher, as he is getting for every copy a<br />
<br />
clear profit of 1s. 9d. (less only the excess cost<br />
<br />
of production beyond £100), whereas the<br />
<br />
author, after paying £500 in the first instance,<br />
| is getting 1s. 6d., the publisher, meanwhile,<br />
, deriving, in addition, both with the public and<br />
+ with certain kinds of journals, all the benefit<br />
© to his firm of wide advertisement paid by the<br />
@ author.<br />
<br />
The author, having diagnosed the jumping<br />
proclivities of the cat, refused this proposal,<br />
but after some months, the following letter<br />
<br />
the publishers —<br />
[copy.]<br />
12, 13 & 14 Norris STREET,<br />
HayMARKET,<br />
LoNnDON.<br />
9th December, 1912.<br />
<br />
DEAR .—The sales of were not sufficiently<br />
encouraging to warrant our undertaking the entire<br />
expenses of placing this work effectively on the market :<br />
therefore, before handing it to our reader for his approval,<br />
we shall be glad to know whether you are prepared to<br />
contribute towards the expenses, and in that event what<br />
amount? I fear your last book, publshed by us,<br />
suffered through the smallness of your contribution,<br />
necessitating our moving cautiously with the advertising :<br />
moreover, the appearance of another work of yours about<br />
the same time militated against its success. In the event,<br />
therefore, of our approving the above, and you are prepared<br />
<br />
Joun Lone, LimiveD,<br />
Publishers.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
in respect of another work was received from -<br />
<br />
179<br />
<br />
to put up money, it would go forth under the _ best<br />
auspices.<br />
<br />
Awaiting your reply.<br />
<br />
Very truly yours,<br />
(Signed) Joun Lone.<br />
<br />
The author, by this time, a good judge of<br />
cat athletics, refused to put up any money,<br />
when Messrs John Long & Co. wrote the<br />
follo wing letter —<br />
<br />
[copy.]<br />
12, 13 & 14 Norris STREET,<br />
HAYMARKET,<br />
Lonpon.<br />
18th December, 1912.<br />
<br />
DEAR ,—I have your letter of the 16th inst., and<br />
regret to find you have not sufficient faith in your own<br />
work to be willing to contribute towards the expenses of<br />
publication : consequently, I have no alternative than to<br />
return the above to you which I do herewith, registered.<br />
T shall be glad if you will acknowledge the receipt of the<br />
MS.<br />
<br />
The output of fiction nowadays is such that unless an<br />
author is prepared to contribute handsomely towards<br />
production, publication, advertising, etc., he stands but<br />
a poor chance of gaining the public ear.<br />
<br />
Any new author who can write good sterling stuff of the<br />
popular sort, and is prepared to sink say £500 in his first<br />
and second books, would be assured of a permanent public<br />
for practically all time. I think the days have gone when<br />
merit is recognised without the aid of capital. Personally,<br />
were I an author and felt I could produce work of the<br />
popular order, and could put up a few hundred pounds, I<br />
should not hesitate for a moment to place my work with<br />
an up-to-date publisher and entrust to him the publication<br />
of all I might write, thereby ensuring that he would<br />
naturally take an interest in me.<br />
<br />
Very truly yours,<br />
(Signed) Joun Lone.<br />
<br />
We have published these letters as a warning<br />
to our members. We beg them to read all the<br />
advice given in the letter from Messrs. John<br />
Long, Ltd., of December 18, 1912, carefully,<br />
and act with equal care in a directly opposite<br />
sense.<br />
<br />
We strongly advise them not to put up a<br />
few hundred pounds,” in the belief that<br />
booming the publisher and themselves will<br />
have any solid result. We urge them on no<br />
account to entrust to the publisher the pub-<br />
lication of all that they may write.<br />
<br />
JoHn Lone, LimitEep,<br />
Publishers.<br />
<br />
<br />
<br />
~—>—+<br />
<br />
THE LETTERS OF AN ORDINARY<br />
AUTHOR.<br />
Collected and edited by Joun HasLetre.<br />
Mains CorTraGE,<br />
<br />
SANTOLLER,<br />
Bucks.<br />
<br />
To H. Venables, Esq.<br />
My Dear Harry,—lI see in your letter,<br />
<br />
which has just come to me, the replica of your-<br />
self—short but cheery. You tell me that you<br />
<br />
<br />
180<br />
<br />
feel very fit. I never doubted it, and never<br />
shall. You are one of those happy people<br />
born fit, and when you come to die—the sense<br />
of infinity makes me reckless—you will be fit<br />
for it. I have not the same luck, but, thank<br />
heaven, I am not of those who feel a grudge<br />
against the possessor of “‘ rude health.” I can<br />
understand the point of view, but it is not mine.<br />
<br />
But why, oh why! does your letter tail off<br />
with that ghastly phrase, simply reeking of<br />
commerce? You ask, ‘‘ How is business ? ”<br />
Do you not find that the dentist, the architect,<br />
even the art photographer, resents any refer-<br />
ence to business. Customers must be clients,<br />
and we are all artists nowadays. I forgive you,<br />
but the point rankles.<br />
<br />
Our craft, in its vocal form, before it found<br />
its profits curtailed by the demands of the<br />
paper manufacturer and the printer, is the<br />
oldest on earth. It antedated music, I believe,<br />
with the possible exception of the sinfonia<br />
domestica; in point of time it had (as our<br />
American cousins would say) painting ‘“‘ beat<br />
to a frazzle.’”” Beware then of the irritable<br />
artistic temperament, which demands a sense<br />
of reverence in other people.<br />
<br />
I should much like an explanation of the<br />
idea fixed in the mind of the average person—<br />
that author of the party system, and the cult<br />
of the conventionally unconventional, and<br />
other absurd things. The beginner venturing<br />
on the realms of music must have gold galore<br />
poured into the palms of teachers, conserva-<br />
toires and instrument makers; he must<br />
devote years to the study of his art, and hours<br />
per diem to the practice thereof. The painter<br />
must move from the class where he is taught to<br />
make straight lines, through the dreary paths<br />
that wind about the immobile antique, to the<br />
wider freedom of the life-class, before he can<br />
paint—and then sometimes he cannot paint !<br />
But the writer is supposed to spring full-armed<br />
into being, his only tools a pen and some paper,<br />
with the possible addition of a dictionary.<br />
With these, without practice, in the course of<br />
a month, he is expected to produce master-<br />
works, books written in ‘clear, nervous<br />
English,”’ if the phrase means anything ; books<br />
which combine an ingenious and original plot<br />
with clever characterisation. Worse, he is<br />
supposed to sell these books, at the first offer,<br />
to a publisher whose first idea is to make<br />
money, and who has seen only too often the<br />
fervid dreams of young authors crystallise in<br />
disappointing sales, and a residue of unsaleable<br />
** remainders.”<br />
<br />
The death of a first-born man-child may<br />
bring acute sorrow to the hearts of some; the<br />
<br />
achieve.<br />
<br />
THE AUTHOR.<br />
<br />
return of a first novel deals a shrewd blow to<br />
the unfortunate literary aspirant, but worse—<br />
more dreadful than any blow, is the remark of<br />
the candid friend. It has many variants, but<br />
the form is fixed.<br />
<br />
“YT think authorship is a very precarious<br />
career.”<br />
<br />
There you have it straight in the face. Like —<br />
the sufferer from toothache, the author need ~<br />
never look for sympathy from his friends.<br />
When the public acclaims you, when your<br />
books sell by the oft-repeated edition, then<br />
you may be taken seriously. Never before.<br />
There is your dear old uncle, who says blandly,<br />
“Pleasant hobby—very. Keeps you’ occu-<br />
pied, you know!” Don’t we all dream of<br />
killing that uncle. and burying him in uncon-<br />
secrated ground.<br />
<br />
Precarious career, but useful as a hobby.<br />
Good heavens! Is the young doctor a man<br />
with a fixed and settled income? Can the<br />
dentist calculate his percentage of teeth? Are<br />
not music lessons retailed by very competent<br />
performers at fifteen shillings a term? Yet no<br />
one scoffs because you announce that you<br />
intend to enter these professions. On the<br />
contrary, you elevate your family by your<br />
resolve, you bring a breath of culture into a<br />
very ordinary household. As a lover of<br />
failures, I have adopted a medico, who has had,<br />
so far, no other patient. When speaking to<br />
him the other day, I asked him if his people<br />
ever grumbled at his delay in succeeding. He<br />
laughed, and said that they, of course, knew it<br />
took time to make a start, and he was prepared<br />
to hold out for three years at least.<br />
<br />
But we, poor authors, must build Rome in a<br />
day, or be scoffed at for incompetent workmen.<br />
The Hebrews were driven to make bricks<br />
without straw, but no one contended that their<br />
bricks were the equal of those which contained<br />
straw. This miracle we are expected to<br />
No wonder that we sometimes yearn<br />
for the taskmasters of Egypt, while we strive<br />
to please candid friends, sceptical publishers,<br />
and that weird body, the public.<br />
<br />
But you were asking about my work, and I<br />
have only developed grumbles. Let me see.<br />
Within the past month I have finished a novel.<br />
I think the idea is good; I am certain the plot<br />
is not original, but the treatment is, I hope,<br />
fresh. This manuscript cost me tenpence in -<br />
postage, which includes the necessary stamps<br />
for return if unsuitable. I have begun to keep<br />
accounts, my dear Harry, and for postage L ~<br />
have allowed ten shillings! Why is this, you _<br />
ask ? Well, I think it always better to discount<br />
misfortune. If the tenpences in ten shillings<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
succeed in wafting the manuscript to_book-<br />
form, I shall count them well spent. If they<br />
do not succeed, the half-sovereign shall serve<br />
for a gilded tombstone beneath which the<br />
battered relic may lie in peace.<br />
<br />
Since the departure of the Well-Beloved, I<br />
have written three short stories. Two went<br />
well from the beginning, but the third almost<br />
taught me to swear. These confounded maga-<br />
zine editors must be fanatical lovers of the<br />
“fair sex.” They demand with extraordinary<br />
unanimity that a woman should figure in every<br />
tale. Now, despite the sententious Frenchman,<br />
a woman does not. So you can imagine my<br />
despair when it becomes necessary to pitchfork<br />
a female into a place where she does not fit.<br />
<br />
But you spoke of work, and that, in the idea<br />
of one’s friends, does not mean output but<br />
successes. Apparently you do not work on the<br />
stories which fail to sell. Learn, then, that I<br />
have done one piece of work—i.e., sold a<br />
story—in two months. The editor of The<br />
Wherry must have felt expansive of mood.<br />
He offered me one pound per thousand words,<br />
which meant three pounds for the tale. And<br />
this for “‘ World Rights ” ! One good idea gone,<br />
and the noble sum of three pounds in hand ;<br />
the possible germ of a full-length novel<br />
bartered for sixty pieces of silver. But there<br />
was worse to come !<br />
<br />
May pariah dogs sit on the grave of the<br />
editor of The Wherry! He wants me to<br />
alter the ending. He says my heroine is not<br />
womanly enough. I must make her womanly<br />
by cutting out all the art and all the originality<br />
of the story. He did not say so, but I do. I<br />
must make her fit in with the ridiculous pre-<br />
conceived ideas of a million fatuous people.<br />
For three pounds I must not only barter my<br />
idea, but also my artistic conscience. And I<br />
have done it. You, who know how much<br />
bacon and eggs are encompassed by sixty<br />
shillings, will understand and forgive me.<br />
Some day, when I am famous, the editor of<br />
The Wherry will send an emissary to beg<br />
me for a short story, and I shall kick that man<br />
off my doorstep. Meanwhile, I am muzzled.<br />
<br />
Write soon again, to enquire gently after my<br />
art. Good luck to you. Your friend,<br />
<br />
R. WYVERN.<br />
II.<br />
<br />
Mans CoTraGE,<br />
SANTOLLER, BUCKS.<br />
To Messrs. Spillikens and Feuilleton. Literary<br />
Agents.<br />
<br />
Dear Strs,—I have received your letter of<br />
yesterday’s date, informing me that the editor<br />
<br />
<br />
<br />
181<br />
<br />
of The Daily Craze has returned my serial<br />
story, as unsuited to the columns of his<br />
paper.<br />
<br />
Also, I note what you consider the weak<br />
points in the story. My difficulty is this:<br />
these points are the best bits of work in the<br />
tale, the most artistic, the most human. Iam<br />
afraid I cannot undertake to rewrite the story,<br />
as you suggest. It is a very difficult business<br />
to fit new cloth into old garments.<br />
<br />
You complain that the heroine does not<br />
occupy the limelight all the time. I agree with<br />
you, but I don’t see why she should. Then<br />
there is the question of a curtain for the first<br />
instalment. I never feel comfortable when<br />
composing such phrases as “A wild cry rang<br />
out” or “*Curse you, my children!’ he<br />
hissed,”’ but, having done it, I cannot see<br />
what more in gore and disaster the editors<br />
wish from me. :<br />
<br />
I must, I suppose, agree with you, that my<br />
writing lacks “* ginger.”<br />
<br />
I don’t affect judicial ignorance, but confess<br />
that I am not attracted by ginger. Itis avery<br />
nice thing in its own place, no doubt, but<br />
hardly claims a place in literature. Of course,<br />
I quite understand that you are doing your<br />
best to advise me, with a view to increasing the<br />
saleability of my work. I have to thank you<br />
for many a useful hint. But there are some<br />
things I cannot do, and writing ultra-sensa-<br />
tionalism while my tongue is out of my cheek<br />
is one of those things. Let a story have a plot<br />
by all means, but don’t let the plot engulf and<br />
destroy the story. I wish I could get some<br />
editors to believe that the best policy. Please<br />
try my serial with the Morning View, which<br />
seems to publish a better class of stuff, and I<br />
will try to do another serial on the lines you<br />
suggest.<br />
<br />
Herewith I am sending you three short<br />
stories. Two are all right ; the third is—well,<br />
it is possible. I hope you will be able to screw<br />
a little more out of the editor of The<br />
Wherry next time. If one gets into the<br />
pound-per-thousand-word groove, it is very<br />
difficult to get out of it. The firm have plenty<br />
of cash at the back of them, and trade, I think,<br />
on the poverty of the beginner, who is afraid to<br />
refuse any offer for fear of having the<br />
manuscript returned.<br />
<br />
I suppose you have not heard yet about my<br />
novel? I know they must be pretty busy, but<br />
you might give them a look up, and see how<br />
the roots are getting on. ;<br />
<br />
I have an idea for a series of short stories.<br />
The hero is not a polished rogue, and he is not<br />
a private detective, so, perhaps, you may<br />
<br />
<br />
182<br />
<br />
think it a forlorn hope. But I intend to go on,<br />
and will let you have the M.S. in due course.<br />
Thanking you for your letter,<br />
I remain,<br />
Yours truly,<br />
R. WYVERN.<br />
oe<br />
<br />
THE “ SHORT STORY” WRITER.<br />
<br />
os<br />
<br />
AM anxious, and have been for some time,<br />
to say a few words in defence of that<br />
much maligned member of the literary<br />
<br />
fraternity, the “short story ’’ writer.<br />
<br />
I speak particularly of the hardworking<br />
journalist or magazine fiction writer, who has<br />
to augment his (or her) income, or possibly<br />
make it entirely, by what a certain section of<br />
people condemn either as “‘ piffle ”’ or, occasion-<br />
ally, as ‘‘ pernicious ”’ literature, but yet what<br />
the majority of the general public clamours for.<br />
I mean those who read the weekly periodicals.<br />
<br />
I finally made up my mind to write this<br />
article owing to a debate which I attended<br />
quite recently. The subject under discussion<br />
was “‘ Is Art for Art’s Sake a Worthy End for<br />
Human Endeavour?” The two gentlemen<br />
who carried on the argument were both<br />
intellectual men of much fluency and learning,<br />
and for some time the conversation was<br />
carried on a plane far above the heads of most<br />
of us. They attacked the question from what<br />
was termed the philosophical side.<br />
<br />
A third speaker, however, took a different<br />
tone, and brought the subject down to<br />
materialism and personalities; he tended to<br />
show that Art, by which in the ordinary sense<br />
I think we generally understand to mean music,<br />
literature, painting, sculpture, etc., could not, in<br />
the common interest of humanity. be carried<br />
on for it’s (Art’s) own sake. He said that<br />
before joining in the discussion he had<br />
obtained the opinion of many artists, writers,<br />
ete., and that the idea of following Art for<br />
Art’s sake had struck them as merely funny !<br />
How could they exist? they asked. Were<br />
they not obliged, if they would live as worthy<br />
citizens, to keep themselves, their wives, and<br />
families, in comfort, and ‘“‘ owe no man any-<br />
thing.” Were they not compelled, if they<br />
wished to achieve this last, to cater for the<br />
general public, and give it what it asked, even<br />
though at times it went against their general<br />
inclinations ? Not one of these men had a<br />
private source of income—they were, therefore,<br />
dependent on their pen, or brush, to provide<br />
them with the necessaries of life.<br />
<br />
THE AUTHOR.<br />
<br />
The first two openers of the debate were<br />
frankly shocked at what they evidently<br />
thought a desecration of the muses, and the<br />
speaker who had descended to materialism<br />
(he is a “short story’ writer and spoke<br />
feelingly) got slated soundly.<br />
<br />
Now why ?<br />
<br />
I am aware that this is a much harried and<br />
grievous question amongst many, and that a<br />
great diversity of opinion exists.<br />
<br />
By a large number of deep readers and<br />
thinkers the magazines, penny papers, half-<br />
penny papers, and such like, are often con-<br />
demned as “pernicious” literature and<br />
regarded with contempt. I would defend<br />
these periodicals with all the ardour of which<br />
I am capable. Are they pernicious? Is<br />
their influence bad? Do they tend to cheapen<br />
Art? I don’t think so. I maintain that at<br />
no time and in no age has there been such a<br />
careful watch kept on the Press generally,<br />
on magazines, books, weekly and daily papers,<br />
in defence of their maintenance of a healthy<br />
and beneficial tone, and a condemnation of all<br />
that is unhealthy, immoral or bad, as there<br />
is now. All honour to those editors who run<br />
these papers, and who have themselves, in<br />
many instances, commenced their careers by<br />
free-lancing.<br />
<br />
The writers of these brief stories, or sketches,<br />
are often just beginning their career. They<br />
dream of great things! They hope for great<br />
things! But dreaming and hoping will not<br />
bring them glory, or fame, or pay for the<br />
necessaries of life. Many a young ambitious<br />
man would gladly prefer to set aside for ever<br />
the lighter vein, and the smaller things he is<br />
doing, and give himself up to his ideals, but<br />
he knows that those ideals may never reach<br />
fulfilment, and that it is his duty, as a citizen,<br />
very often as a father and husband, to do<br />
that. which comes easily to his hand, that<br />
brings grist to the mill.<br />
<br />
Let us suppose that we abolished the weekly<br />
‘“‘ha’penny ”? which the drayman, the trades-<br />
man’s boy, and such like find of immense<br />
interest, and in which they follow up the<br />
stirring achievements of the professional foot-<br />
ballers, or cricketer, or detective, that they<br />
find between its pages. Supposing we did<br />
away for ever with the penny weeklies, the<br />
larger portion of which circulate in the middle<br />
classes, and a great many in the domestic<br />
servant circle. Should we tend to elevate the<br />
minds of the readers, and would they go for a<br />
higher form of literature because the lighter<br />
kind was beyond reach? No! I believe that<br />
the majority of them wouldn’t read at all.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Can we imagine the laundryman reading<br />
Thackeray, or the cook Shakespeare ?<br />
<br />
I give one instance which serves to show that<br />
the domestic class, at any rate, loves its<br />
“weekly,” and how useless it is to try to<br />
tear them from her. A maid of mine, who was<br />
with me for nearly two years, and who was<br />
intelligent and fond of reading, had the offer<br />
of the use of my library, a large one, com-<br />
prising all kinds of fiction. I also suggested<br />
a few books, not at all above her head, which<br />
I thought she would enjoy. During the two<br />
years that she was in my service, she borrowed<br />
one, and yet she spent money each week on<br />
literature of the penny order, and had a good<br />
deal of time during the evenings which she<br />
devoted to it.<br />
<br />
I think we must cater for minds on the lower<br />
plane as well as those on a higher. And if the<br />
lower and middle classes do enjoy, and do<br />
demand literature of the penny paper order,<br />
let us let them have it healthy, bright, clean,<br />
and amusing, with a good influence and motive<br />
pervading it. Such stories, I don’t care in<br />
what periodical they are issued, or how cheaply<br />
these periodicals are sold. must tend, to some<br />
small extent, to brighten those whose lives<br />
are often of the prosaic order, and both reader<br />
and writer will be the better, and not the<br />
worse, for having read and written them.<br />
<br />
After all, the greatest writers made small<br />
beginnings, and climbed the dizzy heights of<br />
suecess slowly and often laboriously.<br />
<br />
I would suggest a greater tolerance from<br />
those who claim to be judges of Art and<br />
Literature, and that they make themselves<br />
acquainted, by careful reading and observation,<br />
of those things which they too often condemn<br />
unheard and unobserved.<br />
<br />
Maup DOovuBELL.<br />
<br />
—ep-—<4e@<br />
<br />
WRITERS’ AND ARTISTS YEAR BOOK.*<br />
<br />
——<br />
<br />
G is a pleasure once more to give the<br />
warmest of welcomes to “‘ The Writers’<br />
and Artists’ Year Book.” The volume<br />
<br />
for 1913 differs in no way from that for 1912.<br />
<br />
except in having been carefully brought up to<br />
<br />
date, and it ought not to be necessary to say<br />
anything about its contents, as the very great<br />
value of the work and its very small price,<br />
should secure its being in the hands of every<br />
writer and artist. In it may be easily dis-<br />
<br />
* & The Writers’ and Artists’ Year Book, 1913.”<br />
and Charles Black, London, 1s. nett.<br />
<br />
<br />
<br />
Adam<br />
<br />
<br />
<br />
18%<br />
<br />
covered where work of any kind can be<br />
placed; and it is not an exaggeration to<br />
assert that if work is saleable, ‘‘ The Writers’<br />
and Artists’ Year Book” will show where a<br />
purchaser is to be found.<br />
<br />
Eg<br />
<br />
A CHRISTMAS GARLAND.”<br />
<br />
a<br />
<br />
YOME DAY, when I grow rich enough, I<br />
Ss am going to have an original carica-<br />
<br />
ture of Max Beerbohm’s. In the<br />
meantime I know of a shop where I can buy<br />
reproductions fairly cheaply ; and also I have<br />
‘A Christmas Garland.”<br />
<br />
One may not quote from it because one<br />
would never stop quoting ; one cannot choose,<br />
because there is so little to choose between the<br />
berries woven in it. Yet if one were to sub-<br />
tract from the list of seventeen those who most<br />
easily lend themselves as victims, Henry<br />
James, Rudyard Kipling, Maurice Hewlett and<br />
George Meredith, the three I would take from<br />
the remaining thirteen for my own everlasting<br />
joy would be Mr. A. C. Benson, Galsworthy,<br />
and perhaps George Moore, and having<br />
chosen, there is nothing left to do but to<br />
quote. Of Percy in ~ Out of Harm’s Way,”<br />
Mr. A. C. B*ns*n speaks so :—<br />
<br />
** And then, once more in his rooms, with the<br />
curtains drawn and the candles lit, he would<br />
turn to his bookshelves and choose from among<br />
them some old book that he knew and loved,<br />
maybe some quite new book by that writer<br />
whose works were most dear to him, because<br />
in them he seemed always to know so precisely<br />
what the author would say next, and because<br />
he found in their fine-spun repetitions a<br />
singular repose, a sense of security, an earnest<br />
of calm and continuity, as though he were<br />
reading over again one of those wise copy-<br />
books that he had so loved in boyhood, or<br />
were listening to the sounds made on a piano<br />
by some modest, very conscientious young girl,<br />
with a pale red pig-tail, practising her scales,<br />
very gently, hour after hour, next door.”<br />
<br />
In “Endeavour,” Galsworthy is crowned<br />
with his own “ faint salt flowers.” One lives<br />
with him tremulous-nostrilled in an atmosphere<br />
of vague scents and emotions, fleeting and<br />
poignant.<br />
<br />
‘Tere were the immediate scents of dry<br />
toast, of China tea, of napery fresh from the<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
*« 4 Christmas Garland. Woven by Max Beerbohm.”<br />
Tondon: William Heinemann, 6s.<br />
<br />
<br />
184<br />
<br />
wash, together with that vague supersubtle<br />
scent that boiled eggs give out through their<br />
unbroken shells. And as a permanent base to<br />
these there was the scent of much-polished<br />
Chippendale and of beeswaxed. parquet and of<br />
Persian rugs. To-day, moreover, crowning<br />
the composition, was the delicate pungency of<br />
the holly that topped the Queen Anne<br />
mirror and the Mantegna prints.<br />
<br />
“. .. Just at that moment, heralded by a<br />
slight fragrance of old lace and of that peculiar,<br />
almost unseizable odour that uncut turquoises<br />
have, Mrs. Berridge appeared.<br />
<br />
‘““* What is the matter, Adrian ?’ she asked<br />
quickly. She glanced sideways into the Queen<br />
Anne mirror, her hand fluttering, like a pale<br />
moth, to her hair, which she always wore<br />
braided in a fashion she had derived from<br />
Pollaiuolo’s St. Ursula.”<br />
<br />
Only one more, from Mr. Belloc :—<br />
<br />
*«« This, too, I shall sing, and other songs that<br />
are yet to write. In Pagham I shall sing them<br />
again, and again in Little Dewstead. In<br />
Hornside I shall re-write them, and at the<br />
Scythe and Turtle in Liphook (if I have<br />
patience) annotate them. At Selsey they will<br />
be very damnably in the way. and I don’t at<br />
all know what I shall do with them at Selscy.”<br />
<br />
The rest is all in the book, and one of the<br />
books is with me. For the writing of it I<br />
thank Mr. Max Beerbohm very gratefully,<br />
<br />
WINIFRED JAMES.<br />
<br />
<br />
<br />
SAPPHO AND THE ISLAND OF LESBOS.*<br />
<br />
1<br />
<br />
HIS dainty little volumne should be in<br />
the library of every woman of letters ;<br />
if for no other reason, for the sake of<br />
<br />
the woman whom all ages have acclaimed as<br />
the queen of poetesses, about whom every<br />
woman who writes ought to know something,<br />
and of whom there is hardly anything, if any-<br />
thing, known which is not here recorded ;_ but<br />
also, we would add, for this reason that there<br />
are herein contained many things which every<br />
woman of good taste will read with so great<br />
pleasure and advantage, that she will wish the<br />
book to be not only among those which she has<br />
read, but also one of those which she has always<br />
near her.<br />
<br />
In the opening chapters Dr. Mary Patrick<br />
sketches the times, the contemporaries, and<br />
<br />
<br />
<br />
* Mary Mills Patrick, Ph.D.<br />
<br />
“Sappho and the Island<br />
of Lesbos.”<br />
<br />
With twenty-six illustrations. Methuen & Co.<br />
<br />
THE AUTHOR.<br />
<br />
the home of Sappho, and then proceeds to<br />
record everything that is at present’ known<br />
about herself and her writings, not omitting<br />
to deal with the various foolish things that<br />
have been at different periods related, without<br />
foundation, respecting the poetess and her<br />
friends. That all that is known should be so<br />
little is to be regretted; but whatsoever is<br />
known at present will be here found faithfully<br />
and pleasantly recorded, as well as, at the con-<br />
clusion of the volume, scholarly English trans-<br />
lations of all the extant fragments of Sappho—<br />
including the very important ones that have<br />
been recently discovered. These translations<br />
will make the volume valuable to those who<br />
are able to read the originals, for, as Dr. Mary<br />
Patrick rightly observes, to seize the exact<br />
meaning of Sappho is often a puzzling problem,<br />
and the translations are very well done. By<br />
no means the least interesting features of the<br />
little book are the illustrations. They repre-<br />
sent not only landscapes suggestive of the<br />
scenes amidst which Sappho lived, but also<br />
all the portrait busts that are of importance,<br />
as well as the much older portraits that exist<br />
upon coins. The few notes which follow the<br />
concluding chapter (we think that we should<br />
have liked better to have had them as foot-<br />
notes) may not appear to everyone to be of<br />
much importance ; but, in justice to Dr. Mary<br />
Patrick, it should be remarked that, for classical<br />
scholars, they immensely enhance the value of<br />
this excellent little monograph.<br />
<br />
————<br />
<br />
CORRESPONDENCE.<br />
<br />
ee<br />
‘“*SraGE CopyRIGHtT.”<br />
<br />
Sir,—While thanking you for your kind and<br />
appreciative review ‘of ‘‘ Stage Copyright :<br />
At Home and Abroad,” may I ask the indul-<br />
gence of your columns for a few lines of explana-<br />
tion on the two points on which you make some<br />
reservations. With regard to the first point<br />
you remark: ‘‘ The author draws attention<br />
to the fact that assignment of copyright in a<br />
literary, dramatic, or musical work includes the<br />
rights of mechanical reproduction, and that<br />
this fact is one to be borne in mind, especially<br />
by musical composers. He should have added<br />
equally, if not more so, by dramatists, for it is<br />
almost impossible to conceive what may be<br />
the result of kinematograph production in the<br />
future.” But the chapter in which the passage<br />
in question appears in the book is one devoted<br />
entirely to mechanical reproduction by means<br />
of musical contrivances; and this sort of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
mechanical reproduction is not so important<br />
to dramatists as to musical composers. In the<br />
chapter on Infringement a statement that an<br />
unconditional assignment of Copyright in a<br />
play “passes” the kinematograph rights is<br />
expressly made.<br />
<br />
As to point No. 2, you say that it is difficult<br />
to agree with the statement in the preface that<br />
‘perhaps not so much has been done for the<br />
dramatists as for other classes of author ’’ [in<br />
point of protection against infringement and<br />
piracy]. My chief but not my only reason for<br />
this opinion was the way in which the special<br />
requirements of dramatic copyright are sub-<br />
ordinated to those of literary copyright in<br />
Section 11 of the 1911 Act, relating to summary<br />
remedies. When the Bill was introduced in<br />
1910, I ventured to point out that all specific<br />
mention of unauthorised performance of a<br />
dramatic work had been neglected in this<br />
section. The omission was afterwards dealt<br />
with, but only by means of a clumsy and in-<br />
adequate clause inserted in Section 11 (2). One<br />
cannot but feel that the section as a whole was<br />
drawn in the interests of copies in print, and<br />
while it has full practical point in that respect,<br />
it is very far from being what it should be had<br />
the interests of plays in representation been<br />
similarly studied.<br />
<br />
I am,<br />
Yours faithfully,<br />
BERNARD WELLER.<br />
<br />
i<br />
<br />
EprrortaL CouRTESY.<br />
<br />
I.<br />
<br />
<br />
<br />
Srr,—One has no difficulty in recognising<br />
_ the weekly review whose methods (?) of doing<br />
business are described in the February Author<br />
by “The Worm That Turned.’’ It is cele-<br />
brated as one of our leading periodicals, not<br />
only in politics but in literature. We have<br />
seen what this amounts to, from a contributor’s<br />
point of view: let us examine the matter, for<br />
a moment, from the subscriber’s. I wonder<br />
whether any subscriber, paying his 6d. a<br />
week for this paper, has ever asked himself the<br />
significance of the editorial notice to which<br />
“The Worm” refers: has ever asked himself,<br />
I mean, what the notice stands for in regard not<br />
to the writer, but to the public ?<br />
<br />
Here is the notice :—‘* We beg to state that<br />
we decline to return or to enter into any<br />
correspondence as to rejected communications ;<br />
and to this rule we can make no exception.<br />
<br />
<br />
<br />
185<br />
<br />
Manuscripts not acknowledged within four<br />
weeks are rejected.”<br />
<br />
Could such a naive confession of sheer<br />
inertia appear, in a literary journal, in any<br />
other country but this? For its interpretation<br />
is plain. The editor candidly admits that he<br />
not merely does not want to encourage new<br />
writers with new ideas to send their work to<br />
him, but positively wishes to discourage them.<br />
Let other papers be at the trouble and expense<br />
of finding new talent, he is not going to.<br />
When they have unearthed a new man, this<br />
editor may perhaps condescend to write and<br />
ask him to contribute, not till then. In other<br />
words, his subscribers will never, never if he<br />
can help it, get the privilege of the first<br />
introduction to anything novel in literature.<br />
<br />
How do the payers of sixpences view this<br />
frank proclamation that—whatever other<br />
journal secures the fresh—theirs is safe to miss<br />
it ?<br />
<br />
I am, etc.,<br />
Warp Muir.<br />
<br />
ee ed<br />
<br />
I,<br />
<br />
Dear Sir,—I have been much interested<br />
in the letter of “*‘ The Worm That Turned ” in<br />
your February issue, interested with that<br />
bitter interest which comes of fellow sufferings.<br />
I am quite sure that the experiences he<br />
enumerates could be multiplied by the score<br />
and still their total remain untold.<br />
<br />
I write for’a large number of magazines and<br />
weekly papers, and I can count on the fingers<br />
of one hand the offices from which to expect<br />
any sort of business promptitude or ordinary<br />
consideration.<br />
<br />
The year is not very old, but I have already<br />
the usual tale of complaints against editors<br />
and their like :—<br />
<br />
(1) A well-known London daily has taken<br />
verse from me for some time. I invariably<br />
enclose stamps when sending, but for some<br />
unfathomable reason the editor suddenly<br />
refuses to return my MSS. or to accept them.<br />
I write in vain. Silence is my reply, and my<br />
only conclusion is that contributors’ stamps<br />
are used for the private correspondence of the<br />
staff.<br />
<br />
(2) I received an introduction to the manager<br />
of an important Press agency; at an inter-<br />
view in London he expressed himself willing<br />
to consider my work; such was sent in, I<br />
received answer that one story was too short,<br />
but that if I lengthened it, it would prove<br />
acceptable and I might send a Christmas tale<br />
<br />
<br />
186<br />
<br />
as well. I gasped at the meagreness of the<br />
terms offered, but imagined it might be well<br />
to accept with a view to better results in the<br />
future. I lengthened the old tale and sent<br />
another. Both were returned after con-<br />
siderable delay with not even an apology.<br />
<br />
(3) At an interview with the editor of a<br />
popular magazine interest was expressed in<br />
my work and MS. was left. I afterwards<br />
received it back, ‘‘ declined with thanks,”<br />
and unstamped.<br />
<br />
These are but a few of the vexations in-<br />
flicted upon contributors by the carelessness<br />
and discourtesy of editors, and I have no<br />
doubt that every writer can adduce the like<br />
from bitter experience.<br />
<br />
When editorial methods are only commonly<br />
business-like, writers will have much to be<br />
thankful for. May that day speedily arrive !<br />
<br />
Yours faithfully,<br />
ScRITTA.<br />
<br />
CoLONIAL PUBLICATIONS.<br />
<br />
Srr,—Referring to the articles on “ Colonial<br />
Publication ” it would seem that only through<br />
the business capacity of American publishers<br />
do English books obtain a fair circulation in the<br />
Dominions. To uphold our patriotism, it is<br />
suggested that Colonial publishers of energy<br />
should make direct contracts with English<br />
authors, if English publishers continue to<br />
show a supine indifference to general business<br />
interests.<br />
<br />
Some time ago I tried to arrange for the<br />
publication of a small book in Canada with<br />
a well-known publishing firm, recommended<br />
to me by a Canadian friend in a collateral line<br />
of business.<br />
<br />
My little book was not a sentimental novel<br />
or one likely to have a large or perhaps any<br />
appreciable circulation, but for special reasons<br />
I wished it to be published in Canada even if<br />
it failed.<br />
<br />
I wrote, therefore, a purely business letter<br />
describing the subject, asking the firm if they<br />
were willing to publish it, and if so on what<br />
terms. To this I received no answer. Think-<br />
ing that the letter might have gone astray,<br />
I wrote again, registering this and enclosing<br />
money for a registered reply. No answer has<br />
ever come. The firm have evidently not had<br />
the courtesy or enterprise to attend to an<br />
ordinary business matter.<br />
<br />
Anyone can see how such delay might be<br />
fatal to much hard work.<br />
<br />
THE AUTHOR.<br />
<br />
It so happens that it would not suit me to<br />
employ an American publisher. What is to<br />
be done ?<br />
<br />
There is also the question of the correction<br />
of proofs to be considered. How is this to<br />
be arranged at a great distance? How, too,<br />
if proof correction is left to the publisher, is<br />
an author to be certain that an American or<br />
Colonial compositor will not disfigure his book<br />
with American spelling? How, also, is the<br />
author to know what number of copies of his<br />
book may have been sold ?<br />
<br />
Publishers are not in business, one would<br />
imagine, for the fun of the thing, nor do they<br />
hire offices to have a pleasant place in whic<br />
to write letters or read MSS. ‘<br />
<br />
It would seem that old mercantile methods<br />
—on the take-it-or-leave-it principle—are still<br />
at the bottom of many a publisher’s want of<br />
enterprise.<br />
<br />
Neither an American nor a German business<br />
man waits to have his mouth opened to receive<br />
a lollipop. He seeks to adapt himself to<br />
circumstances and does not despise small<br />
things, knowing that the general turnover<br />
at the year’s end is what he must keep his<br />
eye on.<br />
<br />
If a man has anything to sell, it is surely<br />
in his interest to find buyers, learn their wants,<br />
and create in them a desire for his goods, be<br />
they books or sugar.<br />
<br />
For this reason an ‘ Authors’ Publishing<br />
Association’? on purely business principles<br />
might be of decided use to English writers.<br />
<br />
I am, etc.,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Co-OPERATIVE PUBLISHING.<br />
<br />
S1r,—With reference to the letter on this<br />
subject in the January Author, I am entirely<br />
in accord with ‘“‘ Progress ”’ that it is time this<br />
question received serious consideration. How<br />
much longer are writers to waste the best<br />
years of their life in going from pillar to post,<br />
from publisher to publisher, in vain attempts<br />
to reach the reading public? On the other<br />
hand, how is a man of moderate means to<br />
bring out his book through a publishing house,<br />
at his own risk? In this connection, it would<br />
be well worth inquiring as to whether publica-<br />
tion could not be made less expensive for the<br />
author, in the way suggested by your corre-<br />
spondent.<br />
<br />
Yours faithfully,<br />
LEICESTER ROMAYNE. | https://historysoa.com/files/original/5/526/1913-03-01-The-Author-23-6.pdf | publications, The Author |
| 527 | https://historysoa.com/items/show/527 | The Author, Vol. 23 Issue 07 (April 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+07+%28April+1913%29"><em>The Author</em>, Vol. 23 Issue 07 (April 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-04-01-The-Author-23-7 | | | | | 187–218 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-04-01">1913-04-01</a> | | | | | | | 7 | | | 19130401 | Che HMuthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
FOUNDED BY SIR WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
j Vor. XXIII.—No. 7.<br />
<br />
APRIL 1, 1913.<br />
<br />
[Price SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
—__—__—_.——e____—__<br />
<br />
NOTICES.<br />
<br />
——_—+—~+——<br />
<br />
| | aoe the opinions expressed in papers that<br />
<br />
are signed or initialled the authors alone<br />
<br />
are responsible. None of the papers or<br />
<br />
eq paragraphs must be taken as expressing the<br />
<br />
ige opinion of the Committee unless such is<br />
28 especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
y=<br />
<br />
eeanterre<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
<br />
4 members of the Society that, although the<br />
| paper is sent to them free of cost, its production<br />
“7 would be a very heavy charge on the resources<br />
‘9 of the Society if a great many members did not<br />
<br />
1 forward to the Secretary the modest 5s. 6d.<br />
‘@ subscription for the year.<br />
; Communications for The Author should be<br />
<br />
_ addressed to the offices of the Society, 1, Cen-<br />
“) tral Buildings, Tothill Street, Westminster,<br />
“2 §.W., and should reach the Editor not later<br />
‘than the 21st of each month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
<br />
<br />
<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
og Oe re<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
—_+—<— +<br />
<br />
ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done<br />
<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund, This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
"2<br />
<br />
<br />
188<br />
THE PENSION FUND.<br />
<br />
So -<br />
<br />
NFJanuary, the secretary of the Society<br />
laid before the trustees of the Pension<br />
Fund the accounts for the year 1912, as<br />
<br />
settled by the accountants. After giving the<br />
matter full consideration, the trustees in-<br />
structed the secretary to invest a sum of £800<br />
in the purchase of Buenos Ayres Great<br />
Southern Railway 4% Extension Shares, 1914,<br />
£10 fully paid. The number of shares pur-<br />
chased at the current price was twenty-five<br />
and the amount invested £296 1s. 1ld. The<br />
trustees are also purchasing three more Central<br />
Argentine Railway New Shares at par, on which<br />
as holders of the Ordinary Stock they have an<br />
option.<br />
<br />
The trustees desire to thank the members<br />
of the Society for the continued support which<br />
they have given to the Pension Fund.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
to £4,764 6s., details of which are fully set out<br />
in the following schedule :-—<br />
<br />
Nominal Value.<br />
<br />
£8: a.<br />
Local Loans .......----eeeeees 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ..........-- 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 84% Inscribed<br />
<br />
Stock 220.5255 + 2.35.5 ee 200 0 90<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock .... 228 0 0<br />
New Zealand 34% Stock........ 247 9 6<br />
Irish Land 23% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1997—57....:.-..-.5... 488 2 4<br />
Jamaica 84% Stock, 1919-49 1382 18 6<br />
Mauritius 4% 1987 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 33%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock .......... 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock ........ fue sk oe 232 0 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44%, Gold Bonds ............ 400 0 6<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares .......... 250 0 0<br />
55 Buenos Ayres Great Southern<br />
<br />
Railway 4% Extension Shares,<br />
<br />
1914 (fully paid) ............ 550 0 0<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Nominal V alue.<br />
<br />
£ 3.24<br />
<br />
8 Central Argentine Railway £10<br />
Preference Shares, New Issue.. 380 0 QO<br />
Total. vince. £4,764 6 0<br />
<br />
<br />
<br />
i<br />
<br />
PENSION FUND.<br />
<br />
a a ae<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
October 1, 1912.<br />
<br />
It does not include either donations given<br />
prior to October, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
Subscriptions.<br />
<br />
3<br />
<br />
mooooooooooascececoco:<br />
<br />
1912.<br />
<br />
Oct. 2, Todhunter, Dr. John. .<br />
<br />
Oct. 10, Escott, T. H. S. : :<br />
<br />
Oct. 10, Henderson, R. W. Wright<br />
<br />
Oct. 10, Knowles, Miss M. W. :<br />
<br />
Oct. 11, Buckley, Reginald .<br />
<br />
Oct. 12, Walshe, Douglas<br />
<br />
Oct. 12, “‘ Penmark”’ . c<br />
<br />
Oct. 15, Sinclair Miss Edith .<br />
<br />
Oct. 16, Markino, Yoshio<br />
<br />
Oct. 20, Fiamingo, Carlo<br />
<br />
Oct. 29, Henley, Mrs. .<br />
<br />
Nov. 8, Jane, L. Cecil .<br />
<br />
Nov. 14, Gibb, W.<br />
<br />
Dec. 4, De Brath, S. . :<br />
<br />
Dec. 4, Sephton, The Rev. J.<br />
<br />
Dec. 4, Cooper, Miss Marjorie<br />
<br />
Dec. 7, MacRitchie, David<br />
<br />
Dec. 11, Fagan, James B.<br />
<br />
Dec. 27, Dawson Forbes<br />
<br />
1913.<br />
<br />
Jan. 3, Toynbee, William (in addi-<br />
tion to his present sub-<br />
scription). .- ; :<br />
<br />
Jan. 9, Gibson, Frank . ‘<br />
<br />
Jan. 29, Blackley, Miss E. L.<br />
<br />
Jan. 31, Annesley, Miss Maude<br />
<br />
Feb. 6, Rothenstein, Albert .<br />
<br />
Feb. 10, Bradshaw, Percy V. ‘<br />
<br />
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<br />
Donations.<br />
1912.<br />
Oct. 2, Stuart, James . :<br />
Oct. 14, Dibblee, G. Binney . .<br />
Oct. 14, Michell, The Right Hon.<br />
Sir Lewis, C.V.O. ;<br />
<br />
a of<br />
_<br />
o-<br />
ao<br />
<br />
Or<br />
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<br />
Bes pti!<br />
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<br />
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TH.<br />
<br />
-t9@ Oct. 17, Ord, H.W. . ‘ ‘<br />
»Jo0 Oct. 20, Yorke-Smith, Mrs. .<br />
<br />
vow Nov.<br />
io Nov.<br />
9G Dec.<br />
vo Dec.<br />
4 Dec.<br />
o@ Dee.<br />
9 Dec.<br />
90 Dec.<br />
wo Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
1913.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
ia) Jan. 2,<br />
<br />
d3 3<br />
re: |<br />
tap<br />
<br />
is<br />
rf 8G<br />
aL<br />
<br />
. Jan.<br />
, Jan.<br />
<br />
Feb.<br />
Feb.<br />
Feb.<br />
<br />
<br />
<br />
Feb.<br />
‘Feb.<br />
<br />
10, Hood, Francis<br />
<br />
20, Kennard, Mrs. N. H. 5<br />
4, McEwan, Miss M. S. . ‘<br />
4, Kennedy, E. B. ‘<br />
<br />
11, Begarnie, George . :<br />
11, Tanner, James T.<br />
<br />
11, Toplis, Miss Grace . :<br />
14, Watson, Mrs. Herbert A..<br />
14, French, Mrs. Warner :<br />
17, Smith, Miss Sheila Kaye .<br />
17, Marras, Mowbray<br />
<br />
27, Edwards, Percy J.<br />
<br />
1, Risque, W. H.<br />
<br />
1, Rankin, Mrs. F. M.<br />
<br />
2, Short, Miss L. M.<br />
<br />
2, Mackenzie, Miss J.<br />
<br />
Webling, Miss Peggy<br />
<br />
8, Harris, Mrs. E. H. .<br />
<br />
8, Church, Sir Arthur,<br />
K.C.V.O., ete.<br />
<br />
. 4, Douglas, James A.<br />
<br />
. 4, Grant, Lady Sybil<br />
<br />
. 6, Haultain, Arnold<br />
<br />
. 6, Beveridge, Mrs. :<br />
<br />
. 6, Clark, The Rev. Henry<br />
<br />
. 6, Ralli, C. Searamanja .<br />
<br />
. 6, Lathbury, Miss Eva .<br />
<br />
. 6, Pryce, Richard<br />
<br />
. 7, Gibson Miss L. S.<br />
<br />
: 10, Use .<br />
<br />
. 10, Ford, Miss May<br />
<br />
: 12, Greenstreet, W. J.<br />
<br />
.14, Anon .<br />
<br />
. 15, Maude Aylmer<br />
<br />
. 16, Price, Miss Eleanor .<br />
<br />
: 17, Blouet, Madame<br />
<br />
220, PH. and MLK...<br />
<br />
. 22, Smith, Herbert W.<br />
<br />
. 25, Anon. . :<br />
<br />
. 27, Vernede, R. E. ‘<br />
<br />
. 29, Plowman, Miss Mary .<br />
. 29, Todd, Miss Margaret, M.D.<br />
. Bl, Jacobs, W. W. ;<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
<br />
1, Davy, Mrs.E.M. .<br />
<br />
3, Abraham, J. J. ;<br />
<br />
4, Gibbs, F. L. A.<br />
<br />
A, Buckrose, J. i.<br />
<br />
4, Balme, Mrs. Nettleton .<br />
<br />
6, Coleridge, The Hon. Gilbert<br />
<br />
6, Machen, Arthur :<br />
<br />
6, Romane-James, Mrs. ‘<br />
<br />
6, Weston, Miss Lydia ‘ ‘<br />
<br />
14, Saies, Mrs. F. H. (in addi-<br />
tion to her subscription)<br />
<br />
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AUTHOR.<br />
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<br />
189<br />
<br />
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<br />
BOF OANOSO:<br />
<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Feb.<br />
Mar,<br />
<br />
14, O’Higgins, H. J. . :<br />
<br />
15, Stephens, Dr. Ricardo<br />
<br />
15, Jones, Miss KE. H.<br />
<br />
17, Whibley, Charles<br />
<br />
22, Probert, W. S.<br />
<br />
24, S. F. G. :<br />
<br />
27, XX. Pen Club<br />
<br />
7, Keating, The<br />
Lloyd .<br />
<br />
7, Tharp, Robert C.<br />
<br />
10, Hall, H. Fielding<br />
<br />
18, Moffatt, Miss Beatrice<br />
<br />
14, Bennett, Arnold.<br />
<br />
17, Michell, The Right Hon.<br />
Sir Lewis, K. C.V.0: .<br />
<br />
17, Travers, Miss Rosalind<br />
<br />
i<br />
<br />
COrroooOoO®<br />
<br />
Rev. 5 :<br />
Mar. :<br />
Mar.<br />
Mar.<br />
<br />
Mar.<br />
Mar.<br />
<br />
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SO Or Or Or<br />
SS0C0OSD SCOOKAOMAAOe<br />
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<br />
Mar.<br />
ah a<br />
<br />
COMMITTEE NOTES.<br />
<br />
— +e<br />
<br />
HE Committee of Management held their<br />
third meeting of the year at 13, Queen<br />
Anne’s Gate, S.W., on March 3. The<br />
<br />
business was carried through in the usual<br />
order. Following the signing of the minutes<br />
of the previous meeting, the elections were<br />
proceeded with. A full list appears on another<br />
page. Twenty members in all were added to<br />
the list, making the total for the current year<br />
up to eighty-seven. The Committee accepted,<br />
with regret, sixteen resignations, but they are<br />
glad to report that the number is considerably<br />
smaller than during the corresponding period<br />
last year.<br />
<br />
* The solicitor then reported the cases during<br />
the past month.<br />
<br />
The first was an action for accounts and<br />
money against a publisher. The accounts<br />
had been delivered, an arrangement for<br />
settlement by two instalments had been made.<br />
One of the instalments had been paid, and<br />
the solicitor had no doubt that the second<br />
instalment on May 1 would be met in due<br />
course.<br />
<br />
Against another publisher the Society has<br />
four cases. It has been necessary to issue<br />
summonses in two of these, and in the other<br />
two, if the sums due under the accounts<br />
obtained are not paid, action will also be<br />
taken. The Society has three claims against<br />
a travelling actor, and in all three writs have<br />
been issued. In one of these, part of the<br />
sum due in royalties has been paid, but in<br />
none has a proper account been rendered.<br />
<br />
<br />
<br />
<br />
190<br />
<br />
The solicitors received instructions to carry<br />
the matter through. There were two small<br />
cases against a paper for unpaid contributions.<br />
The proprietor has declared himself unable to<br />
pay. In one case the summons has been<br />
issued, and the. solicitor was instructed to<br />
proceed to judgment and then determine<br />
what action should be. taken in the second<br />
case. The solicitor reported, with regret, the<br />
loss of a County Court action during the past<br />
month. There was a direct conflict of evidence<br />
between the plaintiff and the defendant, but<br />
as the onus rested on the plaintiff to make<br />
out the contract, the Judge considered this<br />
onus had not been discharged. There was no<br />
written agreement to produce in evidence.<br />
In two other small claims the debts have<br />
been paid after the writs had been issued. The<br />
solicitor next reported that one of the members<br />
of the Society having entrusted the original<br />
MS. of one of his published works to an<br />
agent for sale for a fixed sum, the agent had<br />
sold the MS. for a quarter of the amount.<br />
However, under pressure brought to bear by<br />
the Society, the MS. had been restored to the<br />
author, and the money to the purchaser.<br />
Another case was quoted by the solicitor<br />
where it was impossible to obtain the return<br />
of a MS. from the editor of a magazine. After<br />
a writ had been issued, the MS. was promptly<br />
returned. Then followed two dramatic cases.<br />
The first referred to the infringement of the<br />
work of a member of the Society by the<br />
roduction in the music halls of a sketch.<br />
The defendant put forward in defence that<br />
the play produced is a condensed version of<br />
a play written by himself prior to the publica-<br />
tion of the member’s book, but it does not<br />
appear that the original MS. is forthcoming.<br />
The second case was brought to the Society<br />
by a member, with the recommendation of<br />
the Dramatic Sub-Committee. The alleged<br />
infringer is also a member of the Society.<br />
After consideration of the evidence, the<br />
solicitor came to the conclusion that if any<br />
action was taken it should be rather for breach<br />
of confidence than for infringement of copyright.<br />
In both these cases the committee decided to<br />
carry forward the matter on behalf of the<br />
complainants. The next case related to an<br />
infringement of a member’s copyright, by the<br />
publication of a story in a penny weekly. It<br />
was decided to take the matter up. The next<br />
case related to an infringement of copyright<br />
in Canada, and here, also, the committee<br />
decided to support the author, but subject to<br />
the latter being responsible for a portion of<br />
the costs. A case of a demand made by a<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
publisher against an author under a contract<br />
between them, was also reported by the<br />
solicitor, and the committee decided to a<br />
defend any action brought against the<br />
author by the publisher.<br />
<br />
The secretary. then reported a complaint<br />
made against him by a member of the Society,<br />
in a case where he had acted as arbitrator.<br />
The secretary read the correspondence, and it<br />
was decided to write to the member on the<br />
subject. The secretary mentioned, also, to<br />
the committee a dispute arising between a<br />
member and his publisher on various points<br />
of accounts and the interpretation of clauses<br />
in the agreement. The committee authorised<br />
that counsel’s opinion should be taken, and<br />
if this opinion was favourable stated that<br />
they would support the member by legal<br />
action if necessary.<br />
<br />
After the cases had been disposed of, the —<br />
secretary laid before the committee the letters .<br />
he had received from editors, dealing with —<br />
the question of payment to contributors of —<br />
accepted contributions. It was decided, in —<br />
accordance with suggestions from important<br />
editors, to invite a formal conference at an .<br />
early date. The committee hope that a large :<br />
number of editors may agree to some definite —<br />
and uniform arrangement being established. —<br />
<br />
The next matter discussed was the practice<br />
of the proprietors of certain magazines who<br />
send receipts to contributors for their :<br />
signature, and, in some cases, cheques with e<br />
a receipt printed at the back, purporting to<br />
convey copyright to the magazine, although —<br />
no contract for such a transfer had previously —<br />
been made. The secretary was instructed —<br />
<br />
<br />
<br />
to deal with the whole subject in The<br />
Author. :<br />
The committee discussed at length the<br />
<br />
question to be placed before the General<br />
Meeting and the Council in regard to the —<br />
commission to be charged by the Society om<br />
all sums collected by members through the<br />
intervention of the solicitors in whatever<br />
country action were taken. The committee<br />
decided to support a proposal that in all<br />
eases where the member did not employ the<br />
Collection Bureau the commission should be<br />
10%, as against 5% which the Bureau charges —<br />
its members for carrying through the same<br />
matter.<br />
<br />
At the suggestion of the Composers’ Sub-<br />
Committee, an article had been written dealing<br />
with an agreement from a music publisher.<br />
This article was laid before the committee and<br />
<br />
assed, and appears elsewhere in this number<br />
of The Author.<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
ComposERS’ SuB-COMMITTEE.<br />
<br />
‘T . Tuts sub-committee held their March mect-<br />
ging at the new offices of the Society, No. 1,<br />
‘a9 Central Buildings, Tothill Street, Westminster,<br />
¥7.S.W., on Saturday, March 8. After the<br />
aiiminutes of the previous meeting had been<br />
seeread and signed, the secretary reported that<br />
, an article referring to Messrs. Curwen & Sons’<br />
“mg agreement, had been passed by the Committee<br />
/ tof Management for publication in The Author.<br />
o/ The secretary then placed before the sub-com-<br />
jipmittee the papers of The Genossenschaft Deut-<br />
oscher Tonkunstler, and received instructions<br />
26 to send out a copy of their contract to all the<br />
“emembers of the sub-committee, and to place<br />
o) the matter on the agenda for the next meeting.<br />
11The secretary reported, also, that the circular<br />
‘to. settled at the previous meeting of the sub-<br />
‘i: committee had been sent out to the members<br />
| 1 of the Society of British Composers, and that<br />
_s he had obtained a further list of composers, to<br />
ts whom it would be sent in due course. The<br />
‘fs answers would be laid before the sub-committee<br />
4: at their next meeting.<br />
L The question cf mechanical rights was<br />
i) discussed, and a suggestion made that com-<br />
‘oc posers should deal with these separately, and<br />
‘0; not in conjunction with the sale of their sheet<br />
j@ music. The secretary was instructed to take<br />
i steps to get into touch with the mechanical<br />
reproducers with a view to coming to some<br />
“1 arrangement.<br />
F, A question relating to the manufacture of<br />
‘ai stamps for the mechanical reproductions of<br />
“o compositions was discussed, and it was decided,<br />
’ a in those cases where it would not pay individual<br />
“9 composers to purchase large quantities of<br />
»} stamps, that the Society should manufacture<br />
J stamps which could be endorsed with the<br />
“© initials of the composer.<br />
<br />
os<br />
<br />
Cases.<br />
<br />
Durine the past month there have been<br />
“44 twenty cases in the hands of the secretary.<br />
‘1 The list is rather a curious list. Usually the<br />
claims for money exceed other cases, but in<br />
the past month claims for MSS. head the<br />
list. There have been seven claims under<br />
+ this heading and three have been successful,<br />
the MSS. have been returned and forwarded<br />
to the authors. One failed owing to the fact<br />
that although the agent to whom the MSS,<br />
had been sent had tried to find them, the<br />
author had no evidence that they had actually<br />
reached the agent’s office. Itis possible, there-<br />
fore, that they may have been lost in transit.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
191<br />
<br />
Two are still in the course of negotiation.<br />
In one case the claim is in Hungary and<br />
the other in the United States. Sufficient<br />
time has not elapsed for a reply to be forth-<br />
coming to the secretary’s demand. The last<br />
case has only recently come into the office.<br />
<br />
There have been six claims for accounts<br />
from publishers, and all these have been<br />
settled. The accounts have been delivered,<br />
and where money was due, the money has<br />
been paid.<br />
<br />
Three questions have arisen out of author’s<br />
agreements. Here again two are in foreign<br />
countries, both being in the United States of<br />
America ; in one case the author is an American<br />
citizen, and in the other case the publisher.<br />
Sufficient time has not as yet expired in order<br />
to obtain a reply, but no doubt before the<br />
May issue these cases will have been closed.<br />
The third case is one of a dispute between the<br />
author and a publisher as to the charge for<br />
corrections. These cases are always very<br />
difficult to deal with, but if the publisher can<br />
show the proper vouchers, the author will<br />
have to meet the claim; at present the<br />
vouchers have not been produced.<br />
<br />
There were four cases of claims for money,<br />
two of which have been settled and the money<br />
has been paid. The third is in the course of<br />
favourable negotiation, and the fourth has<br />
only recently come to the office.<br />
<br />
There are still three cases open from last<br />
month, and two cases which have had to be<br />
placed in the hands of the Society’s solicitors.<br />
The work of the Society’s solicitors and the<br />
law work of the Society is fully detailed in<br />
the Committee Notes.<br />
<br />
++<br />
<br />
Elections.<br />
<br />
50, Hans Place, S.W.<br />
<br />
“The Knoll,” Kid-<br />
more Road, Caver-<br />
sham, Reading.<br />
<br />
** Gleneairn,’? Cam-<br />
bridge Road,<br />
Bournemouth.<br />
<br />
‘** Homesfield,” near<br />
Sheffield.<br />
<br />
Broadbent, D. R.<br />
Campbell, Mrs. Perugini<br />
<br />
‘anning, Ethel<br />
<br />
, Carpenter, Edward<br />
<br />
Fish, W. Wilfred Blair<br />
(‘‘ Wilfred Blair ’’)<br />
Grantham, Mrs.<br />
Frederick (‘ Alexan-<br />
<br />
dra von Herden”’’).<br />
<br />
, Ireland, John. :<br />
<br />
Beelcigh Abbey,<br />
Maldon, Essex.<br />
<br />
4, Elm Park<br />
Mansions, Chelsea,<br />
S.W.<br />
<br />
5<br />
<br />
<br />
<br />
<br />
192<br />
Keating, The Rev. John ‘“ Ariston,” New<br />
Lloyd, M.A. Church Road,<br />
Hove.<br />
Kindersley, Mrs. D. Y... 15, Gwydyr Man-<br />
sions, Hove,<br />
Sussex.<br />
<br />
** Derrymore,”’ Park-<br />
stone, Dorset.<br />
<br />
4, Bertram Road,<br />
Hendon, N.W.<br />
<br />
Savage Club, W.C.<br />
<br />
Southborough Com-<br />
mon, Kent.<br />
King’s House,<br />
Tower of London,<br />
<br />
Law, Hamilton<br />
Martin, Geoffrey :<br />
<br />
Merrick, Leonard ;<br />
Oyler, Leslie Mary<br />
<br />
Pipon, Miss Geraldine M.<br />
<br />
E.C.<br />
— St. John, Christopher 31, Bedford Street,<br />
Marie. Strand, W.C.<br />
Sawrey, Miss Fannie H. 22, Earl’s Court<br />
<br />
Square, S.W.<br />
<br />
Sholl, Margaret, V.<br />
(‘‘ Margaret Heriot<br />
Hallam ’’).<br />
<br />
Tharp, Robert C. . 86, Ladbroke Grove,<br />
WwW<br />
<br />
Turquet, Madame 59, Loxley Road,<br />
André (“ G. Turquet- Wandsworth Com-<br />
Milnes ’’). mon, S.W.<br />
<br />
Wigley, H. (‘“ Lincoln<br />
Green ’’).<br />
<br />
ee ele<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
—<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as poumble, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
BIOGRAPHY.<br />
<br />
Lirtte JENNINGS AND Ficutine Dick Tatsot: A Lire<br />
oF THE Duxr anp DvucuEess or TyRconNEL. By<br />
Parr W.Sererant. 2vols. 674pp. 17 illustrations.<br />
Hutchinson. 24s. n.<br />
<br />
BOOKS OF REFERENCE.<br />
<br />
CassELL’s Dictionary oF Practica, GARDENING.<br />
Edited by W. P. Wricut. PartI. 103 x 74. 48 pp.<br />
Cassell. 7d. n.<br />
<br />
InpDEXES TO THE ANCIENT TESTAMENTARY RECORDS OF<br />
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193<br />
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LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
ee<br />
T the annual meeting of the Royal<br />
Literary Fund, on March 12, Mr.<br />
Rowland E. Protheroe, who presided,<br />
said the amount raised by the dinner was the<br />
largest with two exceptions in the history of<br />
the fund. He wished, however, that they<br />
could secure a more permanent and _ less<br />
fluctuating source of income to rely upon, and<br />
an increase in membership. They had at<br />
present some 700 members, and it would be a<br />
very good thing if they could raise their mem-<br />
bership to 1,000. The annual dinner was fixed<br />
for May 27; Lord Curzon would preside, and<br />
the Archbishop of Canterbury and Lord<br />
Morley would be among the speakers. The<br />
annual report, which showed that the income<br />
of the fund (including a balance from the<br />
previous year) was £5,487, and that during<br />
the year £3,020 was voted in grants to forty<br />
applicants, as compared with £2,125 to<br />
thirty-eight applicants in the previous year,<br />
was adopted. The president, vice-presidents,<br />
and members of the council were re-elected,<br />
with the addition of Viscount Haldane of<br />
Cloan as vice-president, and Mr. Reginald J.<br />
Smith, K.C., as a member of the council.<br />
<br />
Mr. Eden Phillpotts’s new novel, “‘ Wide-<br />
combe Fair,’”’ has been published by Mr. John<br />
Murray. It is a study of the varied life and<br />
interests of a sequestered West Country<br />
village. ‘‘ The Joy of Youth,” Mr. Phillpotts’s<br />
story which is running serially in the Fortnightly<br />
Review, reached its twelfth chapter in the<br />
March issue.<br />
<br />
“The Mating of Lydia” is the title of<br />
Mrs. Humphry Ward’s new novel, published<br />
last month by Messrs. Smith, Elder & Co.<br />
<br />
Mr. Henry Arthur Jones has issued, through<br />
Messrs. Chapman & Hall, ‘‘ The Foundations<br />
of a National Drama,”’ a collection of lectures,<br />
essays, and speeches of the years 1896—1912,<br />
revised and added to. Mr. Jones dedicates<br />
his work to “ Brander Matthews, Professor<br />
of Dramatic Literature in Columbia Univer-<br />
sity,’’ whom (he says) he has so often quoted,<br />
that he is “ urged by duty, no less than by<br />
friendship and sympathy,” to make the<br />
dedication. The book is embellished by a<br />
photogravure of Mr. Robert J. Aitken’s bust<br />
of the author. The price is 7s. 6d. net.<br />
<br />
Mr. Frankfort Moore’s new book, ‘‘ Fanny’s<br />
First Novel,” published by Messrs. Hutchinson,<br />
has reached its second edition. In it Mr.<br />
Moore returns to his favourite period. The<br />
“Fanny ” is, of course, Fanny Burney.<br />
<br />
<br />
194<br />
<br />
Mr. Jeffery Farnol’s ‘‘ The Amateur Gentle-<br />
man’? was published by Messrs. Sampson<br />
Low, Marston & Co. on March 8.<br />
<br />
Sir Isaac Pitman & Sons announce a new<br />
and cheaper (5s.) edition of Mrs. Ellis H.<br />
Chadwick’s ‘‘ Mrs. Gaskell: Haunts, Homes<br />
and Stories,” of which the original 16s. edition<br />
appeared in September, 1910. The new<br />
matter includes what is stated to be a strikingly<br />
beautiful portrait of Mrs. Gaskell before her<br />
matriage.<br />
<br />
The same publishers have brought out<br />
Mr. B. Burford Rawlings’s ‘“‘ A Hospital in<br />
the Making,” which is a history of the National<br />
Hospital for the paralysed and_ epileptic<br />
(Albany Memorial) between the years 1859<br />
and 1901. The price is 5s. net.<br />
<br />
In ‘The Romance of an Elderly Poet”<br />
(Messrs. Stanley Paul & Co., 10s. 6d. net),<br />
Messrs. A. M. Broadley and Walter Jerrold<br />
collaborate on “‘A hitherto unknown chapter<br />
in the life of George Crabbe,” based upon a<br />
series of letters written by Crabbe in 1815—25<br />
to Miss Elizabeth Charter. Much information<br />
is given in them concerning life in Bath and<br />
its neighbourhood at the period.<br />
<br />
Messrs. Stanley Paul announce two new<br />
Napoleon books, ** Napoleon in Exile at Elba,<br />
1814—1815,” and “Napoleon in Exile at<br />
St. Helena, 1815—1821,”’ both by Mr. Norwood<br />
Young, and both containing a chapter on the<br />
iconography of Napoleon at the time, by<br />
Mr. A. M. Broadley. The first-named work<br />
is priced at 21s., the second at 82s. net.<br />
<br />
Messrs. Stanley Paul are also the publishers<br />
of ‘‘The Life of James Hinton,” by Mrs.<br />
Havelock Ellis, a biography drawn largely<br />
from private papers and the assistance of<br />
intimate friends; of ‘‘ The White Slave<br />
Market ” by Mrs. Archibald Mackirdy (Olive<br />
Christian Malvery) ; of “‘ Samphire,”’ a volume<br />
of essays by Lady Sybil Grant, daughter of<br />
Lord Rosebery; of ‘‘ Torquemada and the<br />
Spanish Inquisition,” by Rafael Sabatini ;<br />
and of a new edition (the sixth, 5s. net.) of<br />
Mr. J. F. Nisbet’s ‘“‘ The Insanity of Genius.”<br />
<br />
Mr. Albany F. Major has written, and the<br />
Rev. C. W. Whistler has edited, a book entitled<br />
““The Early Wars of Wessex: Studies from<br />
England’s First School of Arms in the West<br />
Country.”’ This deals with the warfare of the<br />
pre-Norman period in Western England and<br />
particularly with the Danish invasions. There<br />
are to be maps, plans, and diagrams, and the<br />
volume is to be published by the Cambridge<br />
University Press, at 10s. 6d. net, but sub-<br />
scribers before April 80 will be entitled to<br />
purchase at 7s. 6d.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
In “‘ The Lawyer, Our Old Man of the Sea ”<br />
(Messrs. Kegan Paul, 7s. 6d. net), Mr. William<br />
Durran criticises the legal systems of England,<br />
India, and America, and gives a warning of<br />
the dangers threatening this country if legal .<br />
reforms are not soon introduced. A foreword<br />
is contributed by Sir Robert Fulton, M.A., ©<br />
LL.D.<br />
<br />
Messrs. Longmans, Green & Co. are the<br />
publishers of ‘‘ English Local Government :<br />
The Story of the King’s Highway,” by Sidney ~<br />
and Beatrice Webb; of ‘‘ Confessions of a Con- —<br />
vert’’ and ‘‘ The Paradoxes of Catholicism,’<br />
both by Monsignor R. H. Benson; and —<br />
of “ Levia-Pondera: an Essay Book,” by<br />
Mr. John Ayscough. They have added to<br />
their Silver Library a new edition of Sir. H<br />
Rider Haggard’s ** Rural Denmark and it<br />
Lessons.”<br />
<br />
Mr. Cecil Headlam is the author of the<br />
volume on France in Messrs. A. & C. Black’s<br />
‘* Making of the Nations ”’ series. Thirty-two<br />
full-page and sixteen smaller illustrations —<br />
decorate the book, of which the price is 7s. 6d.<br />
net.<br />
<br />
Three new medical works from the same |<br />
firm are ‘“‘ The Handbook of Medical Treat<br />
ment ”’ (8s. 6d.), ‘* The Pocket Clinical Guide ” ©<br />
(1s. 6d.), and ‘‘The Pocket Prescriber ”’<br />
(1s.), all by Mr. James Burnet, M.A., M.D.<br />
M.R.C.P.E.<br />
<br />
Mr. John Foster Fraser’s “‘ Panama and<br />
What It Means ’’ was published at the begin- |<br />
ning of last month by Messrs. Cassell, at 6s.<br />
It is the fruit of a special visit to the Canal<br />
zone.<br />
<br />
Messrs. John Long last month published a —<br />
novel entitled ‘“‘ A Girl of No Importance ”<br />
by Olivia Ramsey, author of “The Other<br />
Wife,” ‘‘ Two Men and a Governess,”’ etc. ©<br />
The story depicts some love episodes in the<br />
life story of a young peer, the scenes being —<br />
laid alternately in London and in the heart of ©<br />
the country.<br />
<br />
Messrs. John Long are also the publishers.<br />
of a new novel, ‘‘ Nathalia,”’ by Fred Whishaw, |<br />
author of ‘‘ The Revolt of Beatrix,” ete. The<br />
scene is laid at Moscow in the period which —<br />
just preceded the birth of Peter the Great,<br />
whose parentage was from the first a matter”<br />
of mystery and controversy in Court circles. —<br />
Mr. Whishaw extracts his romance out of the:<br />
life of the beautiful Nathalia Narystkin, —<br />
mother of Peter.<br />
<br />
Messrs. Watts & Co. have published, on<br />
behalf of the Rationalist Press Association, a —<br />
volume by Mr. F. H. Perrycoste entitled ‘‘ The:<br />
Influence of Religion upon Truthfulness.”<br />
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<br />
THE AUTHOR,<br />
<br />
‘1) This volume comprises two more chapters of<br />
<br />
the author’s magnum opus, of which a first<br />
instalment appeared three years ago under<br />
the title of ‘‘ Religion, Faith, and Morals.”<br />
<br />
«| In a prefatory note to the new volume the<br />
<br />
JHE<br />
200<br />
LE<br />
ic<br />
ey<br />
Fob<br />
<br />
aid<br />
<br />
ish<br />
the<br />
rig<br />
EG<br />
AT<br />
od<br />
to<br />
:<br />
off<br />
soe<br />
10f<br />
He<br />
iREE<br />
fio<br />
ve<br />
Be<br />
<br />
HE<br />
Mt<br />
<br />
A<br />
A<br />
ME<br />
if<br />
<br />
ee<br />
<br />
Lie<br />
<br />
<br />
<br />
author expresses the hope that it may be<br />
possible anon for him to do justice to himself<br />
and his critics alike by publishing the chapters<br />
of his Prolegomena, in which the scope and<br />
method of the whole work are explained in<br />
detail, and the philosophical foundations for<br />
his historical enquiry are laid.<br />
<br />
“Celestial Fire,” a Seventeenth Century<br />
devotional book, re-edited by E. M. Green,<br />
with a preface by the Rev. George Congreve,<br />
gives in its introduction the story of what is<br />
probably a unique experience in publishing.<br />
The editor acknowledges the most acceptable<br />
help, in unravelling the tangle, of the Society<br />
of Authors.<br />
<br />
The Rev. James Eckersley edits ‘‘ The<br />
Responsive Psalter,’ which, as the sub-title<br />
states, contains “‘the psalms set to chant-<br />
forms in accordance with the parallelisms of<br />
Hebrew poetry, and designed to conduce to a<br />
natural and expressive rendering of the words<br />
on the part of both choir and congregation.”<br />
The publishers are Messrs. Simpkin, Marshall<br />
& Co.<br />
<br />
“The Celibacy of Maurice Kane” is a<br />
novel by V. Conway-Gordon, published by<br />
Messrs. Holden & Hardingham.<br />
<br />
In “Where Education Fails” (Messrs.<br />
Ralph, Holland & Co., 1s. net) Mr. Preston<br />
Weir attempts to find the explanation of the<br />
non-success of the modern educational system<br />
in England compared with the hopes of its<br />
promoters. Lord Sheffield contributes an<br />
introduction.<br />
<br />
Miss Jeannette Marks publishes her “* Gallant<br />
Little Wales’ through the Houghton Mifflin<br />
Co., of New York and Boston. The book is<br />
illustrated from old prints, and is sold at a<br />
<br />
_ dollar and a quarter.<br />
<br />
Mr. F. Cullen Gouldsbury’s ‘“‘ Songs out of<br />
Exile (Rhodesian Rhymes) ”’ is published by<br />
Mr. T. Fisher Unwin at 3s. 6d. net.<br />
<br />
The same publisher is bringing out a play<br />
entitled “‘ This Generation ” by Mr. S. M. Fox.<br />
This play (which has not yet been acted),<br />
though not professing to give a picture of<br />
contemporary Socialism, has for its hero a<br />
<br />
_ socialist who is in conflict with his environ-<br />
<br />
ment.<br />
<br />
Some months ago a prize of 5,000 francs was<br />
offered for the best French novel published<br />
in 1911, in the judgment of a number of<br />
Parisian society celebrities. The prize was<br />
<br />
195<br />
<br />
carried off by a story by M. Louis de Robert,<br />
which is now to make its appearance in English<br />
under the title “‘ Life’s Last Gift.’ It deals<br />
with a young man stricken down with ill-<br />
health and seeking to requite a passion which<br />
comes to him in his last months of life. The<br />
English publishers are Messrs. Stanley Paul &<br />
Co., who will also add the book to their Colonial<br />
Library.<br />
<br />
** Shepherds of Britain,” by Miss Adelaide<br />
L. J. Gosset (Messrs. Constable & Co., 7s. 6d.<br />
net), is a prose anthology of literature dealing<br />
with shepherds and sheep, including contribu-<br />
tions from the pen of the editor herself. A<br />
companion volume is her ‘Shepherd Songs<br />
of Elizabethan England” (same _ publishers,<br />
5s. net).<br />
<br />
EK. Newton Bungey’s ‘‘ The Fordington<br />
Twins”? (Lynwood & Co.) deals with twin<br />
children brought up in poor circumstances,<br />
who unexpectedly inherit large property and<br />
have to own it jointly, as no one knows which<br />
is the elder. The book, which is mainly on<br />
humorous lines, will be out at the end of April<br />
or the beginning of May. About the same<br />
time a 2s. edition of the same author’s previous<br />
novel, “‘ Corn in Egypt,”’ will be issued.<br />
<br />
Mr. Stephen Knott’s new novel “ Once<br />
Round,” a story of Military life, will be pub-<br />
lished on April 2, by Messrs. Murray &<br />
Evenden.<br />
<br />
A short story by John Hasleth Vahey will<br />
appear shortly in the Pall Mall Magazine,<br />
and a new novel by the same writer, to be<br />
called ‘‘The Shadow of Salvador,’ with<br />
Messrs. Heath, Cranton and Ouseley, is also<br />
expected this spring. Mr. Vahey’s last novel,<br />
“<The Mesh,” appeared through Messrs.<br />
Sampson Low & Co.<br />
<br />
Mr. J. Stanley Little’s address delivered at<br />
Farnham on “ Thomas Hardy: Our Greatest<br />
Prose Poet,” is to be published shortly.<br />
<br />
‘““The Green Powder,’ a new novel by<br />
Miss Lillias Campbell Davidson, has just been<br />
published serially in the pages of the Daily<br />
News. Messrs. Partridge & Co. announce an<br />
immediate issue of a third edition of the same<br />
writer’s, ‘‘ A Girl’s Battle.”<br />
<br />
A booklet which has just been issued, under<br />
the suggestive title of ‘“‘ More Light on the<br />
Woman Question,” contains a record of the<br />
proceedings of the first Congress of the Men’s<br />
International Alliance for Woman Suffrage,<br />
held in London in October last, and gives<br />
the salient points from the numerous speeches<br />
made on the occasion by the English repre-<br />
sentatives and foreign delegates. There are<br />
two illustrations—a portrait of Sir John<br />
<br />
<br />
196<br />
<br />
Cockburn, K.C.M.G., the President of the<br />
International Alliance, and a photographic<br />
group of the delegates and associates of the<br />
Congress. Mr. Jaakoff Prelooker, editor of<br />
The Anglo-Russian, is responsible for the<br />
literary part of the record, which is issued from<br />
the headquarters of the Men’s League for<br />
Women’s Suffrage, price 2d. :<br />
<br />
Mr. Philip W. Sergeant’s new two-volume<br />
biography, ‘‘ Little Jennings and Fighting<br />
Dick Talbot,’ was published by Messrs.<br />
Hutchinson & Co. at the beginning of March.<br />
<br />
Mr. Perriton Maxwell announces his retire-<br />
ment as manager and editor of Nash’s<br />
Magazine, and is returning to the United<br />
States to take charge of Hearst’s Magazine.<br />
<br />
Mr. Stanley Paul, of 31, Essex Street,<br />
Strand, has acquired the business of Messrs.<br />
Greening & Co., Ltd. The firm of Greening &<br />
Co. will be continued under its own name ;<br />
and as there are some 800 titles on its list,<br />
Mr. Stanley Paul, who will conduct both<br />
businesses from his office in Essex Street, will<br />
by this arrangement control the management<br />
of upwards of 1,300 current books.<br />
<br />
The firm of Greening & Co. was founded<br />
sixteen years ago by Mr. Arthur Greening.<br />
The Lotus Library of foreign classics in trans-<br />
lations is one of the firm’s most valuable<br />
properties, containing stories by Anatole<br />
France, Daudet, Zola, Flaubert, Dumas, de<br />
Maupassant, Gaborian, Gautier, and de<br />
Musset. Mr. Paul intends to add a large<br />
number of more serious volumes to balance<br />
the fiction library in the list, and among the<br />
first books are announced a series of ‘“‘ Memoirs<br />
of Secret History,” concerning the French<br />
Revolution, the ‘‘ Recollections of an Officer<br />
in Napoleon’s Army,” and a volume on<br />
Madame de Pompadour in the Court Series<br />
of ‘‘ French Memoirs.”<br />
<br />
Mr. Arthur Beckett’s book, ‘“‘ The Wonderful<br />
Weald, and the Quest of the Crock of Gold,”<br />
is shortly to be republished in a 6s. edition<br />
by Messrs. Mills and Boon. In addition to<br />
the twenty illustrations in colour by Mr. E. F.<br />
Marillier, the new edition will contain a novel<br />
map in which the most romantic places in<br />
the Weald of Sussex will be shown in symbolic<br />
form.<br />
<br />
DRAMATIC.<br />
<br />
The notable run of “ Little Miss Llewellyn,”<br />
at the Vaudeville Theatre, has been followed<br />
by a revival of Sir Arthur Pinero’s farce<br />
““The Schoolmistress,’’ which was first seen<br />
at the Court twenty-seven years ago, and<br />
attained its 292nd performance there. The<br />
<br />
THE AUTHOR.<br />
<br />
cast at the Vaudeville includes Miss Hilda<br />
Trevelyan as Peggy Hesslerigge, Mr. Edmund<br />
Gwenn as Admiral Rankling, and Mr. Dion<br />
Boucicault as Vere Queckett.<br />
<br />
A new one-act play—or domestic episode,<br />
as we understand it is called—by Sir Arthur<br />
Pinero is in rehearsal at the St. James’s<br />
Theatre. Its title is ‘‘ Playgoers,” and it is<br />
to be played in conjunction with Mr. A. E. W.<br />
Mason’s *“‘ Open Windows,”’ of which the first<br />
performance took place on March 11, with<br />
Mr. George Alexander and Miss Irene Vanbrugh<br />
in the leading parts.<br />
<br />
Miss Cicely Hamilton’s dramatic version of<br />
Mr. Edgar Jepson’s ‘“‘ Lady Noggs, Peeress,”<br />
is to be transferred from the evening bill at<br />
the Comedy Theatre to the afternoon, during<br />
Mr. Kenneth Douglas’s season, which com-<br />
mences at the Comedy early this month.<br />
<br />
March 4 saw the production at the Aldwych<br />
Theatre of ‘‘ Her Side of the House,” a three-<br />
act comedy by Mr. Lechmere Worrall and<br />
Miss Atté Hall.<br />
<br />
On March 20 ‘‘ The Greatest Wish,’’ Mr. E.<br />
Temple Thurston’s dramatisation of his own<br />
novel, was produced by Mr. Arthur Bourchier<br />
at the Garrick Theatre, succeeding Mr. Stanley<br />
Houghton’s “‘ Trust the People.”<br />
<br />
‘The Morning Post,” a one-act play by<br />
Mr. Morley Roberts and ‘“‘ Henry Seton,” was.<br />
seen at Miss Esmé Beringer’s matinée at the<br />
Court Theatre on March 11, and subsequently<br />
was put into the evening bill at the Strand, as<br />
a curtain-raiser to ‘‘ The Woman in the Case.”<br />
<br />
On Easter Monday “ The Happy Island,”<br />
Mr. J. B. Fagan’s adaptation of the Hungarian<br />
dramatist, Melchior Longyel’s “* The Prophet,”<br />
was the play chosen by Sir Herbert Tree for<br />
his reappearance at His Majesty’s Theatre.<br />
The title first announced was “A White<br />
Man’s Burden,” but ‘‘ The Happy Island”<br />
was what was finally decided upon.<br />
<br />
At the Gaiety Theatre, Dublin, on<br />
February 25, there was seen a new poetic<br />
tragedy in three acts—** Queen Tara,” by<br />
Mr. Darrell Figgis. The play has been pub-<br />
lished in book form by Messrs. Dent, at 2s.<br />
cloth, and 1s. paper.<br />
<br />
The Stockport Garrick Society recently<br />
performed a play in three acts and a prologue,<br />
<br />
entitled ‘‘Jephthah’s Daughter,” by the<br />
author, whose pseudonym is X.Y.Z.<br />
At the Théitre Mboliére, Paris, on<br />
<br />
February 28, “‘ Une Adventure du Capitaine<br />
Lebrun ” was played for the first time. The<br />
author of this was Mrs. Irene Osgood, who has<br />
since the production been elected a member of<br />
the Society of Dramatic Authors in Paris.<br />
<br />
<br />
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Nel RS<br />
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<br />
<br />
THE AUTHOR.<br />
<br />
An organisation has been established for the<br />
representation of French plays in London, with<br />
Mr. J. T. Grein as chairman of the Executive<br />
Committee. The name of “‘ The Little French<br />
Theatre’? has been selected, and a West End<br />
house is to be secured, for Sunday performances<br />
in the winter, and week-day performances in the<br />
summer. The prospectus points out that, as<br />
the productions will be private, all the recently<br />
successful plays in Paris will be open to inclu-<br />
sion in the repertory. The regular company<br />
will be recruited from the considerable body<br />
of French actors in London. The annual<br />
subscription to the society will be 10s. 6d.,<br />
which will entitle members to a certain number<br />
of seats. Further particulars can be obtained<br />
from Mr. Philip Carr, who is the ‘ adminis-<br />
trator ”’ of the Executive Committee.<br />
<br />
The Masque, “‘ Love and the Dryad,” com-<br />
posed by Agnes H. Lambert (Mrs. Heygate<br />
Lambert), will be given, under the direction<br />
of the composer, at the King’s Hall Theatre,<br />
Covent Garden, on April 29, at 3 p.m. There<br />
will be a full orchestra, conducted by<br />
Mr. Eugene Goussens. The dances have been<br />
arranged for the stage by Miss Ruby Gernier,<br />
who will play the part of the Dryad. The<br />
caste includes Miss Evangeline Florence,<br />
Mr. Herbert Bromilow, Mr. Ernest Groom and<br />
others. The Masque will be followed by a<br />
dramatic scene ‘‘ Pan and the Woodnymph,”<br />
written and composed by Mr. Harrison<br />
Frewen, in which Miss Evangeline Florence<br />
will take the principal part. Tickets may<br />
be obtained from Messrs. Chappell & Co., and<br />
Messrs Keith, Prowse & Co., Bond Street.<br />
<br />
At the production of prize plays in the<br />
Lyceum Club competition at the special<br />
matinée, King’s Hall, Covent Garden, on<br />
March 12, one of the plays acted was Mrs.<br />
Steuart Erskine’s ‘‘ John Anderson’s Chance,”<br />
the scene of which is laid in “‘ the dining-room<br />
of a small house at Hampstead” at the<br />
present day.<br />
<br />
Mr. James A. Douglas, the author of ‘“‘ The<br />
Outcome of Agitation,” produced at the<br />
Kingsway Theatre, and another four-act play,<br />
just secured by a prominent London manager,<br />
has a story of the North West Territory,<br />
entitled ‘‘ The Lovers of the West,” in the<br />
Canadian News.<br />
<br />
MUSICAL.<br />
<br />
Mr. William Wallace, on January 1, delivered<br />
an address on ‘“‘ The Musician and Personal<br />
Responsibility,” to the Incorporated Society of<br />
Musicians, then in annual conference at Bir-<br />
mingham. This address has now been printed.<br />
<br />
197<br />
<br />
PARIS NOTES.<br />
— ><br />
A Colline inspirée,” by Maurice Barres,<br />
h after appearing as a serial in the<br />
Revue hebdomadaire, is<br />
lished in volume form.<br />
<br />
‘** La Comédie de celui qui épousa une femme<br />
muette,”’ a two-act play, by Anatole France,<br />
has also appeared, and is in great demand.<br />
<br />
“Vers les Humbles,” by Madame René<br />
Waltz, is an extremely delicate psycho-<br />
logical study, written in the form of a diary.<br />
It is the history of a girl’s disillusions and of<br />
her moral evolution, told in the same simple,<br />
natural way as this author’s previous book,<br />
‘‘La Vie intérieure,” which won for her an<br />
Academy prize.<br />
<br />
‘** Les Contes de Minnie ”’ (Histoire de bétes,<br />
d’enfants, de fées et de bonnes gens), is another<br />
of the charming series of books by M. André<br />
Lichtenberger, stories of children for grown-up<br />
people.<br />
<br />
Madame Marguerite Poradowska gives us a<br />
strong novel, under the title of “Hors du<br />
Foyer.”<br />
<br />
“La Poursuite du Bonheur,” by B. Van<br />
Vorst, is interesting and instructive, coming,<br />
as it does, from the pen of an American woman.<br />
<br />
‘La Famille Impériale 4 Saint-Cloud et a<br />
Biarritz,” by Dr. Barthez, is a volume con-<br />
sisting of a series of letters written by the<br />
doctor to his family. He gives an account of<br />
the everyday life of the Imperial family from<br />
the year 1856, when he was appointed medical<br />
adviser for the little prince, then only three<br />
months old. The letters continue until the<br />
year 1863.<br />
<br />
The last two volumes of the important work<br />
by Georges Goyau, entitled “‘ Bismarck et<br />
VEglise: Le Culturkampf,” have now been<br />
published. The first two volumes comprised<br />
the years 1870 to 1887, and the two which have<br />
just appeared continue up to the year 1890.<br />
The subject is treated very thoroughly and,<br />
thanks to the various anecdotes which the<br />
author gives, it is by no means a dull book.<br />
The account of the journey to Berlin, under-<br />
taken by the future Cardinal, Galimberti, is<br />
most interesting. Louis XIII. wished to<br />
sound Bismarck as to his attitude with regard<br />
to Italy and his ideas about the European<br />
situation. His messenger was to find out<br />
whether the intervention of the Pope was<br />
likely to be required on the Alsace-Lorraine<br />
question. After the lapse of so many years, it<br />
is most curious to return to that period of<br />
European history and to read details which<br />
have probably never been known by the<br />
<br />
now pub-<br />
<br />
<br />
198<br />
<br />
majority of people. It is a work which must<br />
have required a very great amount of docu-<br />
mentation, and only an extremely conscientious<br />
historian could have given us the valuable<br />
work which M. Goyau has just terminated.<br />
<br />
The Marquis de Ségur has now published<br />
the second volume of his work entitled, “ Au<br />
Couchant de la Monarchie.”” The first volume<br />
was on “Louis XVI. et Turgot,’’ and the<br />
second is on “ Louis XVI. and Necker ”’ (1776—<br />
1781).<br />
<br />
Among the memoirs and studies of historical<br />
characters, a book which will be read with<br />
great interest is the volume on Mirabeau, by<br />
M. Louis Barthou. It is curious to read an<br />
appreciation of a politician like Mirabeau by<br />
so well known a statesman as M. Barthou.<br />
<br />
The last volume of articles and lectures by<br />
Henri Poincaré is entitled ‘‘ Derniéres Pensées.”<br />
He was preparing it himself, up to the time of<br />
his death, as the fourth volume of his works<br />
for the ‘‘ Bibliotheque de Philosophie scienti-<br />
fique.’ Among the subjects treated in it<br />
are the following: ‘‘L’Evolution des Lois,”<br />
“‘ L’Espace et le Temps,”‘ “ Pourquoi l’Espace a<br />
trois dimensions,” ‘La Logique de l’Infini,”<br />
‘‘Les Rapports de la Matiére et de l’Ether,”<br />
“‘La Morale et la Science.” M. Henri Poin-<br />
caré was considered to be the most remarkable<br />
mathematician in France, and he was also one<br />
of the most eminent philosophers.<br />
<br />
““La Science moderne et |’Anarchie,”’ by<br />
Pierre Kropotkine, comes at a very opportune<br />
moment. The chapters which the author<br />
devotes to modern warfare, its financial<br />
origin and its atrocity are most instructive.<br />
<br />
A little weekly publication, in the form of a<br />
small review, commenced in the month of<br />
March, entitled Le Fait de la Semaine. The<br />
idea of the founders of this little publication is<br />
to take up the chief subject of public interest<br />
every week and study it from different aspects.<br />
The first number was devoted to the question<br />
of the military service of three years, the<br />
second number was entitled “Le Renouveau<br />
de la Presidence,’’ and the third is on the<br />
subject of ‘Les Drogues qui grisent.” The idea<br />
is an excellent one, as, thanks to this little<br />
weekly messenger, we shall be able to hear<br />
more than one side to a question. In the<br />
Revue de Paris (Nos. 4 and 5), M. Emile<br />
Boutroux has written an excellent article on<br />
Henri Poincaré, and in No. 5 there is also an<br />
instructive article entitled ‘* La Crise de notre<br />
Organisation militaire,”’ by Baiberti.<br />
<br />
The Revue hebdomadaire continues to publish<br />
the excellent series of lectures organised by<br />
the Société des Conférences. Among the<br />
<br />
THE AUTHOR.<br />
<br />
lectures published in recent numbers are those<br />
of Emile Faguet on ‘‘ La Fontaine,” and a<br />
series entitled ‘Mes Souvenirs,” by Jean<br />
Richepin, Gaston Deschamps, Maurice Donnay<br />
and Maurice Sabatier.<br />
<br />
Pierre de Quirielle also writes, in the same<br />
review, an article on Paul Thureau-Dangin,<br />
the late Sécretaire perpetuel of the French<br />
Academy, whose death is a great loss to the<br />
French literary world.<br />
<br />
The theatres have been more than usually<br />
active this year. The number of new plays<br />
and the quantity of small theatres must tend<br />
to make the task of the dramatic critic for the<br />
daily papers no easy one. At the Comédie-<br />
Marigny, M. Maurice Donnay’s four-act play<br />
‘‘ Les Kclaireuses,’”’ has been, and still is, a<br />
great success. The feminist question is very<br />
much discussed in France, and M. Donnay has<br />
made it the theme of his play. i<br />
<br />
At the Thédtre Sarah Bernhardt, Henri<br />
Lavedan’s two-act play, ‘‘Servir,” is<br />
excellently played by Guitry, M. Capellani and<br />
Mme. Gilda Darthy.<br />
<br />
At the Vaudeville, M. Alfred Capus is having<br />
his usual success with his five-act play,<br />
““Héléne Ardouin,’ and at the Bouffes-<br />
Parisiens, M. Henry Bernstein, with his new<br />
piece, ‘‘ Le Secret.”<br />
<br />
Atys HAuarp.<br />
<br />
‘La Colline inspirée.”” (Emile Paul.)<br />
<br />
“La Comédie de celui qui épousa une femme muette.”<br />
(Calmann-Lévy.)<br />
<br />
‘Vers les Humbles.”” (Calmann-Lévy.)<br />
<br />
“Les Contes de Minnie.” (Plon.)<br />
<br />
** Hors du Foyer.’ (Editions du Temps present.)<br />
<br />
“La Poursuite du Bonheur.’ (Hachette.)<br />
<br />
“La Famille Impériale & Saint-Cloud et 4 Biarritz.”<br />
(Calmann-Lévy.)<br />
<br />
“ Bismarck et ?Eglise: Le Culturkampf.” (Perrin.)<br />
<br />
* Au Couchant de la Monarchie.’’ (Calmann-Levy.)<br />
<br />
**Mirabeau.” (Hachette.)<br />
<br />
“< Derniéres Pensées.”” (Hachette.)<br />
<br />
“La Science moderne et l’Anarchie.”’ (Stock.)<br />
<br />
<br />
<br />
a<br />
<br />
THE CANADIAN BOOK MARKET.<br />
<br />
—+—~>— + —<br />
<br />
HE article in the January issue of The<br />
Author, entitled ‘‘ The Book Market in<br />
Canada,” contains some _ interesting<br />
<br />
generalisations on the conditions existing there,<br />
especially those relating to the close proximity<br />
of the United States. There is no doubt that<br />
the representatives of United States publishers<br />
find the Dominion a favourable selling ground<br />
and an agreeable addition to their own exten-<br />
sive market. So do the representatives of<br />
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<br />
‘THE AUTHOR.<br />
<br />
British publishers, while at the same time the<br />
publishing houses of strictly Canadian origin,<br />
which are chiefly located in Toronto and Mon-<br />
treal, are doing a satisfactory and increasing<br />
business. The latter are probably making<br />
more extensive sales in Canada to retail book-<br />
sellers than either their American or their<br />
British rivals. As book-buyers, Canadians are,<br />
as a rule, better customers than Americans.<br />
An instance corroborating this statement is<br />
found in a recent declaration by a publisher’s<br />
salesman familiar with both markets. He<br />
said that Canadian cities—he instanced Lon-<br />
don, Ontario and Vancouver, 3B.C.—were<br />
worth for business purposes more than Ameri-<br />
can cities of double their population. The<br />
Canadians are free book-buyers, and while<br />
their purchases in this line run chiefly to fiction,<br />
they will compare favourably with the book-<br />
buyers of the United States in respect to the<br />
more serious departments of literature.<br />
<br />
The writer of the article referred to sketches<br />
very fairly the influence of the United States<br />
on Canada in reference to clothes and food.<br />
He might also have mentioned boots and shoes,<br />
since Canadians are not slow to take advantage<br />
of the fact that the Americans are the best<br />
makers of footgear in the world. He is also<br />
right in saying that a flood of ephemeral<br />
American literature is poured into Canada.<br />
The magazines of the United States are legion,<br />
and there is a great market for them in Canada,<br />
not only in the cities, but in all places where<br />
men are subduing the earth, either as agricul-<br />
turists, miners or prospectors. It may be<br />
suggested, however, that the large sale of<br />
these publications is rather in spite of their<br />
specially American characteristics than be-<br />
cause of them. McClure’s Magazine sells in<br />
Canada, not because it exploits the Standard<br />
Oil or other scandals, not because it deals in a<br />
trenchant way with other purely American sub-<br />
jects, but because it. prints stirring stories and<br />
articles of general interest.<br />
<br />
In like manner it will be found that the<br />
alleged strong influence of the United States<br />
will not sell a book in Canada which is, to use<br />
a phrase in common use in publishing circles,<br />
“too distinctly American.” The sale of a<br />
book depends on a complexity of causes, but<br />
so far as fiction is concerned, these are its<br />
human interest—apart from locality—and the<br />
possession of those characteristics which go to<br />
make up what is called the “ story element.”<br />
“David Harum” was turned down by one<br />
Canadian publisher because he thought it was<br />
“too American.’ But its subsequent large<br />
sale in Canada proved that its humour and its<br />
<br />
199<br />
<br />
story, though redolent of the United States,<br />
were of universal appeal. In like manner the<br />
novels of ‘‘ Ralph Connor,’ whatever may be<br />
thought of their literary quality, have sold as<br />
well in the United States as in Canada, the<br />
land of their production, or in England. On<br />
the other hand, American topographical and<br />
Civil War novels do not have a large sale in<br />
Canada, and it is not likely that they ever will.<br />
<br />
While, therefore, the author of the excellent<br />
article on ‘“‘ The Book Market in Canada ”’ is<br />
right in most of his conclusions, it may be<br />
submitted that he pushes too far the notion<br />
that the readers of Canada are controlled by<br />
American influences. A very large proportion<br />
of the books in the public libraries of Canada<br />
are of British origin, and in the reading rooms<br />
of those institutions the copies of the English<br />
reviews and magazines are always eagerly read.<br />
Canada welcomes good literature from every<br />
source, but the note of Canadian life is dis-<br />
tinctly British. The ideals of Imperial unity<br />
have an increasing hold on the people. Those<br />
ideals are fostered by Canada’s educational<br />
system, by her churches, by the boy scout and<br />
cadet movement, and by the provisions of the<br />
Canadian Militia Act. They are also stimu-<br />
lated by the annual migration of Canadian<br />
visitors to England.<br />
<br />
BernarpD McEvoy.<br />
<br />
—_____+—>—+___—_<br />
<br />
THE AGREEMENT OF MESSRS. JOHN<br />
CURWEN & SONS WITH MUSICAL<br />
COMPOSERS.<br />
<br />
—_ ++ —<br />
<br />
‘'N the July number of The Author last<br />
year an article was published under<br />
the heading ‘‘ Composers’ Agreements.”<br />
<br />
In that article, an agreement issuing from the<br />
offices of Messrs. John Curwen & Sons was<br />
printed, with the approval of the Committee<br />
of Management, and with sundry favourable<br />
comments. Since that date, owing to the<br />
change in the Law of Copyright, Messrs.<br />
Curwen & Sons have issued another agreement,<br />
which was brought to the notice of the Com-<br />
posers’ Sub-Committee of the Society. The<br />
fresh agreement has some important clauses<br />
inserted in it, and, owing to the insertion of<br />
these clauses, the sub-committee and the<br />
Committee of Management find it impossible<br />
to approve the agreement in its present form.<br />
Members are referred to the agreement as<br />
printed in The Author of July, 1912. In the<br />
first clause an important alteration has been<br />
<br />
<br />
200<br />
<br />
made. The original agreement was limited to<br />
publication in ‘‘ Great Britain and Ireland,<br />
its Colonies and Dependencies’; in the new<br />
agreement the publishers have added, “ and<br />
in foreign countries.” They have also added<br />
a clause dealing with performing rights, which<br />
runs as follows :—<br />
<br />
“That in consideration of an undertaking hereby<br />
given by the publishers that no charge shall be made for<br />
permission for performances of the work, and subject<br />
to the clauses hereinafter mentioned, the composer hereby<br />
agrees to sell and assign to the publishers the exclusive<br />
rights of performance during the whole period of the copy-<br />
right of the work.”<br />
<br />
and a clause dealing with the licence for<br />
mechanical reproduction, which runs as<br />
follows :—<br />
<br />
“That in consideration of the payments and subject<br />
to the clauses hereinafter mentioned, the composer hereby<br />
agrees to sell and assign to the publishers the exclusive<br />
licence for the mechanical reproduction of the work.”<br />
<br />
The Composers’ Sub-Committee wrote to<br />
Messrs. Curwen & Sons in the following<br />
terms :—<br />
<br />
“The Composers’ Sub-Committee of this Society con-<br />
sidered your letter of the 18th ult. at their meeting on the<br />
8th inst. They regret you do not see your way to accept<br />
the suggestion put forward by them. They desire to point<br />
out that under the Act of 1911 copyright includes the<br />
performing right and the right of mechanical reproduction,<br />
and they have always made it a point in these agreements<br />
that the composer should not give away either the right<br />
of performance or the right of mechanical reproduction,<br />
and that no agreement demanding such control as<br />
suggested by yourselves on behalf of the publisher could<br />
be approved by them as acting for the composer. The<br />
sub-committee see no necessity, even granting that the<br />
publisher shares in these rights, for the sole control to<br />
remain in his hands. In making this statement, the<br />
sub-committee do not allow that the publisher has any<br />
claim to either of these rights, or to a share of these rights<br />
which they do not make any attempt to market.<br />
<br />
“As your agreement was printed in The Author as<br />
receiving the approval of the Composers’ Sub-Committee,<br />
I am asked to say that it will be necessary to give in that<br />
magazine the same publicity to the view of our sub-<br />
committee on the present agreement you have put<br />
forward.”<br />
<br />
In answer to that letter the publishers have<br />
replied as follows :—<br />
<br />
“In reply to your letter of ... we shall have no<br />
objection to your printing our agreement in The Author<br />
with your comments, provided you make it clear that the<br />
agreement is one that is used in cases where it is agreed<br />
that no charge is to be made for the performing right,<br />
and that the rights of mechanical reproduction are to be<br />
shared. Where this is not the case our agreement would<br />
not, of course, contain these clauses.”<br />
<br />
While the meaning of the publishers’ letter<br />
is clear, we do not understand the reason of<br />
the statement, ‘‘ the agreement is. one that is<br />
used in cases where it is agreed that no charge<br />
is to be made for the performing right.” If<br />
<br />
THE AUTHOR. *<br />
<br />
no charge is to be made, and the composer is<br />
willing to endorse this statement—no doubt<br />
there are certain forms of music on which it<br />
would be very inadvisable for a composer to<br />
make any charge for the performing right—<br />
there seems to be no reason whatever why, in<br />
order to accomplish this, the composer should<br />
sell and assign the exclusive right of perform-<br />
ance to the publisher. It is just as easy to<br />
agree to make no charge on the performing<br />
right if that right is still held by the composer,<br />
as if it was held by the publisher, with this<br />
additional security to the composer that he<br />
would still have the control of his own property,<br />
and would know how to act in case of any<br />
infringements of his right. It cannot be too<br />
often repeated that it is most important in the<br />
question of performing rights that the com-<br />
poser should retain the control and should have<br />
the power to act on his own judgment.<br />
<br />
The latter part of the letter refers to another<br />
alteration in the agreement which we have not<br />
as yet quoted. Clause 10 runs :—<br />
<br />
‘The publishers shall pay the composer, his heirs,<br />
executors or assigns the sum of... of all moneys<br />
received by them in consideration of permission for the<br />
mechanical reproduction of the work, and shall make<br />
such payment within one calendar month from the time<br />
such moneys are received.”<br />
<br />
This says that some portion-—not men-<br />
tioned—of the mechanical reproduction rights<br />
is to be handed over to the publisher. If<br />
the composer is unbusinesslike enough to allow<br />
the publisher to take a certain portion of the<br />
rights of reproduction on mechanical instru-<br />
ments (several articles have been written in<br />
The Author dealing with this point), there is<br />
no reason why these reproduction rights<br />
should be transferred to the music publisher.<br />
It is just as easy for the composer to retain<br />
control of these rights, and allow the publisher<br />
to have a certain portion of them, as it is to<br />
convey them all to the publisher, who would<br />
then have the absolute control. Indeed, it<br />
is much more important that the composer<br />
should have this control, for it may be that<br />
he does not desire his work to be reproduced<br />
on. mechanical instruments at all; or it may<br />
be that he wants to sell them for a sum of<br />
money out and out; or it may be—which is<br />
much more probable—that he does not want<br />
the publisher to have any share in that pro-<br />
perty which does not belong to him.<br />
<br />
It is on account of these very serious and<br />
important alterations that the Committee of<br />
Management have been forced to withdraw<br />
their approval of the agreement in its modified<br />
form.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
THE COMMON-SENSE OF FREE-LANCING.<br />
<br />
1<br />
By an Eprror.<br />
<br />
(A Repty To “THE Sorrows OF A FREE-<br />
Lance” in “ Tae Autuor,”’ Marcu 1).<br />
<br />
OME time ago I read in one of the<br />
morning papers the account of a<br />
bank clerk who gave up his situation<br />
<br />
(he was earning £3 a week, and living at home),<br />
and came to London to try free-lance<br />
journalism. He began idiotically by taking<br />
a room in Holborn at a rental of a sovereign<br />
a week, and finished by writing advertisements<br />
for whatever stray shillings he could obtain.<br />
I have been wondering, since reading the<br />
article by ‘A Free-Lance’’ in the March<br />
Author, whether the writer of that lugubrious<br />
and misleading story is any better equipped in<br />
the item of common-sense than the poor clerk.<br />
To begin with, the very best way to gain an<br />
editor’s attention is to post articles to him;<br />
when ‘‘ Free-Lance’”’? mentions the “ fearful<br />
postage expense to the author,” he simply<br />
shows that he was never intended by nature<br />
for any situation save one, where the plums<br />
drop straight into his mouth. If he cares to<br />
read my personal experience it may be of<br />
interest to him. I came from the West<br />
country, having for twelve months made a<br />
few extra guineas by verse and short story<br />
work. On the day of my arrival I took a<br />
room within a twopenny "bus ride of the City,<br />
at a rent of 10s. per week, including fires—<br />
for it was winter. And then I wrote. What<br />
hours of effort, of grim despondency, of glorious<br />
exhilaration, that little ‘‘ bed-sitter’? knew!<br />
And what teas, when the young artist, who<br />
lived in the room below, came upstairs to<br />
exchange chatter and to tussle with me at<br />
chess; what chaff, when a chance friend, a<br />
reporter (now a well-known sub-editor) called<br />
to tell me of his escapades, and to charm me<br />
back to good cheer ‘with his irresistible stories ;<br />
what conversations with the kindred spirits<br />
who loved Keats, Meredith, Francis Thompson,<br />
who held opinions on Shaw, Chesterton, Henry<br />
James, and everything under the sun, and ex-<br />
pressed them pithily and sometimes profanely !<br />
Soon, pace ‘“‘ A Free Lance,” without once<br />
interviewing a single editor, or sending any<br />
preliminary letters, and with not one intro-<br />
duction, I began to have a fair number of<br />
items accepted. The grave and_ benign<br />
Spectator honoured me several times by taking<br />
an article, and once by commissioning an essay :<br />
the Academy, the Outlook, Punch, the World,<br />
the Pall Mail and Westminster, opened their<br />
<br />
<br />
<br />
201<br />
<br />
f<br />
<br />
columns tome. Two or three papers wrote<br />
asking me tocall. On one occasion the editor<br />
of an old-established weekly telegraphed to<br />
know if I could let him have a sonnet ona<br />
national event by three o’clock the same<br />
afternoon. It was in the printers’ hands by<br />
the hour mentioned ; but I sincerely trust that<br />
never again shall I have to write a sonnet, a<br />
really respectable sonnet, against time. For<br />
three years this true friend—a dear, courtly<br />
old man, who died not long ago—took topical<br />
humorous verse from me almost every week,<br />
beside very many stories. Then came review-<br />
ing, plenty of it, without asking.<br />
<br />
In journalism, perhaps more than in any<br />
other profession, one thing leads to another ;<br />
the unfamiliar name, seen with a strong<br />
article or story, becomes talked about in the<br />
offices. Let a free-lance once give way to<br />
depression, and he might as well finish with<br />
his work. Let him worry over “ fearful<br />
postal expense,’’ and he may resign; one of<br />
my articles was refused by nineteen papers<br />
and accepted by the twentieth—the Spectator ;<br />
of course, it had been retyped several times.<br />
<br />
This brings me to the purchase of my type-<br />
writer, which saved me at once five or six<br />
shillings a week—for I never sent a hand-<br />
written article out on any consideration ;<br />
excepting, naturally, an urgent immediate<br />
commissioned one. That machine paid for<br />
itself several times over; it “did” a couple<br />
of novels without a pennyworth of repairs ;<br />
and both the novels were published at the<br />
publisher’s expense.<br />
<br />
Now, by a turn of the wheel, I read other<br />
people’s contributions instead of writing my<br />
own—though to all editors comes the task of<br />
an occasional article or review. And I read<br />
these piles of essays and poems, typed or<br />
scribbled, all the more sympathetically<br />
because I know exactly what some of their<br />
writers are going through in the way of hope<br />
deferred. Hundreds of them had better be<br />
tinkers, tailors, soldiers, sailors—especially the<br />
“poets ’?; but everything is read. It has<br />
been said a thousand times (yet no free-lance<br />
believes it!) that editors are on the look-out<br />
for good, original stuff; and it is perfectly<br />
true; at the same time, let the free-lance<br />
remember that there are a dozen reasons<br />
why his article may come back to him. Many<br />
papers, for example, have verse enough<br />
accepted for ten or twelve weeks ahead, or<br />
readable ‘“‘ middles”” have reached a goodly<br />
pile; then the editor, however, sympathetic<br />
he be, must relentlessly send back everything<br />
since his paper is not elastic.<br />
<br />
<br />
<br />
<br />
202<br />
<br />
The one charmingly sane remark of “A<br />
Free Lance’? concerns the interviewing of<br />
editors. The visiting contributor is nearly<br />
always a bore; sometimes he—or she—is a<br />
lunatic, apparently. Only a few weeks ago<br />
a lady passed, by guile, into my office, and<br />
began unpacking a small portmanteau; its<br />
sole contents were poems, neatly confined<br />
in scores or dozens, by elastic bands. Another<br />
time a soiled gentleman penetrated to the<br />
sanctum with a brown paper parcel under his<br />
arm that suggested the week’s washing; it<br />
also contained innumerable sheets of poetry.<br />
According to him it was poetry; according<br />
to the critical standard it was not. People<br />
who bring articles, generally omit to leave a<br />
stamped envelope, and write pathetically a<br />
few weeks after, wondering why they have not<br />
received a cheque. No editor cares to read a<br />
contribution while the writer waits. Person-<br />
ally, if an essay seems near the mark, but<br />
uncertain, I set it aside and read it again after<br />
the lapse of a day or two; I know many<br />
editors, and they are all, without exception,<br />
conscientious in reading everything that<br />
reaches them.<br />
<br />
With regard to the observations of ‘‘ A Free<br />
Lance’ on the difficulty of obtaining pay-<br />
ment, and the period that may elapse before<br />
publication, does he expect his editors to<br />
enquire solicitously when he would like his<br />
contribution to appear? They have some-<br />
thing better to do. Certain papers are risky ;<br />
they are well known, and contributions are in<br />
any case sent ‘“‘at owner’s risk.” With the<br />
good papers publication is a sufficient<br />
guarantee of payment. Let ‘“‘ A Free Lance ”<br />
amend his ways, and his sorrows, dear man,<br />
will dwindle to vanishing-point.<br />
<br />
<br />
<br />
+> —_____<br />
<br />
BRITISH COPYRIGHT IN CANADA.<br />
—_—+—> + —<br />
[Reprinted from the “* Musical Times” by kind<br />
permission of the Editor. |<br />
<br />
AN INJUNCTION GRANTED TO RESTRAIN THE<br />
ImporTATION INTO CANADA OF BRITISH<br />
CopyricnHt Music REPRINTED IN THE<br />
UNITED STATES.<br />
<br />
A judgment of far-reaching consequences was<br />
delivered on February 14 ult. by the Honour-<br />
able Mr. Justice Middleton in the High Court<br />
Division of the Supreme Court of Ontario.<br />
<br />
The plaintiff was Mr. Oliver Hawkes, of the<br />
well-known London firm of Hawkes & Son,<br />
and the defendants were a prominent Toronto<br />
firm of music dealers and publishers. The<br />
<br />
THE AUTHOR.<br />
<br />
complaint was that the defendants had in-<br />
fringed the plaintiff's copyright by importing<br />
into Canada an American reprint of one of<br />
the plaintiff's publications, which—although<br />
it enjoyed no copyright in the United States<br />
of America—was nevertheless protected in<br />
Canada by virtue of the provisions of the<br />
British Copyright Acts.<br />
<br />
Under the British Copyright Law everything<br />
that is copyright in Great Britain is ipso facto<br />
copyright in Canada. It was therefore origin-<br />
ally unlawful for anyone to import into Canada<br />
a foreign reprint of a work first published in<br />
Great Britain. But by a British Act passed<br />
in the year 1847, the British Colonies were<br />
enabled to import such foreign reprints on<br />
condition that they passed a local law designed,<br />
to compensate the British proprietor of the<br />
copyright. Canada in 1850 duly passed such<br />
a law, fixing the duty to be levied on the<br />
imported copies at 124 per cent. ad valorem<br />
for the benefit of the British owner, and by<br />
Orders in Council of December 12, 1847, and<br />
of July 7, 1868, the clauses in the British<br />
Acts against importation of foreign reprints<br />
were suspended as regards Canada.<br />
<br />
In consequence of a clause in the British<br />
North America Act (1867), which conferred<br />
upon Canada the right to legislate in Canada<br />
on the subject of copyright, serious disputes<br />
arose between the Mother Country and the<br />
Colony as to the nature and extent of that<br />
right. The Canadian Government maintained<br />
that Canada was entitled to legislate for<br />
its own territory, even to the exclusion of<br />
the British Copyright Acts. Consequently<br />
Canada, having in 1875 passed a local Act<br />
which conferred Canadian copyright only on<br />
condition that the work was printed and<br />
published in Canada, claimed that unless<br />
British works were so printed and published,<br />
they lost all their rights in Canada, and that<br />
foreign reprints might be imported from the<br />
United States without restriction. The British<br />
contention had always been that the British<br />
North America Act had only enabled Canada<br />
to legislate for the copyright of works of<br />
Canadian origin, and that Canadian copyright<br />
legislation could have no effect on any British<br />
work first published outside Canada. The<br />
point was finally settled against Canada in<br />
the Canadian case of Smiles v. Belford.<br />
<br />
More recently another attempt was made<br />
to get round the decision in Smiles v. Belford.<br />
There is a provision in the British Customs.<br />
Consolidation Act of 1876 that the importa-<br />
tion of foreign reprints into British Colonies:<br />
can only be restrained when the Colonial<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THER AUTHOR.<br />
<br />
9 (Customs have been duly notified that a copy-<br />
<br />
of right, in any given case, exists. There is,<br />
<br />
4 however, an exception in the Act which renders<br />
<br />
such notification unnecessary in cases where a<br />
<br />
» Colony has made entire provision for the<br />
<br />
: management and regulation of its own Customs.<br />
<br />
i In the important case of Adam & Charles<br />
<br />
} Black v. The Imperial Book Company it was<br />
<br />
, decided that Canada had made such a pro-<br />
<br />
211 vision, and that consequently importations of<br />
<br />
rch British copyright works from the United<br />
<br />
-~* States into Canada could be restrained without<br />
<br />
“any previous notification to the Canadian<br />
<br />
a) Customs that a copyright existed. Eventually<br />
<br />
+ im 1894, Canada passed a Customs Act under<br />
<br />
‘+ which she formally declined to collect the<br />
<br />
ef 123 per cent. duty, which in 1850 she had<br />
<br />
FAs aindertaken to collect for the benefit of the<br />
<br />
sce British owner, but which in fact she had never<br />
») troubled to collect.<br />
<br />
The question then became a simple one.<br />
4° The British owner was no longer fettered by<br />
ied the British Act of 1847 and the Orders in<br />
‘oD Council thereunder; for Canada had repu-<br />
=> diated her obligation to collect the duty.<br />
<br />
‘ ‘And the case of Adam & Charles Black v. The<br />
eet L Imperial Book Company had decided that<br />
©: importation of reprints of British copyrights<br />
. could be restrained without any notice to the<br />
s) Canadian Customs. The field was therefore<br />
<br />
j thrown open for a test action such as that of<br />
if ‘Hawkes v. Whaley, Royce & Company. In<br />
sald that case the contention of the British copy-<br />
») right holder has been completely vindicated,<br />
<br />
and the decision is of such importance to all<br />
it who are interested in the protection of British<br />
<br />
» copyright property, that we print the Order of<br />
/) ithe Court in full, with the object of giving it<br />
‘48 additional publicity.<br />
<br />
In THE SUPREME CouRT OF ONTARIO.<br />
Hicu Court Division.<br />
<br />
Tur HoNouURABLE Friday, the Four-<br />
<br />
“Mr. JusticE MIDDLETON teenth day of<br />
February, 1913.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
“BETWEEN :<br />
Oliver Hawkes, Plaintiff.<br />
and<br />
Whaley, Royce & Company, Limited,<br />
Defendants.<br />
Upon motion made unto this Court this day<br />
‘by counsel for the plaintiff in the presence of<br />
counsel for the defendants, and upon hearing<br />
read the Writ of Summons herein and the<br />
‘notice of motion served, and the affidavit of<br />
‘Frederick Harris filed in support of the motion,<br />
and the affidavit of Eri Whaley in answer, and<br />
vupon hearing what was alleged and counsel<br />
<br />
208<br />
<br />
f<br />
<br />
for both parties consenting that this motion<br />
be turned into a motion for judgment and<br />
that judgment be entered as_ hereinafter<br />
provided,<br />
<br />
1. Tus Court poTH ORDER AND ADJUDGE<br />
that the defendants, their officers, servants<br />
and agents, be and they are hereby perpetually<br />
restrained until after the expiry of the plain-<br />
tiff’s copyright in and for the British Do-<br />
minions now existing in the musical book or<br />
publication known as ‘Otto Langley’s Tutor<br />
for the Violin,’ from printing or causing to be<br />
printed, or importing for sale or selling,<br />
publishing or exposing for sale or hire or<br />
causing to be sold, published or exposed for<br />
sale or hire, or from having in their possession<br />
for sale or hire without the consent of the<br />
plaintiff any copy or copies of reprints of the<br />
plaintiff's said publication published by one<br />
Carl Fischer of the City of New York in<br />
infringement of the plaintiff's said copyright,<br />
under the title of ‘Otto Langley’s New and<br />
Revised Edition of Celebrated Tutor to Violin,’<br />
or any other reprints or copies of plaintiff's<br />
said copyright.<br />
<br />
2, ANpD TuIS COURT DOTH FURTHER ORDER<br />
AND ApJuDGE that the defendants do pay to<br />
the plaintiff his costs of this action, including<br />
costs of this motion, forthwith after taxation<br />
thereof.<br />
<br />
Judgment signed this<br />
<br />
14th day of February, 1913.<br />
<br />
——___—_—>—e_<_<br />
<br />
MAGAZINE CONTENTS.<br />
eg<br />
British REVIEW.<br />
Munchausen: The German Comic Giant.<br />
<br />
George.<br />
The Poetry of Alice Meynell. By Albert A. Cock.<br />
<br />
ENGLISH.<br />
Poem: Aphrodite at Leatherhead. By John Helston,<br />
Synge. By Lady Gregory.<br />
The Brain Thief. By Haldane McFall.<br />
The Commercial Side of Music. By G. Herbert Thring.<br />
Ragtime: The New Tarantism. By Francis Toye.<br />
NATIONAL,<br />
The Post Impressionist.<br />
<br />
By W. L.<br />
<br />
<br />
<br />
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ema<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.]<br />
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Twelve Insertions.<br />
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All letters respecting Advertisements should be addressed to J. F.<br />
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per inch 0<br />
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<br />
HOW TO USE THE SOCIETY.<br />
— 1 —<—4$-——<br />
<br />
1, VERY member has a right toask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
8. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
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<br />
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Members are strongly advised not to accept without careful<br />
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<br />
7, Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
This<br />
The<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
a Se coh SaeeeeEemmneee!<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
<1<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement, There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
THE AUTHOR.<br />
<br />
. doctor !<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
C1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements,<br />
<br />
(3.) Not to allow a special charge for ‘office expenses,”’<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :— :<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld,<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
——_——__+———__- —_____—_<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—+— +<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :— :<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory, An author who enters inte<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
<br />
percentage on the sliding seale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum inadvance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (‘.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (3.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10, An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
2 gg<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
—— $<<br />
<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
<br />
<br />
205<br />
<br />
DRAMATIC AUTHORS AND~ AGENTS.<br />
—_+-—~<9—+<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual elaim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
<br />
<br />
<br />
=<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
<br />
<br />
ITTLE can be added to the warnings given for the<br />
T. assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
———————<br />
<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe, The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
—_—___+——+-—____—<br />
<br />
THE READING BRANCH.<br />
<br />
a gc<br />
EMBERS will greatly assist the Society in this,<br />
\ branch of its work by informing young writers<br />
of its existence. Their MSS, can be read and,<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works, The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
i<br />
<br />
REMITTANCES.<br />
<br />
So<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered |<br />
letter only.<br />
<br />
<br />
206<br />
COLLECTION BUREAU.<br />
<br />
—t+~< +<br />
<br />
HE Society undertakes to collect accounts and moneys<br />
<br />
j due to authors, composers and dramatists.<br />
<br />
1. Under contracts for the publication of their<br />
works.<br />
<br />
2. Under contracts for the performance of their works<br />
and amateur fees.<br />
<br />
3. Under the Compulsory Licence Clauses of the Copy-<br />
right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause 19, referring to mechanical instrument<br />
records.<br />
<br />
The Bureau is divided into three departments :—<br />
<br />
1. Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amount passing through the<br />
office, the expenses are more than covered, the Committee<br />
of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
The Bureau is in no sense a literary or dramatic<br />
agency for the placing of books or plays.<br />
<br />
CHANGE OF ADDRESS.<br />
ere<br />
From March 1, the Society’s Offices will be<br />
<br />
at No. 1, Central Buildings, Tothill Street,<br />
‘Westminster, S.W.<br />
<br />
<br />
<br />
GENERAL NOTES,<br />
<br />
<br />
<br />
Tue AUSTRALIAN CopyricHT Act.<br />
<br />
WE have to thank the Colonial Office for its<br />
courtesy in supplying the Society with a copy<br />
of the Australian Copyright Act. We endea-<br />
voured to obtain it in other directions, but this<br />
is the first copy that has come to hand. We<br />
have pleasure in laying it before members in<br />
the form of a supplement.<br />
<br />
The careful perusal of the Act will show that<br />
on the whole it is satisfactory. The schedule<br />
referred to has been omitted, as the British<br />
Copyright Act was printed as a supplement to<br />
the July number (1912) of The Author. The<br />
Clauses referring to summary proceedings need<br />
the careful attention of all members of the<br />
Society. It will be seen on comparison with<br />
the Clauses in the English Act that they give<br />
a much wider protection. This is satisfactory,<br />
for the Clauses referring to summary pro-<br />
<br />
THE AUTHOR.<br />
<br />
ceedings in the British Act were ruthlessly, and<br />
in many cases quite unwarrantably, cut down,<br />
leaving a very poor chance of recovery for<br />
infringement ; but members must also note<br />
that these Clauses in the Australian Act<br />
cannot be enforced unless the literary work or<br />
dramatic piece has been duly registered in<br />
Australia. This has its disadvantages, but<br />
also its advantages. Its disadvantages arise<br />
owing to the trouble necessary to carry<br />
through the registration, though the matter is<br />
not very complicated. Its advantages are<br />
that such registration affords prima facie<br />
evidence in the Australian Courts that the<br />
author is the owner of the copyright, and it<br />
will not, therefore, be necessary for him to<br />
prove his title in the Australian Courts. It<br />
might be a matter of considerable difficulty to<br />
prove a titleif it was necessary, as it is necessary<br />
when summary proceedings are taken, to carry<br />
the matter through rapidly.<br />
<br />
Tue AMERICAN PRINTING TRADE.<br />
<br />
From the March number of Chicago Dial,<br />
we quote a very interesting passage referring<br />
to the increase of papers in the United States<br />
and Canada. We wonder how these statistics<br />
compare with the statistics in Great Britain.<br />
It seems extraordinary that in a great in-<br />
dustrial nation like the United States the<br />
printing and publishing industry is exceeded<br />
in number of employees and value of product<br />
by only four other industries.<br />
<br />
“The growth of the periodical press seems to keep pace<br />
with the growth of the world’s population. In the United<br />
States and Canada, for example, there was in 1912 a birth-<br />
rate of newspapers and periodicals amounting to more than<br />
five each week day ; that is, 1686 new publications started<br />
into being. But the death-rate was so nearly equal to the<br />
birth-rate that the net increase for the year was only<br />
thirty-six, about equally divided between this country and<br />
our northern neighbour, and chiefly confined to the field of<br />
daily journalism. So largely are we Americans a nation of<br />
readers that the printing and publishing industry is<br />
exceeded, in number of employees and value of product, by<br />
only four other industries—or so the statisticians assure us.<br />
In the last ten years the value of the annual output of<br />
printed matter in America has increased by more than<br />
eighty-six per cent. Nearly every trade and industry has<br />
its one or more periodicals, and the whole mass of<br />
periodical publications is divided into 208 classes, with the<br />
weekly issues of all sorts in a large majority. A study of<br />
the ‘American Newspaper Annual and Directory’<br />
impresses one with the magnitude of the industry that<br />
supplies to thousands of energetic Americans practically<br />
all the reading matter they ever avail themselves of.”<br />
<br />
————<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
UNITED STATES NOTES.<br />
<br />
——<br />
<br />
T the joint session last December of the<br />
American Academy of Arts and Letters<br />
and the National Institute of Arts and<br />
<br />
Letters (the body from which the Academi-<br />
cians are chosen) the president, Dr. Henry<br />
Van Dyke, deprecated the idea that the<br />
company present was one of “ self-appointed<br />
inheritors of mortal celebrity ’”’—all members<br />
of either society being chosen by the votes of<br />
their competitors and rivals. It was natural<br />
and proper that such a disclaimer should be<br />
made in an assembly of this kind, for no one<br />
knows better than literary men how divergent<br />
are the judgments of the day and of posterity<br />
respectively upon books and their writers.<br />
How many of to-day’s geniuses—or, to put the<br />
matter on a lower plane, to-day’s best-sellers—<br />
will be found hereafter in the list of the real,<br />
not the academic, immortals ? Only a publisher<br />
or a second-rate critic can, with any appearance<br />
of confidence, hail a work as “‘ the greatest<br />
novel ” (or whatever it may be) since this or<br />
that masterpiece, as “a book that is destined<br />
to live,” and so on. Perhaps posterity will<br />
preserve some of those volumes to which<br />
allusion has now to be made, but here it only<br />
falls to my lot to record their names and their<br />
authors.<br />
<br />
Fiction, as usual, comprises by far the<br />
largest section. Two dead writers are repre-<br />
sented in David Graham Phillips’s ‘‘ George<br />
Helm” and Myrtle Read’s ‘“‘The White<br />
Shield ’—the latter a collection of short tales.<br />
Robert W. Chambers has two works to his<br />
name, “‘ Blue Bird Weather” and “ The Gay<br />
Rebellion,” a skit on the suffragettes. L. J.<br />
Vance’s new book is “‘ The Day of Days” ;<br />
Booth Tarkington’s, “The Flirt” ; Edith<br />
Wharton’s, “The Reef’; Charles Egbert<br />
Craddock’s, ‘* The Ordeal”’; Margaret Deland’s,<br />
“The Voice’; Payne Erskine’s, “ Joyful<br />
Heatherby’”’?; Gouverneur Morris’s, ‘‘ The<br />
Penalty’’; Randall Parrish’s, ‘‘ Gordon Craig,<br />
Soldier of Fortune.” Hallie Erminie Rives<br />
had brought out ‘“‘ The Valiants of Virginia,”<br />
Ridgwell Cullum ‘‘ The Night Riders,” Mary<br />
Thompson Daviess ‘‘ Andrew the Glad,”<br />
H. S. Harrison (author of Queed) ‘“ V. V.’s<br />
Eyes,” John Fox, jun., ‘‘ The Heart of the<br />
Hills,’ Montagu Glass ‘‘ Elkan Lubliner,<br />
American,” and Will Irwin ‘‘ Where the Heart<br />
is.<br />
<br />
With ‘“‘ The Lady and Sada San,” Frances<br />
Little jumped into the envied list of best<br />
sellers before the end of 1912, though too late<br />
<br />
<br />
<br />
207<br />
<br />
to be mentioned in the last issue of these Notes.<br />
Theodore Dreiser’s “*The Financier” and<br />
H. L. Wilson’s ‘“ Bunker Bean,” are two<br />
novels, very different in kind, that have<br />
attracted a lot of attention. Nor must notice.<br />
be omitted of the following :—‘** Paul Rundel,”’<br />
by W.N. Harben, ‘‘ A Jewel of the Seas,” by<br />
Jessie Kaufman, ‘‘ The Olympian,” by James.<br />
Oppenheim, “ The Harbor of Love,” by R. H.<br />
Barbour, *“* A Living Legacy,.”” by Ruth Under-<br />
wood, ‘** Concerning Sally,”’ by W. J. Hopkins,<br />
“Madison Hood,” by Hamilton Drane, ‘*‘ Which<br />
One?” by R. A. Bennet, “The Locusts’<br />
Years,” by Mary H. Fee, “ Jack Lorimer,<br />
Freshman,” by W. L. Sawyer, ‘‘ Miss Jimmy,”<br />
by Laura Richards, “Sally Castleton,<br />
Southerner,” by Crittenden Mariott, ‘‘ The<br />
Shadow,” by A. Stringer, and ‘‘ Everbreeze,”’<br />
by Mrs. S. P. McLean. “The Lost Million ” is<br />
a sensational tale by Winthrop Alder—which<br />
is stated to be the pseudonym of a well-known<br />
author. Two collections of short stories are<br />
J. R. Scott’s ‘‘ The First Hurdle and Others,”<br />
and Mrs. L. B. Van Slyke’s ‘“ Eve’s Other<br />
Children.’ Lastly, if it is to be classed under<br />
Fiction, George Ade’s latest is “‘ Knocking the<br />
Neighbours.”<br />
<br />
As this goes to the printers I have time to<br />
include in my list three more novels, published<br />
early in March :—‘ Pollyanna,” by Eleanor<br />
H. Porter; ‘‘ The Case of Jennie Brice,” by<br />
Mary Roberts Rinehart ; and ‘‘ The Poisoned<br />
Pen,” by Arthur B. Reeve.<br />
<br />
In comparison with the swarm of novels, the<br />
list of biographical works is very small, even.<br />
if it be made to cover personal reminiscences.<br />
John Van de Zee Sears has published ‘‘ My<br />
Friends at Brook Farm.” J. K. Hosmer’s<br />
“The Last Leaf,” and Hubert Howe Bancroft’s<br />
‘“‘ Retrospection ” are both the results of the<br />
life-long observation of two old and respected<br />
Americans. The title of George Iles’s<br />
‘‘ Leading American Inventors ”’ sufficiently<br />
explains the book. Of the ‘“ Writings of<br />
John Quincy Adams,” edited by W. C. Ford,<br />
the first volume has just appeared. In<br />
“Lincoln’s Own Stories”? Anthony Goss<br />
illustrates Abraham Lincoln’s life by means of<br />
authentic stories told by and of him.<br />
<br />
Under History we find ‘The History of<br />
Plymouth Plantations, 1620—1647,” by<br />
Governor William Bradford ; ‘‘ The Sunset of<br />
the Confederacy,” by Morris Scaff; ‘* The<br />
Elmira Prison Camp,” by C. W. Holmes ;<br />
and “The Unseen Empire,” by Dr. D. S.<br />
Jordan, who characterises his work in his<br />
sub-title as “a study of the plight of nations<br />
that do not pay their debts.”<br />
<br />
<br />
208<br />
<br />
Description and Travel have a longer list,<br />
among which may be noted the following :<br />
“The Beginnings of San Francisco,” by<br />
Z. S. Eldridge, and ‘‘ San Francisco as it was,<br />
as it is, and how to see it,” by Helen Purdy ;<br />
“The Colonial Homes of Philadelphia and its<br />
Neighbourhood,” by H. D. Eberlein and<br />
H. M. Lippincott ; “* Boston, New and Old,”<br />
by T. R. Sullivan; ‘‘ Panama,” by C. W.<br />
Burris, and “Panama Canal: What it is,<br />
What it Means,” by John Barrett; ‘“* The<br />
Awakening of the Desert,” by J. C. Birge ;_ and<br />
“Seeing Europe on Sixty Dollars,” by W. F.<br />
Fauley. ‘‘ Old Chinatown ”’ is a collection of<br />
ninety-two pictures by Arnold Genthe, with<br />
an accompanying letterpress by Will Irwin.<br />
In ‘“‘ Myths of the Modoes,” Jeremiah Curtin<br />
deals with an Indian tribe in California and<br />
Oregon. The former state is treated more<br />
generally in the late Bradford Torrey’s<br />
“Field Days in California.” ‘A Mexican<br />
Journey,” by E. H. Blichfeldt, is decidedly<br />
topical just now.<br />
<br />
Of books on social subjects first place may<br />
be given to President Woodrow Wilson’s “ The<br />
New Freedom.” Bishop C. B. Brewster writes<br />
of “ The Kingdom of God in American Life.”<br />
In “ The End of Strife : Nature’s Laws applied<br />
to Incomes,” J. W. Batdorf proposes a federal<br />
income tax to meet the problem of the con-<br />
comitant rise of prices and decrease of income.<br />
“‘ Industrial Combinations and Trusts” is by<br />
Dr. W. S. Stevens, of Columbia University.<br />
‘‘The Temper of the American People” is<br />
the title of a work by G. T. Smart; and in<br />
“« American Social and Religious Conditions ”<br />
the Rev. Charles Stelzle attacks a similar<br />
subject.<br />
<br />
‘* Americans and Others ” (Agnes Repplier)<br />
and “‘The American Mind” (Bliss Perry)<br />
resemble the last two books in their titles, but<br />
are cast in the form of Essays. Under this<br />
head may be placed John Burroughs’s “ Time<br />
and Change”; Irving Babbitt’s “ Masters<br />
of Modern French Criticism’’; Brander<br />
Matthews’s ‘‘ Gateways to Literature’’; and<br />
Mrs. L. C. Pickett’s ‘* Literary Hearth-Stones<br />
of Dixie,’ though this is semi-biographical.<br />
<br />
Two learned works are “ Tiglath Pileser<br />
III.,” by Professor A. S. Anspacher (Columbia<br />
University), and ‘‘ The Inner Life and the<br />
Tao-Teh-King,’ by C. H. A. Bjerregoard,<br />
Librarian of the New York Public Library.<br />
Learned in a different way from either of<br />
these is ‘‘The Birds of Eastern North<br />
America,” by C. A. Reed, with illustrations in<br />
colour of every bird common to the United<br />
States and Canada.<br />
<br />
THE AUTHOR.<br />
<br />
There are always some new books by women<br />
on the feminist movement in every season’s<br />
list in the States nowadays. Two may be<br />
singled out here among recent publications,<br />
“* Why Women are So,”’ by Mrs. M. E. Coolidge,<br />
and ‘‘ The Business of being a Woman,” by<br />
Ida M. Tarbell. A male writer who handles<br />
the subject is Professor E. T. Devine, occupant<br />
of the chair of social economy at Columbia<br />
University. ‘‘ The Family and Social Work ”<br />
is the style of his volume.<br />
<br />
At the above-mentioned joint session of the<br />
Academy and Institute of Arts and Letters,<br />
Dr. Van Dyke lamented the literary and<br />
artistic losses of the past year, including<br />
numerous members of the two societies.<br />
Death continues to make inroads upon the<br />
ranks of American writers. Too late to<br />
include in the obituary section of these notes<br />
last January were the losses of Whitelaw<br />
Reid (of whom it is superfluous for me to say<br />
anything now); of Will Carleton, the poet, who<br />
had attained to the age of sixty-seven years<br />
when he succumbed to illness last December ;<br />
and of Mrs. Laura Case Collins, who was<br />
eighty-six and had become but a name to<br />
modern readers. Right at the end of the<br />
year died General Theophilus Francis Roden-<br />
bough, who wrote a number of books and<br />
edited an American military journal. In<br />
January Mrs. Julia Ripley Dorr, a poetess<br />
and a friend of Emerson, Longfellow, Holmes<br />
and Lowell, died at the age of eighty-eight.<br />
The February obituary includes Anne Warner<br />
French, in England, on the 1st of the month ;<br />
Mrs. Irene Benson, a writer of juvenile books,<br />
on the 6th; Charles Major, author of ** When<br />
Knighthood was in Flower,” on the 18th;<br />
Cincinnatus Heine (‘“‘ Joaquin ’’) Miller, univer-<br />
sally known as the ‘“ Poet of the Sierras,”” on<br />
the 17th; and about the same time William<br />
de Lancey Ellwanger, another poet. It is<br />
a curious fact with regard to many of those<br />
whose decease is recorded here that they<br />
lived so long. Two octogenarians have been<br />
mentioned, and Joaquin Miller was seventy-<br />
one. In comparison Major and Ellwanger<br />
were young at fifty-six and fifty-seven.<br />
<br />
Pirie WALSH.<br />
<br />
$< ——__<br />
<br />
THE AGENT LITERARY AND DRAMATIC.<br />
—— +<br />
<br />
5 ua literary agent must enjoy towards<br />
<br />
the author a position of great confi-<br />
<br />
dence and great responsibility. He<br />
<br />
is responsible not merely for protecting the<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
author adequately from the publisher, the<br />
editor or the manager, should such protection<br />
be necessary, but he has also to see that in all<br />
his own dealings the author is kept fully<br />
informed ; it is necessary that the position of<br />
great confidence is not betrayed—it is not<br />
merely a negative honesty, but a positive<br />
virtue that is looked for.<br />
<br />
The value of the agent is much discussed,<br />
but in many cases his services are useful,<br />
and in some quite valuable; but from<br />
information received by the Society of Authors<br />
it would seem that he should be sometimes<br />
protected against himself.<br />
<br />
First he should, before commencing to<br />
work for an author, make a fair and reasonable<br />
agreement. The question immediately arises,<br />
‘What is a fair and reasonable agreement ? ”<br />
If a solicitor is employed to draft a contract,<br />
he is paid a fixed fee for the work done. Ifa<br />
land-agent or house-agent is employed to<br />
let a property, he also is paid a fixed percentage<br />
on the first year’s rent obtained for his client.<br />
To a certain extent the literary agent combines<br />
the two positions, that of the man who finds a<br />
market, and that of the man who draws up<br />
the contract. If he is a good literary agent,<br />
he ought to have the necessary knowledge<br />
to a greater extent than the ordinary solicitor.<br />
The legal principles are not so much in question<br />
as the practical details.<br />
<br />
The literary agent, however, does not claim<br />
a fixed fee, and he does not claim a commission<br />
over a fixed term of years. In marketing and<br />
drafting a licence for the publication of 4<br />
work, or for the production of a drama, he<br />
claims a percentage on the returns, during the<br />
legal term of copyright, that is the life of the<br />
author and for fifty years afterwards. The<br />
| question naturally arises, “ Is this a fair and<br />
reasonable contract?” It may be in some<br />
cases, in others it is distinctly unreasonable.<br />
The Dramatic Sub-Committee of the Society<br />
of Authors and a specially selected Sub-Com-<br />
mittee each drafted a contract with agents.<br />
The first was a contract for the placing of a<br />
drama, and the second a contract for the<br />
placing of a book. Both of these sub-<br />
committees came to the conclusion that a<br />
fixed percentage, until the amount reached a<br />
settled sum, was the only fair and reasonable<br />
agreement with the literary agent for the<br />
double work of finding a market and drawing<br />
up a contract. The members of the Society<br />
are strongly advised to keep this opinion before<br />
them.<br />
<br />
The question is one of great importance,<br />
because in some cases an author, ignorant of<br />
<br />
209<br />
<br />
literary agents’ fees and methods, is advised<br />
to go to an agent and is disappointed when he<br />
finds that, contrary to the usual arrangement in<br />
other businesses, he would have, most probably,<br />
to pay the agent 10% during the whole term of<br />
copyright, in the absence of a special agree-<br />
ment. It is, therefore, clearly a matter of no<br />
little moment that the agent should make a<br />
fair and reasonable agreement before he begins<br />
negotiations, and should place the whole facts<br />
of the position candidly before the author.<br />
If he does this and a contract is signed, there<br />
can be no dispute subsequently. If the author<br />
finds the agent is thoroughly trustworthy, he<br />
no doubt will allow him, when the total fee<br />
decided upon has been collected, to continue<br />
to collect the royalties, subject to a reasonable<br />
and reduced percentage. The sub-committees<br />
referred to considered that 5° was reasonable<br />
for the mere collection of monies and checking<br />
of accounts. Of course, where a work is sold<br />
for a sum down—for instance, the first serial<br />
use or the magazine rights in stories, or the<br />
licence to produce a play for a year—then the<br />
agent would naturally be paid a commission<br />
at a fixed rate for the one transaction, as would<br />
a house-agent or lawyer for letting a property<br />
or settling a contract.<br />
<br />
The preliminaries then, having been fixed,<br />
the agent proceeds to market the work, and<br />
from the moment the agreement is signed, the<br />
position of the closest confidence ought to exist<br />
between the agent and the author. As soon as<br />
an offer is made, and, subject to the willingness<br />
of the author or the dramatist to accept the<br />
financial side, the agent, acting in his capacity<br />
of expert adviser—in which sometimes he is by<br />
no means an expert—drafts a contract for the<br />
signature of the author. If he is a satisfactory<br />
agent, he will explain at every turn in the<br />
negotiations the disadvantages that may<br />
acrue to the author if he accepts some of the<br />
terms put forward by the publisher, or if he<br />
fails to insist upon some of the terms suggested<br />
for his own protection. In many cases the<br />
agent is quite clear on these points, and the<br />
author goes away with a full knowledge of<br />
what he may get and of what he must part with.<br />
In some cases that have come to the ken of<br />
the Society of Authors, the agent has advised<br />
the author to give away rights—thus weakening<br />
the contract—not necessarily with a view to<br />
the author’s benefit, but because the agent<br />
desires, in the rush of business, to get rid of<br />
one transaction in order to make way for<br />
others that are waiting. In so advising, the<br />
agent does not merely damage the individual<br />
author, but the whole profession of authorship.<br />
<br />
<br />
<br />
<br />
<br />
<br />
210<br />
<br />
He allows abuses to pass into currency until<br />
they can almost be defended as trade customs.<br />
This point might be dealt with much more fully,<br />
but I do not propose to enter into greater<br />
detail in the present article. There are many<br />
difficult positions in the present marketing of<br />
books, dramas, and all sorts of literary produc-<br />
tion, which have apparently been brought<br />
about by the agent’s neglect of the importance<br />
of standing firm on behalf of authors and<br />
dramatists.<br />
<br />
Having made all the points in the publisher’s<br />
agreement quite clear to the author (or not,<br />
as the case may be, and usually is), the agent<br />
then proceeds to insert a clause in the agree-<br />
ment, two examples of which are printed<br />
herewith :—<br />
<br />
(1) That the author hereby authorises and empowers his<br />
agent to collect and receive all sums of money payable to<br />
the author under the terms of this agreement, and declares<br />
that the agent’s receipt shall be a good and valid dis-<br />
charge to the publishers. The author hereby also<br />
authorises and empowers the publishers to treat with the<br />
agent on his behalf and in all matters concerning this<br />
agreement in any way whatsoever.<br />
<br />
Or (2) All sums due under this agreement shall be paid<br />
to the author’s representatives, whose receipt alone shall<br />
be a full and sufficient discharge of the obligation, and the<br />
said representatives are hereby authorised by the author<br />
<br />
to conduct all negotiations with the publishers in respect<br />
of the said work.<br />
<br />
From all the evidence that it has been<br />
possible to collect in the office of the Society<br />
it does not appear that the agent ever<br />
explains to the author the difficulties and<br />
dangers which may result when this clause<br />
in either form is inserted. That is to say,<br />
that on the first point, where the agent’s<br />
action touches his own position as confidential<br />
adviser, he very generally allows the author<br />
blindfold to sign an agreement with a clause<br />
inserted that may work mischief for his client.<br />
Attention has already been drawn to the<br />
difficulties that arise owing to the agent<br />
allowing the author to give way to certain<br />
of the publisher’s demands, but these can<br />
hardly be classed in the same list as the<br />
neglect to inform the author of the dangers<br />
of the clause referred to. If an author suffers,<br />
by the operation of this clause, he is the<br />
victim of what I consider to be indistinguish-<br />
able from a breach of trust. The first serious<br />
fault of which the author should be made<br />
aware, is that this clause is technically called<br />
“‘an authority coupled with an interest to a<br />
third party,” and is irrevocable as between<br />
the two parties who sign the agreement. No<br />
doubt the agent desires to protect his own<br />
interests. He is right to do so, but he must<br />
protect them in some other way—in any case<br />
<br />
THE AUTHOR.<br />
<br />
he must not abuse his confidential position.<br />
It is very easy, should the author desire the<br />
agent to collect his monies, to give the agent<br />
a separate and formal authority which could<br />
be handed to the publisher, and which could<br />
be cancelled at any time the author might<br />
desire; but even then, it is doubtful if the<br />
authority the author should give should be<br />
as wide as the irrevocable authority given<br />
in the clauses quoted. In clause 1 -and in<br />
clause 2 the agent’s receipt shall be a valid<br />
discharge to the publishers. In clause 2,<br />
indeed, the agent’s receipt “‘ alone’ shall be<br />
a valid discharge. Now a further legal point<br />
arises. A Court will not allow a statement of<br />
accounts to be re-opened when the accounts<br />
have once been closed by a formal receipt<br />
being given for the money paid, unless it can<br />
be shown at a subsequent date that the<br />
accounts are not being paid in accordance<br />
with the contract, and that there are clearly<br />
mistakes in them. If the agent carefully<br />
checked the accounts to see they were rendered<br />
in accordance with the terms of the agreement,<br />
and were correct as compared with the accounts<br />
that had already been rendered, even then the<br />
power of giving a valid receipt might put<br />
great temptation in his way; but on many<br />
occasions, from the study of publishers’<br />
accounts that have passed through agents’<br />
hands, it is quite clear that the agents have<br />
received accounts and cheques, have forwarded<br />
the receipt, and without going into the details<br />
have passed them on to the author unchecked.<br />
This brings about a very serious position for<br />
the author, and there is nothing in_ the<br />
clause to make the agent liable for such<br />
omission. He does not undertake to check<br />
the accounts, although he is permitted to<br />
give the valid receipt. These powers, then,<br />
in the agent’s hands, might make it difficult<br />
for the author to move actively and success-<br />
fully in the matter.<br />
<br />
Another point arises when the author<br />
empowers the publishers to negotiate with<br />
the agent on his behalf ‘‘in all matters con-<br />
cerning his agreement,’ and, as the first<br />
clause adds, ‘‘in any way whatsoever.” The<br />
author, then, has first irrevocably, during the<br />
continuance of the agreement, appointed the<br />
agent to collect his monies; . secondly, he<br />
has irrevocably appointed him to give a valid<br />
receipt; and, thirdly, he has irrevocably<br />
appointed him to deal with the publishers in<br />
all questions concerning the agreement. If<br />
the agent got into any financial difficulties<br />
(agents have been known to pass_ through<br />
financial crises) the publisher would still be<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
OUR DILATORY METHODS.<br />
<br />
bound to hand over the author’s money to<br />
the agent, and it is possible that when the<br />
final crash of bankruptcy came, the agent<br />
might have collected considerable sums on<br />
behalf of his authors, and the authors would<br />
only be entitled to a dividend as creditors in<br />
the bankruptcy. If, however, the author<br />
gives authority to the agent to collect his<br />
monies, that is revocable, a power to give a<br />
valid receipt that is revocable, and a power<br />
to deal with the publishers concerning the<br />
agreement that is revocable, then, if he sees<br />
that it is probable that his agentis in difficulties,<br />
he can revoke the authority, collect his own<br />
royalties, and pay to the agent in due course<br />
the commission due to him for placing the<br />
book or the drama with which the agreement<br />
is concerned; he can give his own valid<br />
receipt to the publishers ; and, finally, in any<br />
case where a dispute arises under the agree-<br />
ment and he prefers to conduct it himself, he<br />
can do so, and could most probably settle the<br />
matter in a more satisfactory way than the<br />
agent, or failing settlement could, if necessary,<br />
employ a lawyer to settle on his behalf.<br />
There are two points, then, to which<br />
attention should be specially drawn, first, the<br />
amount of remuneration an agent is receiving<br />
for the work he does, and, secondly, the limited<br />
power alone which should be entrusted to the<br />
agent for carrying out the work which he is<br />
able to undertake. It must be repeated that<br />
as the position between the agent and author<br />
is one of a specially confidential nature, it is<br />
all the more incumbent upon the agent to<br />
keep that position undefiled! He should<br />
explain all the difficulties of the publisher’s<br />
agreement, and while advising the author, he<br />
must let him settle for himself what he will<br />
give up, what he will reserve, and what risks he<br />
will take. He should explain the difficulties<br />
and dangers inherent in the clauses quoted,<br />
and allow the author to act, after appreciating<br />
them. For the same reason that the author<br />
employs an agent to negotiate his business and<br />
market his works, he would most probably<br />
desire the agent to collect the monies and to<br />
discuss all the difficulties that arise; but in<br />
no circumstances should the authority be<br />
irrevocable and unlimited, and it is certain<br />
that these vast discretions would never be<br />
given to agents if the authors understood<br />
rightly the various positions which might arise<br />
under their agreements. ‘These positions it is<br />
the agent’s positive duty to explain to his<br />
principal, clearly, correctly and frankly.<br />
<br />
G. H. T.<br />
<br />
<br />
<br />
211<br />
<br />
<br />
<br />
OME years ago an American organisation<br />
in London wrote, asking me to call.<br />
I called.<br />
<br />
At once I was shown in. A great literary<br />
work in many volumes was to be produced.<br />
Would I like to take part in its production ?<br />
<br />
I replied “‘ Yes.”<br />
<br />
Then would I quote my terms ?<br />
<br />
I suggested that the director I was address-<br />
ing should quote a price. He did so. I<br />
refused it and quoted as much again. He<br />
offered me half as much again as the additional<br />
sum I had named, and I closed with the offer.<br />
<br />
““ When could I start work ? ” was his next<br />
question.<br />
<br />
I suggested the following Monday.<br />
<br />
“ Could I start to-morrow ? ”’<br />
<br />
I said, ‘‘ Yes—to-morrow.”’<br />
<br />
“Then why not start right now ?” he said.<br />
“There is a table there that you can use. I<br />
will tell you what to do.”<br />
<br />
Within ten minutes of the time I had entered<br />
the room I was engaged and actually at<br />
work.<br />
<br />
Forty other men were engaged in the same<br />
way. Sixty shorthand-typists were engaged<br />
inside an hour.<br />
<br />
Recently an English firm wrote tome. They<br />
made a tentative proposal. They didn’t<br />
want—this was clear—to “ give themselves<br />
away.” Would I be prepared to assist in the<br />
production of a literary work .. . supposing<br />
that my qualifications . . . supposing they<br />
could see their way . . . supposing my terms<br />
: Would I “ write in’? and say what I<br />
thought about it ?<br />
<br />
I “ wrote in.”<br />
<br />
Three days passed. Then came a printed<br />
form acknowledging my letter.<br />
<br />
I waited.<br />
<br />
I waited a week.<br />
<br />
Then I ‘‘ wrote in ”’ again.<br />
<br />
Two days passed. Then a typed letter—<br />
“My communication was under consideration<br />
. . . I should hear in due course.”<br />
<br />
A fortnight passed. Thinking the “ due<br />
course”? must have elapsed, I “wrote in”<br />
again.<br />
<br />
Two days passed. Then a letter:<br />
<br />
‘My communication would be brought up<br />
at the General Mecting on the following<br />
Thursday.”<br />
<br />
Four days passed. Then a letter—* Would<br />
T call at three on Tuesday ? ”<br />
<br />
<br />
<br />
<br />
212<br />
<br />
<br />
<br />
I called at three on Tuesday. Mr. was<br />
extremely busy. Would I send in my card ?<br />
And what was the nature of my business ?<br />
<br />
Half-an-hour’s wait.<br />
<br />
Ushered into the presence of the Grand<br />
Llama.<br />
<br />
The Grand Llama most solemn. “ My<br />
proposal had been placed before his Board.<br />
The Board were favourably disposed, but<br />
<br />
. . they could not decide at once . . . there<br />
were points to be considered . . . my terms<br />
seemed rather high... they must take<br />
inquiries as to qualifications... had I<br />
<br />
‘eredentials’’ I could show . . . what would<br />
be my very lowest terms... had I ever<br />
done work of this kind before... .?”<br />
<br />
I named my bedrock terms. The Grand<br />
<br />
Llama raised his eyebrows. ‘He really<br />
didn’t know... he didn’t think . . . con-<br />
sidering the enormous expenses the Company<br />
would be put to in the mechanical production<br />
of so vast a work... it was, of course,<br />
extremely speculative . There would be<br />
a Board Meeting in a fortnight’s time. He<br />
would try then to let me know : . .”<br />
<br />
Sixteen days passed. Then a letter—‘‘ The<br />
Board favourably disposed. Would I call at<br />
three on Friday ? ”<br />
<br />
I rang up.<br />
<br />
‘“* The Grand Llama too busy to answer the<br />
telephone. What did I want to say to him ?<br />
Could the clerk give him a message? No?<br />
Then would I please ‘ write in’ making an<br />
appointment ? ”’<br />
<br />
Appointment made—and kept. Fifteen<br />
minutes’ wait. The Grand Llama quite<br />
cordial. ‘* Yes, they would want me to do<br />
this work. A letter of confirmation would be<br />
sent in due course.”<br />
<br />
Three days. Letter of confirmation re-<br />
ceived. “ Would I start work on the following<br />
Monday ? ”<br />
<br />
Total period of delay—two months and two<br />
days. And this is not fiction. It is truth.<br />
Basiu Tozer.<br />
<br />
oie ea a ee<br />
<br />
BRITISH WRITERS AND JOURNALISTS<br />
IN PORTUGAL.<br />
<br />
+<br />
<br />
By James Baker, F.R.G.S.<br />
<br />
OR some years past a wish had been<br />
expressed by members of the Sociedade<br />
<br />
_._ Propaganda de Portugal that the<br />
British International Association of Journalists<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
should pay a visit to the little country on the<br />
Western Ocean, but political events had<br />
delayed matters. This year, however, a<br />
cordial invitation was accepted by the Presi-<br />
dent of the Journalists’ Association, Sir James<br />
Yoxall, M.P., and in February a score of<br />
men and women journalists sailed by the<br />
R.M.S. Hilary of the Booth Line for Oporto.<br />
Mr. J. R. Fisher, of the Belfast Northern<br />
Whig, was elected chairman of the expedi-<br />
tion, as the President was prevented from<br />
travelling by Parliamentary pressure. Before<br />
reaching Portugal the party received a hearty<br />
greeting at Vigo from the representatives of<br />
the old friends of Galicia, Senors Oya and<br />
Barreras.<br />
<br />
At Oporto we saw at once an example of<br />
the warmth and cordiality of the reception<br />
that all Portugal was to give to us.<br />
<br />
A crowded programme had been prepared<br />
by the Sociedade de Propaganda, and Senors<br />
Wissmann and Roldan, the chief organisers,<br />
both of whom spoke excellent English, with<br />
Senor Vasconceles, accompanied us through-<br />
out the tour. This programme was added to<br />
by every town in their anxiety to give us a<br />
hearty welcome.<br />
<br />
The party included many specialists; and<br />
arrangements were made that they should<br />
have opportunities for seeing those matters of<br />
special interest such as schools, hospitals,<br />
prisons, factories with special machinery, and<br />
historical and archeological subjects.<br />
<br />
At Oporto the representatives of the town<br />
and of the port of Leixdes, with the chief of<br />
the Press, Senor Bernardo Lucas, met us;<br />
and a journey by special electric cars was made<br />
to the Exchange, where the Maire of Oporto<br />
gave us welcome. The birthhouse of Henry<br />
the Navigator and his statute told us of<br />
Portugal’s early maritime adventures; and a<br />
visit to the atelier and artistic home of Senor<br />
Antonio Teixeira Lopes, the great sculptor,<br />
gave us a delightful introduction to the<br />
modern art of Portugal.<br />
<br />
By kindly forethought, Senor Benoliel, a<br />
most expert photographer, was attached to<br />
our expedition; with orders to take pictures<br />
of any special scene or object for which our<br />
members wished. Senor Almeida, M.V.O.,<br />
who for four years had been second secretary<br />
of the Portuguese Legation in London, gave us<br />
also great assistance. A reception in the<br />
Moorish Salon of the Town Hall brought the<br />
day in Oporto to a close.<br />
<br />
At 6 a.m. on the following morning we were<br />
astir for the journey to Braga and Bom Jesus.<br />
The architectural glories of these spots are<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
world famous, but added to these we had the<br />
walks through the groves: bright with the<br />
blooms of camelias, and of the varied mimosa<br />
trees. Then we clambered up to Mount<br />
Sameiro for the view over a gigantic “ Dart-<br />
moor,” then on to the village of Briteiros to<br />
visit the Gallo-Celtic ruins of Citania—a vast<br />
prehistoric settlement on a high mountain ;<br />
with huts and houses and towers and graves<br />
and roads.<br />
<br />
After leaving Citania we journeyed on to<br />
Coimbra, where excited crowds received us.<br />
The students in long cloaks in true .student<br />
turbulency followed us up to the University ;<br />
there we had the help and guidance of Dr.<br />
Simoes de Castro, the veteran historian.<br />
<br />
The sequestered retreat of the Quinta das<br />
Lacrimas was visited, and the old and new<br />
cathedrals. Late at night, in motor cars, we<br />
ascended through the silent cedar forest of<br />
Bussaco, and by the light of the full moon<br />
arrived at the fairy-like Moorish Palace hotel,<br />
being greeted by showers of camelias and other<br />
flowers. None of the party will ever forget<br />
the glorious day spent at Bussaco, in the wild<br />
forests, and by the quaint little shrines beneath<br />
the cedars, towering to a 100 feet, the glorious<br />
views, and the climb up to the grim ridge<br />
where Wellington gave the first fieree check to<br />
Napoleon’s victorious army. The curious<br />
church and cloisters are all that is left of<br />
the monastery, and near by is the olive tree,<br />
whereto, tradition says, Wellington tied up<br />
his charger.<br />
<br />
But we had to quit this sylvan retreat for<br />
an arduous day’s motoring to Batalha, whose<br />
cathedral stands out as an _ architectural<br />
wonder, with its lofty nave and delicate<br />
light pillars. Then from Batalha_ through<br />
Leiria, with its finely situated castle, on to<br />
Thomar; all this day, Dr. Vierra Guimaraes,<br />
who is steeped in the lore of the district, gave<br />
us the advantage of his presence and _ his<br />
learning. The reception at Thomar was over-<br />
whelming. Cavalry escort, many bands,<br />
enormous crowds, rockets and showers of<br />
flowers; and in the great church of the<br />
Knights of Christ, famous for its wonderful<br />
“Sea”? window, the school children sang<br />
** God save the King.” After a most interest-<br />
ing dinner, we motored to the railway, and at<br />
10 p.m. travelled to Lisbon, arriving at<br />
midnight.<br />
<br />
In the capital our reception was as cordial<br />
as in the country districts. Here we went<br />
over the latest schools, and the great “‘ Peni-<br />
tenciary”” the principal prison; hospitals,<br />
-markets and public dining halls, parks and<br />
<br />
213<br />
<br />
golf links{were visited, as well as Lisbon’s<br />
historic buildings, the famous Artillery<br />
Museum with the Hall of Henry the Navigator ;<br />
and the church of St. Vincent, where lie the<br />
Braganzas.<br />
<br />
A wish had been expressed that our members<br />
should meet the President of the Republic,<br />
and while in the Museum below the Palace<br />
at Belem, where now the President lives, a<br />
message was brought that he would receive<br />
us. Ushered into his rooms, we had an<br />
interesting conversation. He had been in<br />
London twice, and found that many English<br />
knew the history of Portugal better than the<br />
Portuguese themselves. In the evening a<br />
banquet by the city of Lisbon was given,<br />
presided over by the President of the Council.<br />
The Minister for Foreign Affairs, our own<br />
Ambassador, Sir Arthur Hardinge, K.C.B.,<br />
G.C.M.G.; our Consul, P. A. Somers Cocks,<br />
C.M.G., and a brilliant company were present.<br />
Sir Arthur Hardinge and the Portuguese<br />
Minister gave important speeches in French.<br />
The present writer replied to the toast of the<br />
Journalists, and Mr. Fisher proposed the<br />
prosperity of the Sociedade de Propaganda.<br />
<br />
On the morrow, in motors, we visited Cintra<br />
and Monserrat, where General Sartorius<br />
received the visitors; Pena and Estorial,<br />
where Sir Clement Markham was called upon ;<br />
and finally Cascaes. In the evening a special<br />
reception was given by the Portuguese Geo-<br />
graphical Society. The next day was given<br />
up to special work, and the new agricultural<br />
school at Queluz was inspected. At 10 p.m.<br />
we crossed the Tagus in the only rainstorm<br />
we had, and in a special wagon-lit train ran<br />
all night down to the famous southern pro-<br />
vince of the Algarve. At Villa Nova, at<br />
6.30 a.m., the sun broke through, and we<br />
motored to Portima&o and Praia da Rocha, a<br />
glorious spot on the Pheenician sea, with<br />
sands and worn rocks of lovely hues and<br />
strange shapes.<br />
<br />
We could well have lingered here for days,<br />
but our relentless guides, Senors Roldan and<br />
Wissmann motored us off to the mountains of<br />
Monchique, and then to Lagos, where the<br />
whole town was en féte, and a luncheon was<br />
served in a flower-bedecked balcony over-<br />
looking the glorious bay ; then to the great<br />
headland of Piedade, whence a good view<br />
was had of Sagres point, where Henry the<br />
Navigator thought out his schemes of ex-<br />
ploration. :<br />
<br />
Space forbids description of mule rides upon<br />
precipitous heights, receptions in quaint towns<br />
<br />
-and in peasants’ homes, and the scenes in this<br />
<br />
<br />
prosperous, highly cultivated province, where<br />
fig vine and almond and corn _ thrive<br />
amazingly.<br />
<br />
Our last day here was packed with interest,<br />
a run through Portimao, with a visit to its<br />
great Sardine Factory, and on to Faro, where<br />
people and students in their hot hospitality,<br />
headed by the Governor of the Province and<br />
notables, tried hard to hold us all day, but we<br />
ran away to the wonderful Roman ruins of<br />
Stoy; Tower and Forum and pavements all<br />
untouched; then on in the evening to the<br />
strange old Moorish town of Olhao, a veritable<br />
Tangiers in Portugal, with quaint arched<br />
bazaar-like streets, and Mosque; and here, not<br />
far from the Spanish frontier, we ended our<br />
tour in Portugal, our special train taking us<br />
back to Lisbon in the night, and the next day,<br />
after many adieux to our hospitable friends,<br />
we embarked on the R.M.S. Lanfrane for<br />
England, having proved how wonderful and<br />
delightful a country is Portugal in the early<br />
spring. The two things most needed in<br />
Portugal are roads (including additional<br />
railroads) and schools. It is a marvellously<br />
rich country, full of immense possibilities.<br />
Surely it has a great future before it.<br />
<br />
++ ____<br />
<br />
THE LETTERS OF AN ORDINARY<br />
<br />
AUTHOR.<br />
—<br />
Collected and edited by JouN HASLETTE.<br />
III.<br />
Mains CoTraGE,<br />
SANTOLLER,<br />
Bucks.<br />
To Messrs. Back and Bleak. Publishers.<br />
<br />
Dear Sirs,—I have to acknowledge your<br />
letter of the 9th inst., and note with pleasure<br />
that your reader reports favourably on my<br />
novel entitled ‘‘ The Topmost Bough.”<br />
<br />
It is always agreeable to find one’s work<br />
approved by a critic ; still more to have that<br />
verdict emphasised by a firm who combine<br />
literary taste with business acumen. Person-<br />
ally, of course, I think that the book will “ go.”<br />
If I had not thought so I should not have<br />
troubled to write it, or asked you to savour it<br />
with a view to its ultimate appearance in six<br />
shilling form.<br />
<br />
You will forgive me now if I leave the<br />
question of literature aside, and deal with that<br />
portion of your letter referring to the terms<br />
upon which you will agree to publish my novel.<br />
<br />
You say, and I agree with you, that a first.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
novel is a difficult proposition ; that the public<br />
has an eye for old favourites, and does not<br />
always care to wade through many first<br />
attempts in an endeavour to provide itself with<br />
recreative reading. But, even with that in<br />
mind, you will admit that no author has<br />
tempted fortune in the first place with a second<br />
novel, only an Irishman with the cleverness<br />
of Sir Boyle Roche’s famous bird could<br />
accomplish the feat. Every novelist has been<br />
guilty of a first novel, and many of them have<br />
been published by firms like H—— and M——,<br />
and even by D—— and M n.<br />
<br />
You hint (very delicately) that the printing,<br />
publishing and pushing of a novel, for a small<br />
edition of one thousand copies, costs £100. I<br />
have heard this before. I have also heard that<br />
it costs £120 or £150, and occasionally £160.<br />
Of course, the printers are old-fashioned people,<br />
and do not quote close prices. That must be<br />
the reason why some estimate the cost of<br />
production at 1s. per copy, some at 1s. 3d., and<br />
some at 1s. 9d., while the old-established firms<br />
of publishers can get a large edition done at<br />
about 8d. It occurs to me that your firm<br />
might employ the printer favoured by M——<br />
or H , and save money by having your<br />
books printed at the cheaper rates.<br />
<br />
I notice that I am to pay you the sum of £70,<br />
and to receive in return the sum of Is. 6d. a<br />
copy royalty. Other editions, if any, are to<br />
be published by you, free of further cost to me.<br />
I am grateful for this generous provision.<br />
<br />
Your method of reasoning, if I follow it<br />
correctly, is something like this : One thousand<br />
copies of the novel are brought forth, and of<br />
this number you send out one hundred for<br />
review, etc. This leaves 900 copies on hand.<br />
These 900 copies will bring me, in royalties,<br />
some sixty-seven pounds. But, you say, if<br />
900 copies are sold, it will be a sign that there<br />
is a good demand, and that a second edition ©<br />
will be called for, while I shall only be £3 to the<br />
bad. This is cheering news. I follow up the<br />
idea, and suppose that a second thousand are<br />
printed at your expense. Take it that 500<br />
copies are sold. Then my loss of £8 is wiped<br />
out, and I am in pocket to the tune of £34 10s.<br />
This, as you justly remark, is a profit to me of<br />
more than 50 per cent. on my original invest-<br />
ment !<br />
<br />
When I came to this passage in your letter,<br />
I must confess that I was puzzled. It pea<br />
to me that I was doing very well indeed. But<br />
my horridly logical mind cried out that there<br />
was a flaw in the reasoning. After all, I am<br />
not an investor, but an author. I did not set<br />
out to invest £70 in a publishing house’;, I<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
wrote a novel, and expected to get a return on<br />
the capital represented by my brains. When<br />
the investor buys stock in a railway company<br />
he does not give six months of his time to that<br />
company in addition to the solid cash he pays<br />
for the stock.<br />
<br />
Again, there was another point (presented<br />
by my wretched mercenary sense) ; so long as<br />
you have to sell your goods to make a profit it<br />
is certain that you will work hard to effect<br />
sales. But, if you are paid for the stuff before-<br />
hand, your zeal will languish, you will say to<br />
yourself, * Does it really matter if this novel<br />
Sells or not? Has not the author already paid<br />
for it 1”<br />
<br />
No, gentlemen—if you will send me a pro-<br />
spectus of your company, I may think of invest-<br />
ing money in it, but a novel will not be thrown<br />
in, like a coupon prize with pounds of tea.<br />
<br />
I fear much that “ The Topmost Bough ”<br />
must venture again upon its lonely pilgrimage.<br />
Glad would have been the day that saw your<br />
imprint upon the novel—free of charge. But<br />
I am not in the literary line for my health. I<br />
have none of the vanity of the man who must<br />
see himself in print or die. If I could draw a<br />
cheque off-hand for £70, it is a question if novel-<br />
writing would interest me so much as it does.<br />
I regret that your reader and your good selves<br />
should have laboured in vain, but so must it be.<br />
<br />
The novel may fail of other takers ; it may<br />
return like the cat of fable, until I am moved<br />
to make of it a burnt offering; but you may<br />
rest assured that, while I am unable to accept<br />
your offer, your words of praise and cheer will<br />
brighten many lonely moments of my life. I<br />
will keep your letter, and refer to it in moments<br />
of depression.<br />
<br />
I remain, Dear Sirs,<br />
Yours truly,<br />
“Plenry WYVERN.<br />
<br />
P.S.—Please return MS. and oblige.<br />
<br />
<br />
<br />
IV.<br />
<br />
Marys CotTraGE,<br />
SANTOLLER,<br />
Bucks.<br />
<br />
To Miss Henrietta Briggs.<br />
<br />
My Dear Aunt,—Very many thanks for<br />
your letter sympathising with me on my ap-<br />
<br />
arent lack of success in the “ life literary.”<br />
<br />
t is pleasant to hear that I am not forgotten,<br />
and to feel that, at least, one of my relatives<br />
encourages me in what you so rightly express<br />
as ‘‘ an uphill task.”<br />
<br />
I have carefully read your hints, and have<br />
<br />
<br />
<br />
215<br />
<br />
put them away for future reference. They<br />
may assist me to a success like that of Mrs<br />
when I make use of them. You say that what<br />
is wanted nowadays is a story of “ sweetness<br />
and light,” a story which shall wring tears from<br />
the reluctant eye ; preferably, a story dealing<br />
with a dear child which, by its tender example<br />
and loving counsel, reclaims its erring father<br />
and mother. Failing this, you suggest that I<br />
should abandon my present style of writing,<br />
and imitate that of our great master of mystery,<br />
Mr. Your first idea strikes me as being<br />
very novel, and likely to appeal to a wide circle<br />
of readers, but I think it may have been done<br />
before—in America. Did not Mr. Dooley once<br />
speak of ‘ putting parents in the custody of<br />
their own childer.” Only one difficulty pre-<br />
sents itself to me in this connection. I have<br />
very little experience of children; the only<br />
little ones with whom I have lately come in<br />
contact being Uncle Tom’s boys. You will<br />
remember that I found it impossible to work<br />
when staying with Uncle and nearly quarrelled<br />
with the dear man in consequence.<br />
<br />
Sensation is another matter. My friend<br />
Maitland has a large selection of the works of<br />
the Master; and, no doubt, he will lend some<br />
to me, if I ask him. My own style of writing,<br />
however, is like an Old Man of the Sea. It<br />
clings to me persistently, and I find it extremely<br />
hard to imitate the style of other authors.<br />
Don’t you think this may be due to the fact<br />
that our minds differ ?<br />
<br />
Yes, it is quite true that a year has passed<br />
since I turned to the writing of fiction. It does<br />
seem a long time, and I must admit that I have<br />
not made a fortune during the twelve months.<br />
Talking of making money, I am glad to hear<br />
that Cousin Harry enters upon a four-year<br />
pupilship to architecture. In the circum-<br />
stances, the premium of £400 does not seem<br />
extortionate. In four years’ time he may be<br />
made an assistant.<br />
<br />
It is quite true that I am engaged to be<br />
married. To you, I know, it seems unwise.<br />
But even authors were created in two sexes,<br />
and I have hopes of making a decent income<br />
within a few years.<br />
<br />
Thanks for your offer of some excellent plots<br />
which I could work into stories. If you will<br />
take the trouble to write them out, I shall read<br />
them with much pleasure, and treasure them<br />
for all time. So many kind friends tell me<br />
stories, but they are mostly pointless. Yours,<br />
however, will be different. You understand<br />
that the fact that a man goes to India, and<br />
afterwards returns to marry a lady, with whom<br />
he was formerly in love, does not make a story.<br />
<br />
<br />
<br />
<br />
<br />
<br />
216<br />
<br />
Editors demand something more original.<br />
They cannot be brought to see that the simple<br />
recital of everyday events interests millions.<br />
I must close now, with love to all at the<br />
** Mount,”’<br />
Your affectionate nephew,<br />
<br />
Harry.<br />
———+ > —_______<br />
A HISTORY OF ENGLISH PROSE’<br />
RHYTHM.*<br />
<br />
<br />
<br />
ee praise the work of a master so excep-<br />
tional and so universally regarded as<br />
Professor Saintsbury savours of im-<br />
pertinence ; to epitomise it effectively would<br />
be impossible for any one but its author; and<br />
to overlook it is impossible. In such circum-<br />
stances a reviewer might becomingly plead for<br />
permission to say only, ‘‘ Obtain this book,<br />
and make a serious study of its contents ”’ ;<br />
adding no more; and having said that would<br />
indeed have said what was most pertinent.<br />
The scope of the work is exactly described<br />
in its title. Building upon a foundation, at<br />
first essentially analytical, and always his-<br />
torical, and beginning from the earliest extant<br />
specimens of the language, Professor Saints-<br />
bury advances, through memorable observa-<br />
tions, on the effect of the Latin influences, until<br />
he is in a position to offer definite evidence of<br />
what constitutes agreeable or majestic rhythm<br />
in English prose. Thereafter he is in a position<br />
to test the rhythmic qualities of the prose<br />
of selected authors of high reputation, with<br />
results that are among the most noteworthy<br />
things contained in the book. When mar-<br />
shalled according to their ability to command<br />
numbers and to balance sentences, the cele-<br />
brated authors change in a very remarkable<br />
manner their familiar positions. Milton is found<br />
by no means always impeccable. Dryden<br />
holds his own as a master without fault.<br />
For the author a pertinent question will be<br />
whether the results of Professor Saintsbury’s<br />
investigations have direct value for profes-<br />
sional literary men. It must be answered that<br />
they are of the supremest value, and such as<br />
not to be overlooked by any one who attempts<br />
to write English prose. In these days, when<br />
poets (of a kind) have easily persuaded them-<br />
selves to disregard quantity, there will be<br />
enough of those who will declare, ‘‘ We care<br />
nothing about these things!”’—a quite un-<br />
necessary protest, seeing how abundant in<br />
their works is the evidence of that painful<br />
truth. But then there is also a story about a<br />
<br />
*“ A History of English Prose Rhythm.” By George<br />
Saintsbury London: Macmillan & Co. 1912.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
fox and some grapes. To the authors who, on<br />
the other hand, do care how their sentences<br />
sound, the book may be recommended in the<br />
warmest terms. In it Professor Saintsbury<br />
has done for the English language what has<br />
never before been done for any language<br />
ancient or modern. The originality of the work<br />
is at the same time not more epoch-making<br />
than its doctrines are of supreme cogency.<br />
<br />
By way of caution, it may not be out of<br />
place to add that any one who does not possess<br />
an ear, and has also nothing to say, might by a<br />
consistently unintelligent use of the informa-<br />
tion contained in the volume, and particularly<br />
by “minding” the axioms and suggestions<br />
contained in the third appendix, succeed in<br />
writing English as pedantic and ridiculous as<br />
any that has ever been written. .<br />
<br />
Those who are familiar with the author’s<br />
writings will find inwoven with his teaching<br />
no lack of the delicious things that give it<br />
piquancy; such, for instance, as a reference<br />
to ‘“‘ the specious and half-informed ignorance<br />
which has now, for nearly half a century, been<br />
diffused among the lower classes by board-<br />
schools, and, through the contamination of<br />
grammar and public schools, among the middle<br />
and upper classes.”<br />
<br />
It must on no account be supposed that the<br />
work is of value to the student of English<br />
prose alone. Incidentally it throws startling<br />
sidelights upon the nature of prose even most<br />
remote from English, suggesting solutions of<br />
the puzzling phenomena that it in certain cases<br />
presents. But the essential thing to be noted<br />
here is that every author should procure the<br />
book and acquaint himself with its disclosures.<br />
<br />
CORRESPONDENCE.<br />
—~—<br />
UNREVIEWED Books.<br />
<br />
Str,—Perhaps you will allow me to add<br />
something to Mr. Isidore Ascher’s article on<br />
unreviewed books in The Author of February.<br />
This problem was discussed in the Preface of<br />
my “ Britannia Poems,’ 1910, the first time<br />
it was discussed seriously anywhere, I think.<br />
<br />
My Preface contains a complete list of the<br />
reviews and newspapers that received a copy<br />
of my first book, ‘‘ Home once More,” with a<br />
starring of them that noticed the book. I<br />
believe this to be the first time again that<br />
such a summary was published by any author.<br />
In my Preface I wrote :—<br />
<br />
** , . . So twenty-one copies were thrown<br />
in the proverbial gutter! I want to be<br />
quite sensible over this old trouble, and to<br />
<br />
<br />
<br />
<br />
<br />
<br />
ne<br />
<br />
as<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
be fair to editors and reviewers, . . . yet<br />
I have complaints to make in the interests<br />
of authors generally. I sent my book out<br />
carefully : to good literary papers, promptly<br />
on publication, postage paid. ... Why<br />
could not these papers return my book<br />
when they could not notice it? Why need<br />
they keep books, sent in good faith because<br />
they review books, and because by _re-<br />
viewing books they ask for others? They<br />
may say: ‘We did not ask ior your silly<br />
book.’ ...I1 reply: ‘Don’t be absurd!<br />
You exist as literary organs because you<br />
review books.... You cannot review<br />
unless books are sent. ... You get hun-<br />
dreds of books and notice dozens... .’<br />
These loose habits are wrong, and the<br />
Society of Authors ought to do something.<br />
A book is sent out on trust, and should be<br />
regarded as the property of the sender until<br />
a notice has appeared, or it has been re-<br />
turned, like a manuscript. Or how would<br />
this do: for editors to be asked beforehand<br />
whether they are likely to notice a book if<br />
sent? I have tried this several times.<br />
. . . There I will leave the problem, en-<br />
larging it a little by this that the balance<br />
of unnoticed copies is a heavy tax on young<br />
authors. And this: that the relations<br />
among Authors, Publishers, and Critics,<br />
are still as unsatisfactory as ever: if any<br />
man can solve this problem he will deserve<br />
all he gets!”<br />
<br />
This part of the Preface was discussed in<br />
many papers and received all sorts of treat-<br />
ment, from low ridicule to high commenda-<br />
tion; but Mr. James Milne, of the Daily<br />
Chronicle, went beyond all others. The book<br />
had been criticised twice in papers under his<br />
literary control, and when he found it was not<br />
possible to give it a full-dress review in the<br />
Daily Chronicle, he wrote me a letter in which,<br />
after telling what had been done already, he<br />
ended thus: ‘‘ Now I am returning you the<br />
book which, I hope you will agree, completes the<br />
matter.” His letter is dated February 3, 1911.<br />
<br />
Is it too much to declare that Mr. Milne<br />
has done a new thing and set a precedent<br />
that may be of some historic value in the<br />
record of relations between authors and<br />
reviews? To me, at least, this returning of<br />
my book is a matter of considerable interest,<br />
and I am keeping the copy so returned as a<br />
literary souvenir. But will the Society of<br />
Authors consider the problem ?<br />
<br />
Yours faithfully,<br />
HEDLEY V. STOREY.<br />
21, St James’ Avenue, Brighton.<br />
<br />
217<br />
<br />
~<br />
<br />
Tae UNEXPECTED.<br />
<br />
Str,—After about twenty years of—not<br />
only my own tribulations in connection with<br />
publishers (and agents), but of tribulations<br />
undertaken on behalf of others, the unexpected<br />
has happened : I have been requested, jointly<br />
by agent and publisher, to draw up my own<br />
contract ! This, after the one drawn up by<br />
themselves, had been submitted to your own<br />
valuable and judicious criticism.<br />
<br />
Not only so, but my amended contract has<br />
been accepted and signed. The result is,<br />
naturally, amicable relationships all round.<br />
<br />
I ought, perhaps, in fairness, to say that I<br />
made no demur to the pecuniary arrangements ;<br />
but in fairness, also, I ought to say that I did<br />
demur to several clauses, and that many of<br />
my objections were, without hesitation, sus-<br />
tained.<br />
<br />
I have myself so often given vent to objur-<br />
gatory remarks on the manners and methods<br />
of those pene-omnipotent gentlemen whose<br />
calling in life it is to transmute manuscripts<br />
into books, that I venture to send you this<br />
brief palinode.<br />
<br />
This letter is not a ‘“‘ free ad.’”’ But, with<br />
your permission, I would not mind giving the<br />
names of the agent and publisher I speak of<br />
to any who, for quite legitimate purposes,<br />
would like to know them.<br />
<br />
Yours faithfully,<br />
ARNOLD HAULTAIN.<br />
<br />
<br />
<br />
Dear Sir,—The Fortnightly Review of<br />
March 1 contains an article entitled, “Is<br />
Austria really the Disturber? by Count<br />
Liitzow.” It is, of course, always disagreeable<br />
to a writer that the authorship of anything<br />
that is not from his pen should be attributed<br />
to him. May I, therefore, as a member of<br />
the Society of Authors, beg you in the next<br />
number of The Author to state that I am not<br />
the author of the article in the Fortnightly<br />
Review, and to publish this letter. As I have<br />
frequently written in American and English<br />
reviews—ineluding the Fortnightly—this mis-<br />
take is all the more unpleasant to me.<br />
<br />
Believe me,<br />
Yours faithfully,<br />
(Count) Litzow.<br />
<br />
[Ep.—We print the above letter with<br />
pleasure, but understand that the article was<br />
signed in the body of the magazine “Henry<br />
Lutzow,” and the author was further identified<br />
<br />
<br />
218<br />
<br />
by the designation, “late Austria-Hungarian<br />
Ambassador in Rome.” It is a pity that there<br />
should have been an error on the cover.]<br />
<br />
ConceRNING ‘“ Cat ATHLETICS.”<br />
<br />
Dear Autuor,—Herewith I respond heartily<br />
to the views expressed by “ Progress,”’ in the<br />
February Author, in the matters of establishing<br />
a publishing union for the protection of writers<br />
on a professional basis, and an extra fortnightly<br />
supplement to The Author to facilitate inter-<br />
change of correspondence on matters of vital<br />
importance to Society members. An author<br />
can exist without publishers. But show me<br />
the publisher who exists without authors ?<br />
I should like best to know how much, to a<br />
ha’penny, writers like H. G. Wells, Arnold<br />
Bennett, or G. Bernard Shaw have put out<br />
advertising to arrive at their present stage of<br />
success ? Wouldn’t it be a good plan to have<br />
them, for the benefit of the many, divulge the<br />
lump sums they have earned minus their<br />
advertising bills ?—and their agents’ charges ?<br />
<br />
Assuredly it is high time the “ cat ” should<br />
be taught the wisdom of “jumping” the<br />
author’s way.<br />
<br />
JUSTICE.<br />
——e<br />
Tue Suort Story WRITER.<br />
<br />
Dear Srr,—I cannot help expressing my<br />
appreciation of the article entitled “ The<br />
‘Short Story’ Writer,’? which appeared in<br />
the March issue of The Author. Its strong<br />
common sense is very refreshing.<br />
<br />
In regard to the latter part of the article,<br />
may I be allowed to quote a few words from<br />
Rudyard Kipling’s speech at the 118th<br />
Anniversary Banquet of The Royal Literary<br />
Fund? They are these: “We might dis-<br />
cover cases where the blessed canons of art<br />
would seem to have recoiled upon them-<br />
selves—puzzling cases where the apparently<br />
flagrant pot-boiler had turned a man from<br />
destruction, quite as effectually as an angel<br />
-with a flaming sword; cases where a piece<br />
of unthinking buffoonery had steadied a man<br />
through the ten vital minutes of a life’s crisis,<br />
where cheap sentiment and rank melodrama<br />
had helped to lift some poor soul to humility,<br />
or sacrifice, or strength, that he knew not he<br />
possessed.”’<br />
<br />
I have no doubt that if the hidden springs<br />
of all actions could be revealed, thousands of<br />
such cases would be recognised. But, in<br />
addition, I think an unbiassed judge would<br />
admit that hundreds of cheap stories are well<br />
written, true to life, and likely to have a far<br />
<br />
THE AUTHOR.<br />
<br />
better influence: over the minds of their<br />
readers than a considerable percentage of the<br />
ordinary 6s. novel.<br />
I am proud to admit that, in addition to<br />
being a magazine contributor, I am<br />
A WRITER OF PENNY STORIES.<br />
<br />
ae<br />
<br />
Sir,—The monthly record of elections to<br />
the Society, which appears in your columns,<br />
shows that its work is becoming increasingly<br />
appreciated by writers, dramatists and com-<br />
posers. But the progress made by the Society<br />
in this direction during recent years, satis-<br />
factory as far as it goes, is far short of what<br />
it might be. New authors, new dramatists<br />
and new composers are constantly appearing.<br />
But how to reach them? The various<br />
literary, dramatic and musical annuals are, no<br />
doubt, of some help; but, in the nature of<br />
things, they can be of little use in tracing, as<br />
he appears, the new writer, dramatist or<br />
composer. And it is the new members of our<br />
<br />
profession, inexperienced in the methods of<br />
publishers, managers and agents, who stand<br />
most in need of the Society’s assistance.<br />
<br />
To appeal to them, care of their publishers,<br />
even assuming appeals are forwarded, is to<br />
<br />
run the risk of your appeals reaching the<br />
waste paper basket more often than not.<br />
Re-addressed letters are handicapped from the<br />
start, and when they obviously contain, as<br />
they must if the Society’s aims and objects<br />
are to be placed before the potential member,<br />
printed matter, the result is almost necessarily<br />
a waste of time, postage and labour.<br />
<br />
What then can be done ?<br />
<br />
Surely, the solution of the problem lies with<br />
the existing members. Donations to the<br />
Society’s funds in return for work done for<br />
members are constantly being acknowledged<br />
by the committee in your columns. That<br />
they are so often received affords ample<br />
testimony to the members’ appreciation of<br />
the Socicty’s efforts. But we are not all able<br />
to make this return, however anxious we may<br />
be to show our gratitude for the Society's<br />
assistance. What, however, we can do, and,<br />
I suggest, we should do, is to take every,<br />
opportunity which comes to us of recom-<br />
mending the Society’s work to our friends.<br />
There is scarcely any need to specify the<br />
occasions for the ‘word in season.” “ At-<br />
Homes,’”’ lunches, dinners, club theatrical<br />
performances, creditors’ meetings of bankrupt<br />
publishers—to name only a few. Others will<br />
readily occur to the enthusiastic recruiter.<br />
<br />
Yours, etc., Z. A. B. | https://historysoa.com/files/original/5/527/1913-04-01-The-Author-23-7.pdf | publications, The Author |
| 528 | https://historysoa.com/items/show/528 | The Author, Vol. 23 Issue 08 (May 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+08+%28May+1913%29"><em>The Author</em>, Vol. 23 Issue 08 (May 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-05-01-The-Author-23-8 | | | | | 219–248 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-05-01">1913-05-01</a> | | | | | | | 8 | | | 19130501 | ~— The Huthor.<br />
<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
<br />
FOUNDED BY SIR<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vor. X XIII.—No. 8.<br />
<br />
May 1,<br />
<br />
1913. [PRICE SEXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
—_—_—_—_—_—_—_+—_>_+-—___—-<br />
<br />
NOTICES.<br />
<br />
— ><br />
<br />
OR the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
<br />
Tk<br />
<br />
.8q@ paragraphs must be taken as expressing the<br />
‘6 opinion of the Committee unless such is<br />
ues especially stated to be the case.<br />
<br />
<br />
<br />
Tur Editor begs to inform members of the<br />
<br />
«* Authors’ Society and other readers of The<br />
<br />
_ Author that the cases which are quoted in The<br />
<br />
+ Author are cases that have come before the<br />
<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
<br />
<br />
ARTICLES AND. CONTRIBUTIONS.<br />
<br />
| Tue Editor of The Author begs to remind<br />
' members of the Society that, although the<br />
__ paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 1, Cen-<br />
tral Buildings, Tothill Street, Westminster,<br />
S.W., and should reach the Editor not later<br />
than the 21st of each month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Comm ttee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possj bly be, the<br />
ease. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
+» +<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
ae<br />
<br />
“¥\ROM time to time members of the Society<br />
|} desire to make donations to its funds in<br />
<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
2<br />
<br />
<br />
220<br />
THE PENSION FUND.<br />
<br />
—— ><br />
<br />
N January, the secretary of the Society<br />
I laid before the trustees of the Pension<br />
Fund the accounts for the year 1912, as<br />
settled by the accountants. After giving the<br />
matter full consideration, the trustees _in-<br />
structed the secretary to invest a sum of £300<br />
in the purchase of Buenos Ayres Great<br />
Southern Railway 4% Extension Shares, 1914,<br />
£10 fully paid. The number of shares pur-<br />
chased at the current price was twenty-five<br />
and the amount invested £296 1s. 1ld. The<br />
trustees are also purchasing three more Central<br />
Argentine Railway New Shares at par, on which<br />
as holders of the Ordinary Stock they have an<br />
option.<br />
<br />
The trustees desire to thank the members<br />
of the Society for the continued support which<br />
they have given to the Pension Fund.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
to £4,764 6s., details of which are fully set out<br />
in the following schedule :-—<br />
<br />
Nominal Value.<br />
<br />
£. 8.4.<br />
Local Loans ......----s+seeees 500 0 0<br />
Victoria Government 8% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ............ 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 84% Inscribed<br />
<br />
Stock ...0......515-----.-- 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock .... 228 0 0<br />
New Zealand 34% Stock........ 247 9 6<br />
Trish Land 23° Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1927—57............++. 438 2 4<br />
Jamaica 84% Stock, 1919-49 1382 18 6<br />
Mauritius 4% 1937 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 34%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock .......... 287 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock ...........:.... 232 0 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44% Gold Bonds ............ 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares .i........ 250 0 0<br />
55 Buenos Ayres Great Southern<br />
<br />
Railway 4% Extension Shares,<br />
<br />
1914 (fully paid) ............ 550 0 0<br />
<br />
THE AUTHOR.<br />
<br />
Nominal Value,<br />
£ a da<br />
8 Central Argentine Railway £10 :<br />
<br />
Preference Shares, NewIssue.. 30 0 0<br />
<br />
Total, .4-s «cs. £4,764 6 0<br />
<br />
—<br />
<br />
PENSION FUND.<br />
<br />
<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e, donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
October 1, 1912.<br />
<br />
It does not include either donations given<br />
prior to October, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
Subscriptions.<br />
<br />
<br />
<br />
<br />
1912.<br />
<br />
Oct. 10, Escott, T. H. S. :<br />
<br />
Oct. 10, Henderson, R. W. Wright<br />
<br />
Oct. 10, Knowles, Miss M. W. :<br />
<br />
Oct. 11, Buckley, Reginald .<br />
<br />
Oct. 12, Walshe, Douglas<br />
<br />
Oct. 12, “* Penmark” . :<br />
<br />
Oct. 15, Sinclair Miss Edith .<br />
<br />
Oct. 16, Markino, Yoshio<br />
<br />
Oct. 20, Fiamingo, Carlo<br />
<br />
Oct. 29, Henley, Mrs. . :<br />
<br />
Nov. 8, Jane, L. Cecil .<br />
<br />
Nov. 14, Gibb, W.<br />
<br />
Dec. 4, De Brath, S. . :<br />
<br />
Dec. 4, Sephton, The Rev. J.<br />
<br />
Dec. 4, Cooper, Miss Marjorie<br />
<br />
Dec. 7, MacRitchie, David<br />
<br />
Dec. 11, Fagan, James B.<br />
<br />
Dec. 27, Dawson Forbes<br />
<br />
19138.<br />
<br />
Jan. 8, Toynbee, William (in addi-<br />
tion to his present sub-<br />
scription). . : .<br />
<br />
Jan. 9, Gibson, Frank . :<br />
<br />
Jan. 29, Blackley, Miss E. L.<br />
<br />
Jan. 81, Annesley, Miss Maude<br />
<br />
Feb. 6, Rothenstein, Albert .<br />
<br />
Feb. 10, Bradshaw, Percy V.<br />
<br />
April 8, Caulfield-Stoker, T...<br />
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SCaARROSOCOS<br />
<br />
Donations.<br />
1912.<br />
Nov. 20, Kennard, Mrs. N. H. 3<br />
Dec. 4, McEwan, Miss M. S. . ‘<br />
Dec. 4, Kennedy, E. B. “ .<br />
Dec. 11, Begarnie, George . -<br />
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Dec.<br />
Dec.<br />
Dec.<br />
Dec.<br />
<br />
11, Tanner, James T. . é<br />
<br />
11, Toplis, ‘Miss Grace . i<br />
<br />
14, Watson, Mrs. Herbert A..<br />
<br />
14, French, Mrs. Warner j<br />
<br />
17, Smith, Miss Sheila Kaye .<br />
<br />
Dec. 17,,Marras, Mowbray .<br />
<br />
Dec. 27, Edwards, Percy J.<br />
<br />
19138.<br />
<br />
Jan. 1, Risque, W. H. :<br />
<br />
Jan. 1, Rankin, Mrs. F. M. .<br />
<br />
Jan. 2, Short, Miss L. M.<br />
<br />
Jan. 2, Mackenzie, Miss J. .<br />
<br />
Jan. 2, Webling, Miss Peggy<br />
<br />
Jan. 8, Harris, Mrs. E. H. .<br />
<br />
Jan. 8, Church, Sir Arthur,<br />
<br />
K.C.V.O., ete.<br />
<br />
4, Douglas, James A.<br />
<br />
4, Grant, Lady Sybil<br />
<br />
6, Haultain, Arnold<br />
<br />
6, Beveridge, Mrs. ‘<br />
<br />
6, Clark, The Rev. Henry<br />
<br />
6, Ralli, C. Scaramanja .<br />
<br />
6, Lathbury, Miss Eva -<br />
<br />
6, Pryce, Richard<br />
<br />
7, Gibson Miss L. 8.<br />
<br />
10, K.<br />
<br />
10, Ford, Miss May<br />
<br />
12, Greenstreet, W. J.<br />
<br />
14, Anon<br />
<br />
15, Maude Aylmer<br />
<br />
16, Price, Miss Eleanor .<br />
<br />
17, Blouet, Madame<br />
<br />
20, P. H. and M. K.<br />
<br />
22, Smith, Herbert W. .<br />
<br />
25, Anon. . :<br />
<br />
27, Vernede, R. E. :<br />
<br />
29, Plowman, Miss Mary.<br />
<br />
29, Todd, Miss Margaret, M.D.<br />
<br />
81, Jacobs, W. W. :<br />
<br />
1, ‘Davy, Mrs. KE. M.<br />
<br />
3, Abraham, J. J.<br />
<br />
4, Gibbs, F. L. A.<br />
<br />
Feb. 4, Buckrose, J. E. ‘<br />
<br />
Feb. 4, Balme, Mrs. Nettleton ;<br />
<br />
Feb. 6, Coleridge, The Hon. Gilbert<br />
<br />
Feb. 6, Machen, Arthur<br />
<br />
Feb. 6, Romane-J ames, Mrs.<br />
<br />
Feb. 6, Weston, Miss Lydia : ‘<br />
<br />
Feb. 14, Saies, Mrs. F. H. (in addi-<br />
tion to her subscription)<br />
<br />
Feb. 14, Maunsell, A. E. Lloyd<br />
<br />
Feb. 14, O'Higgins, H. J. .<br />
<br />
Feb. 15, Stephens, Dr. Ricardo<br />
<br />
Feb. 15, Jones, Miss E. H.<br />
<br />
Feb. 17, Whibley, Charles<br />
<br />
Feb. 22, Probert, W. S.<br />
<br />
Feb. 24, S. F. G.<br />
<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
<br />
Jan.<br />
<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Jan.<br />
Feb.<br />
<br />
Feb.<br />
Feb.<br />
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Feb.<br />
Mar.<br />
<br />
27, XX. Pen Club : .<br />
<br />
7, Keating, Theg Rev. J.<br />
Lloyd . : i<br />
<br />
7, Tharp, Robert C.<br />
<br />
10, Hall, H. Fielding<br />
<br />
13, Moffatt, Miss Beatrice<br />
<br />
14, Bennett, Arnold.<br />
<br />
17, Michell, The Right Hon.<br />
Sir Lewis, K.C.V.O. .<br />
<br />
Mar. 17, Travers, Miss Rosalind<br />
<br />
Mar. 26, Hinkson, H. A.<br />
<br />
Mar. 26, Anon. . 5<br />
<br />
April 2, Daniel, a J.<br />
<br />
April 2, Hain, H.M. .<br />
<br />
April 7, Taylor, Miss Susette M.<br />
<br />
April 7, Harding, Newman .<br />
<br />
April 9, Strachey, Miss Amabel<br />
<br />
Mar.<br />
Mar.<br />
Mar.<br />
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Mar.<br />
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<br />
COMMITTEE NOTES.<br />
<br />
ag pg<br />
<br />
MEETING of the Committee of Manage-<br />
ment of the society was held on<br />
April 24, at No. 1, Central Buildings,<br />
Westminster. The first matter before the<br />
committee was the election of the chairman<br />
for the current year owing to the resignation<br />
of Dr. S. Squire Sprigge who has held the post<br />
now for two years. On the proposal of<br />
Mr. Arthur Rackham, seconded by Mrs. Belloc<br />
Lowndes, Mr. Hesketh Prichard was elected<br />
to the position. Mr. Prichard, in acknow-<br />
ledging the honour conferred on him, stated<br />
that he would endeavour to earry out the work<br />
of the Society on the lines laid down by his<br />
distinguished predecessors in the office. He<br />
suggested, however, that as there was a very<br />
heavy list of agenda dealing with matters<br />
current under Dr. Sprigge’s chairmanship, that<br />
Dr. Sprigge should take the chair for the<br />
present meeting. This was agreed to.<br />
<br />
The elections to the Society made at the<br />
beginning of April on the chairman’s authority<br />
were then formally confirmed, and further<br />
elections that had come in during the month<br />
were placed before the meeting. The total<br />
number of elections since the meeting on<br />
March 3 amounted to forty-eight, making the<br />
total for the year 186. The committee<br />
accepted with regret eight resignations sent<br />
in since the same date in March, making the<br />
resignations for the year fifty-six. The total<br />
number of elections is not as high as up to the<br />
same period in 1912, which was a phenomenal<br />
year, but the total number of resignations, the<br />
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222<br />
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committee were glad to report, was also below<br />
the number for the corresponding period of<br />
last year.<br />
<br />
The secretary then laid before the committee<br />
a list of those members who had been struck<br />
pff for non-payment of their subscriptions<br />
during 1912 and at the beginning of 1913.<br />
Despite the increase in the membership, the<br />
number struck off is lower than that which<br />
was chronicled last year. In half-a-dozen cases<br />
it was decided to write to the members in<br />
arrears, as it appeared that the non-payment<br />
of their subscriptions was merely due to<br />
oversight.<br />
<br />
The next matter before the committee was<br />
the re-election of the sub-committees for the<br />
current year. The Dramatic Sub-Committee<br />
was, on the suggestion of the dramatist<br />
members of the Society, re-elected, except<br />
that Mr. Rudolf Besier’s place, vacated by his<br />
resignation, was filled by the election of<br />
Mr. A. E. W. Mason.<br />
<br />
The other sub-committees stand as at present,<br />
save that the committee received with regret<br />
the resignation of Mr. Herbert Sullivan, owing<br />
to ill-health, from the Composers’ Sub-Com-<br />
mittee and the Copyright Sub-Committee. It<br />
was decided to ask Mr. H. J. MacKinder, M.P.,<br />
to join the Copyright Sub-Committee.<br />
<br />
The solicitor then reported the cases that<br />
had been carried through during the past<br />
month.<br />
<br />
The first case referred to an infringement of<br />
copyright to which reference has already been<br />
made in previous issues of The Author. The<br />
solicitor reported that the action had been<br />
set down for trial, and would, most probably,<br />
come on for hearing a week or so after Whitsun-<br />
tide. Thesecond case was also one of infringe-<br />
ment, and here it was decided to take no<br />
further action, as the infringement was not<br />
very serious, and the member involved was<br />
content with the action which had already<br />
been Staken by the ociety. The third case<br />
related to a dispute over accounts, arising<br />
from the peculiar wording of the contract.<br />
In accordance with the instructions of the<br />
committee, given at their last meeting,<br />
counsel’s opinion had been taken, and as the<br />
contention of the author had been upheld by<br />
counsel, the solicitors had communicated with<br />
the publisher, and had now obtained from him<br />
a proposal for an equitable settlement which<br />
had been accepted by the author. The fourth<br />
case arose out of a dispute on an agreement<br />
between an author and a publisher as to the<br />
date of publication of certain books, and the<br />
matter was settled by the publisher surren-<br />
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THE AUTHOR.<br />
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dering all claims to delivery of other books,<br />
by returning the. MS. that he had held and by<br />
forfeiting the amount paid in advance of —<br />
royalties. The fifth case was with the same —<br />
publisher and referred also to a dispute con-<br />
cerning the delivery of further books to be<br />
published under the agreement. The matter<br />
was in the course of negotiation, and the<br />
solicitors had suggested the appointment of an<br />
arbitrator if necessary to settle the issues.<br />
<br />
In a county court case against a music<br />
publisher, the solicitors reported that the<br />
matter had been settled, but that no money<br />
would be recoverable owing to. the fact that<br />
a judgment for a large sum had been obtained<br />
against the publisher by another creditor.<br />
The next dispute arose owing to a fire which<br />
had occurred in a publisher’s warehouse, and<br />
the solicitor reported. the action taken for the<br />
members involved.<br />
<br />
The solicitor then gave a further report upon<br />
an interesting action against the editor of a<br />
paper. The editor maintained that in the<br />
absence of contract before publication he<br />
had a right to pay the author certain fixed<br />
terms, the solicitor contended, on behalf of<br />
the author, that the editor had no right<br />
whatever to make his own terms after the<br />
publication of the. work. If the terms<br />
suggested by the editor were unreasonable then<br />
it would be for the Court to set them aside.<br />
The issue will be tried. The next case was<br />
against the proprietor of a paper. The<br />
solicitor had carefully followed the course of<br />
the bankruptcy of the publication, and reported<br />
that there were claims for over £2,000, and no<br />
assets. This, he said, had been reported to<br />
the members concerned, and as there was no<br />
prospect of a dividend being paid, and as the<br />
claims were small, it was dended not to go to<br />
the useless expense of proving in the bank-<br />
ruptcy. In the matter of Stephen Swift & Co.,<br />
Ltd., the solicitor reported that the liquidator<br />
had failed to sell the business as a whole, and<br />
stated that he was now realising the assets<br />
piecemeal. The solicitor thought that a<br />
dividend of 3s. in the pound would be declared.<br />
Lastly, the solicitor reported that judgment<br />
against a publisher had been obtained, and<br />
on the threat of execution, had been satisfied<br />
and the costs paid.<br />
<br />
In a case where the publisher had refused<br />
to produce vouchers for charges made under a<br />
profit-sharing agreement, the committee con-<br />
firmed the action of the chairman, who had<br />
already placed the matter in the hands of the<br />
solicitors. They were instructed to take legal<br />
action if necessary for the member concerned,<br />
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Go ade<br />
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THE AUTHOR.<br />
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as an important principle was involved.<br />
Another case arising out of an inadvertent<br />
breach of his contract by a member was<br />
considered, and the solicitors reported that<br />
they hoped to effect a fair compromise on his<br />
behalf.<br />
<br />
The solicitor reported the action he had<br />
taken respecting a complicated question of<br />
dramatic copyright and international law.<br />
The matter was governed, largely, by the<br />
French Convention of 1851 before the Interna-<br />
tional Copyright Act of 1886 and the Berne<br />
Convention had been formed. The solicitor<br />
had advised, and as no further action had been<br />
taken on the other side, it seemed probable<br />
that the claim would be withdrawn.<br />
<br />
The secretary then drew the attention of the<br />
committee to the infringement of dramatic<br />
copyright in India, and reported that the<br />
solicitors in India had been unable to reach<br />
the defendant. The committee instructed the<br />
secretary to report to the solicitors in India<br />
their wish that these infringements should be<br />
stopped, and that the solicitors should use<br />
their utmost endeavours to bring the suits<br />
against the defendant (who was the manager<br />
of a travelling company) on his return to<br />
India. :<br />
<br />
Infringements of dramatic copyright in<br />
Jamaica were next reported by the secretary.<br />
The committee decided to ascertain from the<br />
authorities whether steps could be taken to<br />
stop such infringements in the future, and if<br />
steps could be taken, to ascertain the nature<br />
of these steps.<br />
<br />
The secretary also reported the progress<br />
of a case in Switzerland. In the event of<br />
judgment going against the Society, it was<br />
decided that the matter should be referred<br />
back for consideration.<br />
<br />
A letter forwarded to the editor of The<br />
Author was referred to the committee, who<br />
regretted they were unable to authorise its<br />
insertion.<br />
<br />
Two important matters referring to<br />
domestic and international copyright were<br />
then mentioned to the committee. The action<br />
taken by the chairman and the secretary was<br />
reported. The committee regret that it is not<br />
possible, at the present moment, to give<br />
further details, as any premature statement<br />
might prejudice the negotiations that are<br />
proceeding.<br />
<br />
The secretary then laid before the committee<br />
an article that had been written as the result<br />
of correspondence which had passed between<br />
the Society and certain editors, and it was<br />
decided to print the article in The Author with<br />
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223<br />
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a special editorial note referring to the matter.<br />
The question is one of great importance. It<br />
deals with the practice of the proprietors of<br />
certain papers and magazines of sending to<br />
their contributors receipt forms, either apart<br />
from or on the back of cheques, signature to<br />
which may mean a surrender of rights for which<br />
the editor or proprietor has made no contract.<br />
<br />
The next matter also referred to editors and<br />
their contributors. The Society has been in<br />
communication with various representatives<br />
of important journals, magazines and papers,<br />
with a view to arriving at some uniform<br />
arrangement by which accepted articles are<br />
paid for within a certain period from accept-<br />
ance whether they have or have not been<br />
published. The replies of the editors were<br />
so favourable that it was decided to hold a<br />
conference during May at which the matter<br />
might be fully discussed, and, if possible, some<br />
uniform practice accepted.<br />
<br />
The secretary was authorised to purchase<br />
the copyright laws of all countries, to be<br />
retained at the office for reference, and, if<br />
later it should appear necessary, to have<br />
English translations of the laws made. Refer-<br />
ence to the committee in regard to this matter<br />
will be made later.<br />
<br />
A letter dealing with the collection of fees<br />
by an outside company was adjourned till the<br />
next meeting, in order that the secretary might<br />
obtain further information on the matters<br />
concerned.<br />
<br />
Mr. R. C. Carton, who has for the last two<br />
years been chairman of the Dramatic Sub-<br />
Committee, was unanimously elected to the<br />
Council.<br />
<br />
Sanction was given to the secretary to sign<br />
a fresh contract for the advertisement depart-<br />
ment of The Author.<br />
<br />
The secretary reported that the registration<br />
of scenarios had grown so enormously and was<br />
still growing at the same rate, that it had<br />
become necessary to find further accommoda-<br />
tion for the plots and plays. He was instructed<br />
to make enquiries and to report to the next<br />
meeting.<br />
<br />
The committee desire to express their<br />
gratitude to the following members for dona-<br />
tions to the Society’s funds: A. Neil Lyons,<br />
Mrs. MacLiesh and Miss Jeannette Marks.<br />
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——<br />
Dramatic SuB-CoMMITTEE.<br />
I.<br />
<br />
Tue March meeting of the Dramatic Sub-<br />
Committee was held on Friday, March 28,<br />
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22:4<br />
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at No. 1, Central Buildings, Tothill Street,<br />
Westminster, S.W. It was too late to admit of<br />
the publication of this report in the April<br />
issue of The Author. In consequence, it<br />
appears with the report of the April meeting of<br />
the sub-committee, in the present issue. _<br />
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Following the reading of the minutes of<br />
the previous meeting, the secretary reported<br />
on the cases that had been dealt with during<br />
the past month. One case of alleged plagiarism<br />
had been satisfactorily settled, and the<br />
secretary laid before the Dramatic Sub-<br />
Committee the correspondence that had passed<br />
between the solicitors of both sides. The<br />
issues were satisfactorily explained and the<br />
charges withdrawn.<br />
<br />
The second case related to a claim for money<br />
due under a contract, against an actress. The<br />
sub-committee instructed the secretary to lay<br />
the matter before the Committee of Manage-<br />
ment with a view to taking it into Court if<br />
it was found impossible to carry it through by<br />
correspondence.<br />
<br />
A discussion then arose on the settlement of<br />
the agenda for the Conference of Dramatists,<br />
and this matter was adjourned till the next<br />
meeting.<br />
<br />
One of the members then laid before the<br />
Dramatic Sub-Committee an insurance policy<br />
he had entered into so as to cover any loss<br />
that he might sustain in the event of fire in<br />
a theatre during the run of his play. The<br />
sub-committee were very interested in the<br />
matter, and suggested that the attention of<br />
dramatists should be called to it by the publica-<br />
tion of an article in The Author, and the<br />
secretary was instructed to mention the matter<br />
to those dramatists who called at the office,<br />
and to thank the member for bringing it to<br />
the sub-committee’s notice.<br />
<br />
An informal discussion then took place as<br />
to the election of the Chairman of the Dramatic<br />
Sub-Committee for the next year, and it was<br />
decided to ask Mr. R. C. Carton to take the<br />
reins of office for a further term.<br />
<br />
The next item before the sub-committee was<br />
the question of agents’ fees, and it was decided<br />
to accept the terms put forward by Mr. A.<br />
Reyding, of Amsterdam, and that the secretary<br />
should inform all members who were entering<br />
into contracts for the performance of their<br />
plays in Holland of the arrangements made<br />
with the Society’s agent.<br />
<br />
The question of Mr. Walter Jordan’s fees<br />
in America was also discussed, and the<br />
secretary received instructions to make to<br />
Mr. Jordan a proposition for his acceptance.<br />
<br />
The draft prospectus referring to the collec-<br />
<br />
THE AUTHOR.<br />
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as to the conditions of theatrical work in<br />
<br />
tion of dramatic fees by the Collection Bureau<br />
was finally settled in the form of a circular to<br />
be issued to the dramatist members of the<br />
Society.<br />
<br />
The question of cinematograph fees was<br />
also discussed, and adjourned to the next<br />
meeting. The sub-committee felt that the<br />
matter was of urgent importance, and asked<br />
the secretary to make every effort to obtain<br />
full information to lay before them at their<br />
next meeting.<br />
<br />
The discussion of the Dramatic Pamphlet<br />
was also adjourned to the next meeting, and<br />
it was decided to devote that meeting especially<br />
to these two matters.<br />
<br />
The secretary, having reported that the<br />
Register of Scenarios was rapidly assuming<br />
enormous proportions, it was decided to rent a<br />
special room for storage. He was instructed<br />
to obtain full information to lay before<br />
the sub-committee, and the sub-committee<br />
expressed the view that if the fee was too small<br />
to cover the cost, the question of a revision<br />
of the charges would have to be considered<br />
at the next meeting.<br />
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II,<br />
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Tue Dramatic Sub-Committee held their<br />
April meeting on the third Friday in April, the<br />
18th ult., at No. 1, Central Buildings, Tothill<br />
Street, Westminster, S.W.<br />
<br />
After reading the minutes of the previous<br />
meeting, the sub-committee considered the<br />
question of the Scenario Register. The secre-<br />
tary reported that in accordance with the<br />
committee’s instructions he had made enquiries<br />
about hiring some extra room where the<br />
scenarios could be stored, and stated that<br />
he thought that facilities might be available<br />
in the building in which the Society’s offices<br />
were situated. The Dramatic Sub-Committee<br />
gave instructions that the Committee of<br />
Management should be notified in order that<br />
the necessary accommodation might be found.<br />
<br />
The secretary then read to the Dramatic<br />
Sub-Committee a report received from the<br />
Society’s agent in Holland, giving information<br />
<br />
Holland, and the figures of certain of the chief<br />
theatres in that country. The secretary was<br />
requested to thank the agent for his report.<br />
<br />
A further discussion followed as to the possi-<br />
bility of working with the German Society of<br />
Authors, and the appointment of agents in<br />
Germany was also considered. The secretary<br />
was instructed to obtain further information<br />
and to report to the next meeting.<br />
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SP! Seas Saag<br />
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THE AUTHOR.<br />
<br />
Mr. Cecil Raleigh then submitted to the<br />
sub-committee his report on Moving Pictures,<br />
which is printed in full on another page of<br />
The Author. The matter is one of the greatest<br />
importance, equally to the writers of books and<br />
to dramatie authors, and all members of the<br />
Society are asked to give careful attention to<br />
the information contained in the report.<br />
<br />
The secretary reported that a section had<br />
been added to the Bankruptcy Bill, as it passed<br />
through Committee, which would cover<br />
dramatists as well as writers of books, in the<br />
case of the bankruptcy of a manager to whom<br />
copyright had been assigned subject to the<br />
future payment of fees on the performances.<br />
It is hoped that this section may become law.<br />
It is of importance to dramatists, though not<br />
of such pressing importance as to authors<br />
of books.<br />
<br />
The consideration of the dramatic pamphlet<br />
was again adjourned owing to the heavy call<br />
‘on the sub-committee’s time.<br />
<br />
Composers’ SuB-COMMITTEE.<br />
<br />
THe Composers’ Sub-Committee met at<br />
the offices of the Society, at No. 1, Central<br />
Buildings, Tothill Street, Westminster, on<br />
Monday, April 21, at 11 o’clock.<br />
<br />
After the reading of the minutes of the<br />
previous meeting, the secretary read a com-<br />
munication from a member of the Society,<br />
in which the following suggestion was made:<br />
“To forward to all the small musical clubs<br />
and choral societies in the country lists of<br />
part-songs and small choral works which could<br />
be undertaken by such societies, as these<br />
societies often found it very difficult to obtain<br />
information about the music of modern com-<br />
posers.” The sub-committee thought the idea<br />
an excellent one, and the secretary was<br />
instructed to take steps to obtain a proper<br />
list of part-songs, etc., by modern composers,<br />
and then to send the list to as many country<br />
clubs as possible.<br />
<br />
The secretary then reported that the Society<br />
had succeeded in getting a clause incorporated<br />
in the Bankruptcy Bill as it passed through<br />
Committee, which would materially benefit<br />
the composer, author or dramatist who had<br />
assigned his copyright while retaining a con-<br />
tinuing interest in the sales of his work or<br />
the performance of it. The sub-committee<br />
approved the action taken by the Society,<br />
and hoped that the clause would, eventually,<br />
become law.<br />
<br />
The answers to the circular to composers,<br />
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225<br />
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sent out with the sanction of the Com-<br />
mittee of Management, were next laid before<br />
the sub-committee, and it was decided,<br />
when further answers were received, to call<br />
a public meeting to discuss the points put<br />
forward. In the meantime, the sub-committee<br />
directed that another circular should be drafted,<br />
in which would be embodied the principles<br />
set out in the previous circular, in the form of<br />
questions, to which categorical answers would<br />
be requested.<br />
<br />
It was pointed out that from the usual<br />
form of agreement between composer and<br />
music publisher—which was really no agree-<br />
ment at all, but merely an assignment of the<br />
rights in his work by the composer—many<br />
of the ordinary clauses of an agreement were<br />
lacking, and amongst the number, special<br />
attention was drawn to the omission of the<br />
account clause. The sub-committee decided<br />
to circularise the big music publishing firms,<br />
suggesting that it would be invaluable to com-<br />
posers and to the firms themselves, that some<br />
uniform arrangement should be come to as to<br />
the rendering of accounts at fixed dates.<br />
<br />
The agreement of the German Genossenschaft<br />
was then discussed, and the matter adjourned<br />
for further consideration.<br />
<br />
—+-—<=—4—<br />
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Cases.<br />
<br />
SINCE the last issue of The Author there have<br />
been eight cases passing through the secretary’s<br />
hands ; four of them have dealt with applica-<br />
tions for money. Of these two have been<br />
settled and cheques have been forwarded<br />
to the authors. The third is in the course of<br />
negotiation and a reasonable arrangement<br />
will be come to, but the matter has been a<br />
little delayed owing to the misreading of the<br />
contract. The last case has only recently<br />
come to hand.<br />
<br />
There were three cases for the return of<br />
MSS. One has been settled, one in the United<br />
States is still open, and the last as it has<br />
been impossible to trace the whereabouts of<br />
the person to whom the MSS. were sent, has<br />
had to be abandoned.<br />
<br />
There has been a dispute about the trans-<br />
lation of a member’s work in a foreign country,<br />
and action has been taken by the secretary<br />
in the matter. It is not so much a case for<br />
legal action as for diplomatic settlement, and<br />
it is impossible to say, at the present time,<br />
what the result will be.<br />
<br />
There are still six cases open from the<br />
former month; that is, cases still in the<br />
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226<br />
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secretary’s hands. The others have been<br />
settled, with the exception of one placed in<br />
the hands of the Society’s solicitors. Of the<br />
six cases open, four are foreign cases, two<br />
lying in the United States, where negotiations<br />
can go through but slowly, one in Hungary,<br />
where again it is difficult to get a quick<br />
answer to letters, and one in India where the<br />
member resides.<br />
<br />
Of the other two cases, one referring to the<br />
cancellation of an agreement with a publisher,<br />
is very nearly settled, terms have been arranged,<br />
but the actual cancellation has not yet taken<br />
<br />
Jace ; the other a demand from a publisher<br />
or accounts, is still open. The publisher<br />
has proved on former occasions most difficult<br />
to deal with. The present case will, in all<br />
probability, have to be placed in the hands<br />
of the Society’s solicitors.<br />
<br />
——<br />
<br />
Elections.<br />
<br />
THE AUTHOR. |<br />
<br />
Philpot, Stephen Row-<br />
land —<br />
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Richards, Harold<br />
Grahame<br />
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Rothwell, Ernest Her-<br />
bert<br />
Sargent, HerbertC. .<br />
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Sarolea, Charles .<br />
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Stock, Ralph . ‘<br />
<br />
/Strachey, Miss Amabel<br />
<br />
Taylor, Susette M. .<br />
<br />
<br />
<br />
83, Randolph Cres-<br />
cent, Maida Vale,<br />
W.<br />
<br />
13, Hampstead Hill<br />
Gardens, Hamp-<br />
stead, N.W.<br />
<br />
9, Brunswick Square,<br />
Hove.<br />
<br />
Green Room Club, —<br />
Leicester Square,<br />
W.C.<br />
<br />
21, Royal Terrace,<br />
Edinburgh.<br />
<br />
c/o Bank of New<br />
South Wales,<br />
29, Threadneedle<br />
Street, E.C.<br />
<br />
Newlands Corner,<br />
Merrow Downs,<br />
Guildford.<br />
<br />
22, Cromwell Cres-<br />
cent, S.W.<br />
<br />
Bourgeois, Maurice<br />
<br />
Brackenbury, Anita<br />
Bartle<br />
<br />
Bridges, T. C. (‘ Chris-<br />
topher Beck ’’).<br />
<br />
Caulfield-Stoker, T.<br />
<br />
Dempster, Miss Char-<br />
lotte Louisa Hawkins<br />
Falkner, Major Percy<br />
Hope, R.A.M.C.<br />
Fraser, A. Keith.<br />
Griffith, Mrs.L.W. .<br />
<br />
Griffiths, Maj.-General<br />
C.<br />
Harding Newman<br />
<br />
Hicks, Rev. E. Savell<br />
Heaton<br />
<br />
Jackson, Henry Cecil .<br />
Mace, Charles Augustine<br />
<br />
McConaghey, Capt.<br />
M. E.<br />
Mothersole, Miss Jessie<br />
Orred, Meta : i<br />
Palmer, Mrs. Clayton .<br />
<br />
Pearson, Mrs. Meynell<br />
(‘* Ida Wild’’).<br />
<br />
20 bis rue Censier,<br />
Paris, France.<br />
Oakwood, Warling-<br />
<br />
ham, Surrey.<br />
Moor Lodge, Prince-<br />
town, Devon.<br />
<br />
26, College Road,<br />
Bromley, Kent.<br />
24, Portman Square,<br />
<br />
W.<br />
<br />
22, Victoria Park,<br />
Dover.<br />
<br />
55, Holland Road,<br />
Kensington, W.<br />
<br />
8, Fayland Avenue,<br />
Streatham Park,<br />
S.W.<br />
<br />
St. Kevin’s Park,<br />
Rathmines,<br />
Dublin.<br />
<br />
Khartoum, Sudan.<br />
<br />
4, Kingsland Road,<br />
N.E<br />
<br />
Royal Scots Fusiliers<br />
Lanark, N.B.<br />
<br />
141, Willesden Lane,<br />
N.W.<br />
<br />
1,Richmond Gardens,<br />
Bournemouth.<br />
<br />
Greenhurst, Oxted.<br />
<br />
Golf Club, Hindhead,<br />
Surrey.<br />
<br />
The editor regrets that in the last number<br />
of The Author Mr. W. Wilfrid Blair Fish’s<br />
name was wrongly announced. The name<br />
should have been Mr. W. Wilfrid Blair Fish,<br />
and not Wilfred.<br />
<br />
—————_<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
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While every effort is made by the aia to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate. - 4<br />
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ART.<br />
<br />
VisvaxarMa. Examples of Indian Architecture, Sculp-<br />
ture, Painting, etc. Chosen by ANANDA K. Coomaras-<br />
wamy, D.Sc. Part Ill. 11 x 9 37 pp Luzac.<br />
<br />
Qs. 6d.<br />
BIOGRAPHY.<br />
<br />
Tae Marriep Lire of QueEN Vicrorta. By Chara<br />
JerRotp. 9 X 53. 399 pp. Nash. 15s. n.<br />
<br />
Tan TRUTH ABOUT CaRLYLE. By Davin ALEC WILSON,<br />
With a Preface by Sir James CrIcHTON- BROWNE.<br />
7k X 5. 122 pp. Alston Rivers, Ltd. 1s. 6d. n.<br />
<br />
A Smart Boy aNd OTers. By Henry Jamus. 9 X 5}.<br />
436 pp. Macmillan. 12s. n.<br />
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Harotp Smpson anp Mrs. C. Braun. 9 X 5}.<br />
380 pp. Mills & Boon. 10s. 6d. n. :<br />
<br />
Mrs. GaskeLt. Haunts, Homes and Stories, | By<br />
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<br />
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Blackwood. 16s. n.<br />
<br />
’ Tue Tracepy or Isapetya Il. By FRAncis GRIBBLE.<br />
9x 5%. 308 pp. Chapman & Hall. 15s. n.<br />
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‘) Wit11am Ernest Hentry. By UL. Core Cornrorp.<br />
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[DRAMA.<br />
<br />
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tS 23. n,<br />
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go A Acts. By Luoyp Sr. Cram.<br />
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4 Gaston DE Forx. A Play in Three Acts. (Second<br />
bs Edition Revised.) 72 pp. PaLaMoN AND ARCITE.<br />
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os! Tue Warre Hovse sy THE Sza.<br />
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Tue CoNFOUNDING OF CAMELLA.<br />
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<br />
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By Otrvia Ramsey. 7} x 5.<br />
<br />
By Anne Doveas<br />
<br />
Constable. 6s.<br />
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<br />
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227<br />
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Tur CrystaL Stopper. An Arsene Lupin Novel. By<br />
<br />
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ie xD:<br />
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Mavrice Lz Branc.<br />
TEIXEIRA DE Marros.<br />
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HISTORY.<br />
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Tue History or Enerish Patriotism. By<br />
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Grant Richards. 7s. 6d. n.<br />
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2s. 6d. n.<br />
<br />
Dante anp Aquinas. By P. H. WickstTEep.<br />
substance of the Jowett Lectures of 1911.<br />
271 pp. Dent. 6s. n.<br />
<br />
MILITARY.<br />
<br />
Boy Scouts Bryonp THE Seas. ‘My World Tour.”<br />
By Sm Rozpert Bapen-Powet, K.C.B., 74 x 5.<br />
250 pp. Pearson. 2s. n.<br />
<br />
Hints on Trarnrnc TerritorraL Inrantry. From<br />
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64 x 4. 112 pp. Gale & Polden. 1s. 6d. n.<br />
<br />
MUSICAL,<br />
<br />
Tue Responsive Psatter. Containing the Psalms set<br />
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83 <x 54. 296 pp. Simpkin, Marshall.<br />
<br />
AppiTionaL TuNngEs To Hymns In Hymns, ANCIENT AND<br />
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NATURAL HISTORY.<br />
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British Divine Ducks. By J. G. Murais, F.ZS.<br />
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mans. £12 12s. n.<br />
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Tur Crecrinc Year. Book IV. Rambles in Winter.<br />
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under the Stars. By W. Prrcivan WESTELL, D.Sc.<br />
93 x. 7s. Nelson.<br />
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pope<br />
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Tur Fair or ALL SENSIBLE Peoriy. By D. A. Witson.<br />
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<br />
POETRY.<br />
<br />
Tur Muse in Exrz. By Wit1am Watson. ‘To which<br />
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THEOLOGY.<br />
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Re-edited by E. M. Grern, with<br />
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CELESTIAL Fire.<br />
Sancte Spiritus.<br />
by Ricuarp WHITE.<br />
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Longmans. 2s. 6d. n.<br />
<br />
THE CHILDREN FoR THE CHuRcH. The League of Young<br />
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81 x 5}. 278 pp.<br />
<br />
————_1-<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
—<br />
<br />
a A Small Boy and Others” Mr. Henry<br />
James gives the memories of his boy-<br />
hood, including much about his brother,<br />
“Ww. J.,” otherwise the celebrated William<br />
James. The publishers are Messrs. Mac-<br />
millan & Co., and the price is 12s. net.<br />
<br />
Mr. Morley Roberts calls his new collection<br />
of short tales ‘‘ Gloomy Fanny, and Other<br />
Stories ” (Eveleigh Nash). They are in the<br />
author’s humorous vein.<br />
<br />
In “Four Plays” (Sidgwick & Jackson,<br />
2s. 6d.), Mr. Gilbert Cannan publishes as a book<br />
his “James and John,” ‘‘ Miles Dixon,”<br />
“‘ Mary’s Wedding,” and “ A Short Way with<br />
Authors.”’<br />
<br />
Messrs. Macmillan & Co. announce the pre-<br />
paration of an uniform edition of the works of<br />
Sir Gilbert Parker. It will be known as the<br />
Imperial Edition, and will consist of eighteen<br />
<br />
THE AUTHOR.<br />
<br />
volumes at 8s. 6d. net each. The long novels,<br />
the short novels, the short stories, and the<br />
verse are embraced, including certain work<br />
which has only appeared in magazines or been<br />
printed privately. Sir Gilbert Parker has<br />
provided a general introduction to the edition<br />
as a whole, and a special introduction to each<br />
volume. Photogravure frontispieces are also<br />
furnished throughout: in the first volume a<br />
portrait of the author, in the others pictures<br />
from original drawings by well-known artists.<br />
The set is to be issued at the rate of three<br />
volumes a month, commencing this month.<br />
<br />
Mr. Bernard Capes’s new novel is entitled<br />
“‘ Bag and Baggage.” It is issued by Messrs.<br />
Constable & Co.<br />
<br />
The same firm has published ‘“ Keren of<br />
Lowbole,”’ by Una L. Silberrad ; and “ Lifted<br />
Curtains,” by Edward Noble. :<br />
<br />
Mr. Francis Gribble’s latest work is called<br />
“The Tragedy of Isabella II.,”’ Messrs. Chap-<br />
man & Hall being the publishers, and the<br />
price 15s.<br />
<br />
Mrs. Alec Tweedie, who has in the last six<br />
months travelled about 26,000 miles, through<br />
Canada, the United States, Brazil, and Argen-<br />
tina, has during that period contributed full-<br />
page articles to the New York Times. She has<br />
been asked to enlarge these articles for pub-<br />
lication in book form this autumn for an<br />
important American firm. Her last book,<br />
“Thirteen Years of a Busy Woman’s Life ”<br />
(Messrs. John Lane), has run through four<br />
editions.<br />
<br />
The Rev. Theodore Johnson, vicar and rector<br />
of Bodiam, Sussex, has compiled from ancient<br />
sources, and issued through Messrs. F. J.<br />
Parsons, of Hastings, ‘“‘ The History of Bodiam,<br />
its‘Ancient Manor, Church and Castle.” There<br />
are a large number of photographs and draw-<br />
ings, and a ground-plan of the Castle. The<br />
published price of the work is 1s., or 1s. 6d.<br />
cloth.<br />
<br />
Madame Albanesi’s new novel is ‘“ The<br />
Beloved Enemy.’”’ The publishers are Messrs.<br />
Methuen.<br />
<br />
Mr. H. F. Prevost Battersby’s ‘‘ The Silence<br />
of Men” is published by the Bodley Head.<br />
<br />
In “ Veiled Women” (Eveleigh Nash) Mr.<br />
Marmaduke Pickthall gives pictures of harem.<br />
life in the form of a novel.<br />
<br />
Ghost stories are the content of Mr. William.<br />
Hope Hodgson’s ‘“* Carnacki the Ghost-F inder,”’<br />
of which also Mr. Nash is the publisher.<br />
<br />
Mr. Halliwell Sutcliffe has given to a novel<br />
which Messrs. Stanley Paul announces for<br />
immediate publication .the title of “The<br />
Strength of the Hills.” The scene is laid in<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 229<br />
<br />
the bare, rough Haworth moorland country,<br />
sixty years ago, which was the inspiration of all<br />
Mr. Sutcliffe’s earlier work.<br />
<br />
The same firm has just issued ‘‘ Mrs. Gray’s<br />
Past,”’ by Mr. Herbert Flowerdew. The scene<br />
of this is an old-fashioned cathedral city, whose<br />
peace is disturbed by the scandal arising from<br />
the presence of the charming but mysterious<br />
widow, Mrs. Gray, and her baby son. Like<br />
‘“‘ The Strength of the Hills ’’ and Miss Annes-<br />
ley Kenealy’s ‘‘ Poodle Woman,” “ Mrs. Gray’s<br />
Past” has been added to the firm’s Colonial<br />
Library.<br />
<br />
Messrs. Paul have also brought out a six-<br />
penny edition of Mr. Rafael Sabatini’s “The<br />
Lion’s Skin.” This author’s “ Strolling Saint”<br />
is now in its fourth edition.<br />
<br />
On April 7 Messrs. William Rider & Son<br />
published a 1s. edition of Maude Annesley’s<br />
** Wind along the Waste,” which appeared in<br />
6s. form two years ago. The same author’s<br />
new novel, ‘‘ The Sphinx in the Labyrinth,”<br />
was published by Messrs. Mills & Boon on the<br />
16th. The title is taken from the quotation,<br />
“The heart of a woman is a Sphinx within a<br />
labyrinth,” and the plot is a very strong one.<br />
It is a psychological study of two women and<br />
one man. The scene is laid in Provence.<br />
This book will be published in America by<br />
Messrs. Duffield & Co. This month Messrs.<br />
Newnes & Co. are producing a 6d. edition of<br />
Maude Annesley’s ‘* All Awry.”<br />
<br />
Count Plunkett, K.C.H.S., has been elected<br />
a corresponding member of the Société Archéo-<br />
logique de France. At the recent Historical<br />
Congress in London he represented the Paris<br />
institution, as well as the Royal Society of<br />
Antiquaries of Ireland, of which he is President.<br />
<br />
Messrs. Harrap & Co. have just issued<br />
another number of their ‘‘ All Time Tales,”<br />
viz., ‘‘ Ivanhoe,” by E. P. Prentys.<br />
<br />
Mr. Walter Wood, who has written exten-<br />
sively on North Sea fishermen—one of his most<br />
recent books being ‘‘ North Sea Fishers and<br />
Fighters ’—has been appointed by the Council<br />
of the Royal National Mission to Deep Sea<br />
Fishermen to the editorship of Toilers of the<br />
Deep,. the Mission’s monthly magazine, in<br />
succession to the late Mr. George Andrew<br />
Hutchison. Mr. Hutchison (who was also the<br />
editor of The Boy’s Own Paper) had conducted<br />
Toilers of the Deep since its foundation in 1886.<br />
<br />
The Quest contains in its April number a<br />
metrical version of the medieval French<br />
legend of Our Lady’s Tumbler, entitled “‘ The<br />
Jongleur of Poitou,” by K. L. Montgomery.<br />
The authors who write under this name are<br />
contributing to the English Illustrated Magazine<br />
<br />
some articles on Portraits in European<br />
Galleries.”” Their Welsh novel, ‘‘ The Gate-<br />
Openeis,”’ is in its fourth edition.<br />
<br />
Miss Lillias Campbell Davidson has a new<br />
serial running in the Ladies’ World, under the<br />
name of “‘ The Primitive Law.”<br />
<br />
Miss Ethel Canning, author of ‘“ Sybella,”<br />
has had another novel published by Messrs.<br />
Digby, Long & Co., entitled “‘ The Sky-Line.”<br />
<br />
Derek Vane’s new novel, ‘‘ The Paradise of<br />
Fools,’’ will be published by Messrs. Everett in<br />
May. The American serial rights of this story<br />
were sold for £250. The same author is now<br />
writing a series of short stories for an American<br />
magazine, entitled “The Indiscretions of<br />
Fantine.”<br />
<br />
‘* Ineffectual Fires,”’ a novel by E. M. Smith-<br />
Dampier, has been published by Messrs.<br />
Melrose.<br />
<br />
A second edition is announced of E. Yol-<br />
land’s “The Struggle for the Crown,” a<br />
romance of the seventeenth century (Lynwood<br />
& Co.).<br />
<br />
Verse claims somewhat larger attention this<br />
month than usual in comparison with prose.<br />
The first number has appeared of the quarterly<br />
Poetry and Drama, published by the Poetry<br />
Bookshop, 35, Devonshire Street, Theobald’s<br />
Road, at an annual subscription of 10s. 6d.<br />
post free. Mr. Maurice Hewlett occupies the<br />
first place in the poetry section of the magazine<br />
with ‘“‘ The Voyage,” the other contributors<br />
being Messrs. James Elroy Flecker, Lascelles<br />
Abercrombie, and Michael Mecredy. The rest<br />
of the magazine is divided between articles<br />
and criticism. A “‘ personal explanation ” by<br />
the editor sets out the descent of Poetry and<br />
Drama from the Poetry Review.<br />
<br />
Mr. James E. Pickering has published “* The<br />
Call of the Mountains, and Other Poems,”’<br />
which is No. 23 of Messrs. A. C. Fifield’s Grey<br />
Board Series, 1s. net. Mr. Pickering’s ‘‘ The<br />
Cap of Care ’’ was No. 18 in the same series.<br />
<br />
Mr. Arthur Scott Craven has a long poem,<br />
entitled ‘‘ Dawkins,”’ in the current number of<br />
the Magpie. A story by him, ‘“ The Man who<br />
had Greatness thrust upon Him,” will appear<br />
in the June issue of the Pall Mall Magazine.<br />
<br />
** A Memorial Ode to Our Antarctic Heroes,”<br />
from the pen of Alfred Smythe, F.R.G.S.,<br />
appears in the May number of the Westminster<br />
Review. Mr. Smythe is the author of ““ A New<br />
Faust,” “ Sir Dunstan’s Daughter, and Other<br />
Poems,” ‘‘ The Warlock” (a lyric play pro-<br />
duced at the Gaiety and Queen’s Theatres,<br />
Dublin), as well as other works, and has con-<br />
tributed prose and verse to journals, both in<br />
London and in New York. His lines of wel-<br />
<br />
<br />
<br />
<br />
230<br />
<br />
.come on the occasion of Their Majesties’ return<br />
from India were accepted by the King.<br />
<br />
“Modern Verse,”? published with the im-<br />
print of Morland, Amersham, Bucks, at the<br />
price of 1s., announces that half a guinea is<br />
paid for every poem appearing in its pages.<br />
The number before us contains twenty-five<br />
short poems.<br />
<br />
The English Review for April contains a story<br />
by E. H. Young, called ‘‘ Cow’s Tail.”<br />
<br />
MUSICAL.<br />
<br />
The Rev. James Eckersley’s ‘‘ Responsive<br />
Psalter,” mentioned last month, is published<br />
in two editions; one 3s. net, the other, with<br />
words only, 1s. net. This work provides<br />
musically responsive chant-forms correspond-<br />
ing to the parallelisms of the Hebrew poetry,<br />
which, the editor maintains, cannot be done by<br />
plain-song or Anglicans, owing to the unequal<br />
length of their sections. The melodies are<br />
kept within moderate range, so that they may<br />
be sung in unison by the congregation, and<br />
changes of chant are given wherever demanded<br />
by the words. A method of printing is adopted<br />
with a view to prevent hurried recitation, and<br />
short, barless chants to avoid false accents.<br />
<br />
DRAMATIC.<br />
<br />
Sir Arthur Pinero’s ‘“‘ Playgoers,” in one act,<br />
was produced at the St. James’s Theatre, on<br />
March 381, before Mr. A. E. W. Mason’s “‘ Open<br />
Window.”<br />
<br />
On April 22, at the New Royalty Theatre,<br />
Mr. Rudyard Kipling’s first play was seen—<br />
the first, that is to say, from him as his own<br />
dramatist ; for ‘“‘ The Light that Failed ” and<br />
‘* The Man Who Was ”’ owed their conversion<br />
to drama-form to other hands. The new piece<br />
is entitled ‘‘ The Harbour Watch,” and is to be<br />
played, for a commencement, at six matinees<br />
in all. ‘‘ The Light that Failed,” it may be<br />
mentioned, was one of the items of Mr. Forbes<br />
Robertson’s farewell season at. Drury Lane.<br />
<br />
Mr. Forbes Robertson’s season also included<br />
revivals of Madeleine Ryley’s ‘“‘ Mice and Men ”<br />
and Mr. Bernard Shaw’s “‘ Cesar and Cleo-<br />
patra.’ The latter was more than a revival,<br />
however, as there were additions since the<br />
original production, including a prologue.<br />
<br />
On April 1 Mr. Ernest Denny’s comedy<br />
‘** Vanity ’’? was produced at the Globe Theatre<br />
by Miss Ethel Irving.<br />
<br />
April 8 saw the first night of Mr. Frank<br />
Stayton’s “* The Inferior Sex,”’ at the Comedy,<br />
with Messrs. Kenneth Douglas and QO. B.<br />
<br />
VTHE AUTHOR. |<br />
<br />
Clarence and Miss Renée Kelly in the leading<br />
parts.<br />
<br />
The run of ‘ Lolotte,”’ as adapted by Mr.<br />
John Pollock from the French of Meilhae and<br />
Halevy, terminated at the Coliseum on April 5.<br />
The play has been taken on tour by Madame<br />
Lydia Yavorska (Princess Bariatinsky).<br />
<br />
The bill at the New Royalty on April 22, in<br />
addition to the already mentioned Kipling<br />
play, contained a comedy called “* Thompson,”<br />
by the late St. John Hankin, completed by Mr.<br />
George Calderon. Messrs. Vedrenne and Eadie<br />
are the producers of “‘ Thompson.”<br />
<br />
The repertory season at the Grand Theatre,<br />
Croydon, opened on April 14 with Miss Eliza-<br />
beth Baker’s ‘‘ Chains.”<br />
<br />
At the King’s Hall, Covent Garden, on<br />
April 29, the masque “* Love and the Dryad ”<br />
was produced. The music of this is by Agnes<br />
H. Lambert (Mrs. Heygate Lambert).<br />
<br />
In Mr. Galsworthy’s revival of “Strife” at<br />
the Comedy, which is due just as we are going<br />
to press, Mr. Norman McKinnel resumes his<br />
role of John Anthony. Others in the cast are<br />
Mr. J. Fisher White, Mr. Kenneth Douglas,<br />
and Mr. O. B. Clarence.<br />
<br />
‘Strife’? has just been produced in Vienna<br />
under the German title “ Kampf.”<br />
<br />
Mr. J. M. Barrie’s new play, “‘ The Legend of<br />
Leonora,” will be produced by Mr. Frohman<br />
in London, at the beginning of the autumn<br />
season.<br />
<br />
The Drama Society will present before the<br />
close of this month a new play by Mr.<br />
Gilbert Cannan.<br />
<br />
Oe<br />
<br />
PARIS NOTES.<br />
<br />
1<br />
<br />
HE prize awarded annually by La Vie<br />
Heureuse has been given this year to<br />
<br />
M. Emile Nolly for his book, ‘‘ Gens de<br />
Guerre au Maroc,”’ about which we spoke in<br />
the January number of The Author.<br />
<br />
The book by Pierre Loti, entitled ‘* Turquie<br />
agonisante,’’ has made its way to all countries.<br />
The result has been that the author has been<br />
besieged by documents and letters giving him<br />
further information. He has now added so<br />
much new matter to his original book that the<br />
new edition should be read by all who are<br />
interested in the subject.<br />
<br />
In a new volume, ‘Les Merveilles de<br />
l’Instinct chez les Insectes,’’ J..H. Fabre, the<br />
celebrated naturalist, gives us a series of well-<br />
chosen extracts from his ‘‘ Souvenirs Entomo-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
re<br />
is<br />
<br />
=<br />
<br />
bow<br />
we<br />
<br />
<br />
<br />
pee ae<br />
<br />
me<br />
Sew<br />
<br />
wo ee a. ee<br />
Se Peer eae a Ee ey<br />
<br />
it _<br />
GED ht ot<br />
<br />
£<br />
Ake<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
logiques,” and some hitherto unpublished<br />
studies concerning ‘‘ Le Ver luisant ”’ and “ La<br />
Chenille du chou.” The chapter on the grave-<br />
diggers and the studies of the spiders and the<br />
glow-worms are remarkable.<br />
<br />
Dr. G. V. Legros has now published the life<br />
of the great naturalist “La Vie de J. H.<br />
Fabre.” The titles of the chapters will give<br />
an idea of the book: Intuition de la Nature,<br />
Instituteur primaire, Séjour en Corse, Fabre<br />
d’Avignon, Un grand Educateur, Dans l’ermi-<br />
tage, Interprétation de la Nature, La merveille<br />
de l’Instinct, Le Transformisme, L’Ame des<br />
betes, Harmonies et dissonances, Traduction<br />
de la Nature, L’épopée animale, Vies paralléles,<br />
Les Veillées de Sérignan, Au crépuscule. In<br />
the last chapter Dr. Legros gives us an idea of<br />
the simple, dignified life which the great<br />
naturalist has led. The whole book is well<br />
worth reading.<br />
<br />
“‘Ta Belle Madame Colet’’ is the title of<br />
the book by J. de Mestral-Combremont which<br />
we have been awaiting for some time. It is<br />
the first one to give us a definite account of this<br />
déesse des romantiques. The biographer has<br />
had access to many documents which throw<br />
new light on the history of this extraordinary<br />
and not very interesting woman. We have<br />
many enlightening details about her various<br />
friendships and her efforts to become<br />
acquainted with the chief writers of her day.<br />
<br />
Another new novel is announced by M.<br />
Henry Bordeaux. The title is “ La Maison.”’<br />
<br />
M. Frédéric Masson continues his series of<br />
books on the Bonaparte family. The tenth<br />
volume is entitled ‘“‘ Napoleon et sa Famille.”<br />
It treats more particularly of the fatal years<br />
1814 and 1815.<br />
<br />
“Elisabeth de Baviére,”’ by Jacques de la<br />
Faye, is another interesting biography by a<br />
writer who has given us several valuable<br />
historical works. The preface is written by<br />
M. Maurice Barrés.<br />
<br />
The first volume of the works of Paracelsus<br />
has recently been published in French.<br />
M. Grillot de Givry has undertaken to translate<br />
the whole series.<br />
<br />
“Le Costume civil en France,” by Camille<br />
Piton, is to be published in twelve parts. It<br />
is a work which will be of great value to illus-<br />
trators, as there are to be some 700 illustrations<br />
of the various transformations which costumes<br />
have undergone from the thirteenth century to<br />
the nineteenth.<br />
<br />
The death of M. Honoré Champion will be<br />
regretted by all bibliophiles. He was not only<br />
a seller, but a true lover of books, and all those<br />
in search of curious editions wended their way<br />
<br />
231<br />
<br />
to the Quay to consult with M. Champion.<br />
To the favoured few he would show his<br />
treasures, one of which was a manuscript of<br />
the ‘‘ Memoires d’outre-tombe,’”’ written by<br />
Hyacinthe Pilorge and annotated by Chateau-<br />
briand himself.<br />
<br />
A curious legal case has just been tried in<br />
Paris. A novel, entitled “‘ Kowa la Mystér-<br />
ieuse,” by Charles Foley, was translated,<br />
without the author’s permission, and pub-<br />
lished in an Argentine paper, La Prensa, which<br />
has a branch office in Paris. M. Foley brought<br />
an action against the manager in Paris, and<br />
has won his case. The story was published<br />
before the legislation of the country concerned<br />
had agreed to protect the rights of literary<br />
property, but, as copies of the journal had been<br />
sold in Paris, M. Fole¥ won his case. An<br />
appeal was made to a higher court by the Paris<br />
manager of La Prensa, and M. Foley has once<br />
more won.<br />
<br />
At the Comédie-Francaise, ‘‘]’Embuscade,”’<br />
by M. Henry Kistemaeckers, has been greatly<br />
appreciated. It is a four-act piece, with plenty<br />
of movement and a strong plot. “ Hélene<br />
Ardouin,” the comedy in five acts, by M. Alfred<br />
Capus, is still being played at the Vaudeville.<br />
At the Gymnase ‘“‘ La Demoiselle de Magasin,”<br />
a three-act play by MM. Fonson and Wicheler,<br />
is now being given.<br />
<br />
Atys HALLArD.<br />
<br />
<br />
<br />
“Gens de Guerre au Maroc.” (Calmann Lévy.)<br />
“Turquie agonisante.”’ (Calmann Lévy.)<br />
“Ta Vie de J. H. Fabre.” (Delagrave.)<br />
‘Ta Belle Madame Colet.” (Fontemoing.)<br />
“ Napoléon et sa Famille.” (Ollendorff.)<br />
‘“ Blisabeth de Bavitre.”’ (Emile Paul.)<br />
Works of Paracelsus. (Chacornac.)<br />
“Le Costume civil en France.” (Flammarion.)<br />
<br />
—___—_+—_->—_+____—__<br />
<br />
NEW UNITED STATES COPYRIGHT ACT.<br />
<br />
—+-——+<br />
<br />
(Received from the Copyright Office :<br />
The Library of Congress.)<br />
(Note: The new matter in this amendatory Act is printed<br />
in italics.)<br />
AN ACT<br />
To amend section fifty-five of “‘An Act to<br />
amend and consolidate the Acts respecting<br />
copyright,” approved March fourth, nine-<br />
teen hundred and nine.<br />
<br />
Be it enacted by the Senate and House of<br />
Representatives of the United States of America<br />
in Congress assembled, That section fifty-five<br />
of the Act entitled “‘An Act to amend and<br />
consolidate the Acts respecting copyright,”’<br />
<br />
<br />
232 THER AUTHOR.<br />
<br />
approved March fourth, nineteen hundred and<br />
nine, be amended to read as follows :<br />
<br />
“‘ Sec. 55. That in the case of each entry the<br />
person recorded as the claimant of the copy-<br />
right shall be entitled to a certificate of regis-<br />
tration under seal of the copyright office, to<br />
contain the name and address of said claimant,<br />
the name of the country of which the author of<br />
the work is a citizen or subject, and when an alien<br />
author domiciled in the United States at the time<br />
of said registration, then a statement of that<br />
fact, including his place of domicile, the name<br />
of the author (when the records of the copyright<br />
office shall show the same), the title of the work<br />
which is registered for which copyright is<br />
claimed, the date of the deposit of the copies<br />
of such work, the date of publication if the work<br />
has been reproduced in copies for sale, or publicly<br />
distributed, and such marks as to class designa-<br />
tion and entry number as shall fully identify<br />
the entry. In the case of a book, the certificate<br />
shall also state the receipt of the affidavit, as<br />
provided by section sixteen of this Act, and<br />
the date of the completion of the printing, or<br />
the date of the publication of the book, as<br />
stated in the said affidavit. The register of<br />
copyrights shall prepare a printed form for<br />
the said certificate, to be filled out in each case<br />
as above provided for in the case of all registra-<br />
tions made after this Act goes into effect, and in<br />
the case of all previous registrations so far as the<br />
copyright office record books shall show such<br />
facts, which certificate, sealed with the seal<br />
of the copyright office, shall, upon payment<br />
of the prescribed fee, be given to any person<br />
making application for the same. Said certifi-<br />
cate shall be admitted in any court as prima<br />
facie evidence of the facts stated therein. In<br />
addition to such certificate the register of<br />
copyrights shall furnish, upon request, without<br />
additional fee, a receipt for the copies of the<br />
work deposited to complete the registration.”<br />
<br />
Approved, March 2, 1913.<br />
<br />
———_+- o_o —__—__<br />
<br />
DRAMATIC REPRESENTATION AND<br />
INSURANCE.<br />
<br />
><br />
<br />
R. JAMES T. TANNER, one of the<br />
members of the Dramatic Sub-Com-<br />
mittee of the Society of Authors has<br />
<br />
kindly called the attention of that committee<br />
to a method of protecting dramatic returns in<br />
ease of fire at a theatre. It has been his<br />
custom—after some difficulty and negotiation<br />
—to arrange for an insurance policy by which<br />
he is to be paid a certain sum per. week in<br />
<br />
case the run of a piece is interrupted through<br />
a fire or an agreed amount of total compensa-<br />
tion should the run of the piece be entirely<br />
stopped by the destruction of the theatre by<br />
fire. The Dramatic Sub-Committee think<br />
the matter of such importance to members<br />
of the profession generally, that they desire,<br />
through the columns of The Author, to draw<br />
attention to the details.<br />
<br />
The insurance policy in the case mentioned<br />
is for £2,000, though the amount could be<br />
fixed either higher or lower according to the<br />
wishes of the insurer ; and a special memoran-<br />
dum, which covers this special policy, runs as<br />
follows :—<br />
<br />
‘In the event of the said theatre being damaged or<br />
destroyed by fire during the run or rehearsal of one of the<br />
insured’s plays at said theatre, thereby occasioning loss to<br />
the Insured, this Company shall be liable to pay to the<br />
Insured the sum of £40 per week or a pro rata share thereof<br />
during the period for which the performance of such play is<br />
. in consequence of the damage done by such fire,<br />
<br />
ut not exceeding in all the sum of £2,000 (two thousand<br />
pounds).<br />
<br />
“Tt is, however, hereby declared that in the event of the<br />
entire destruction by fire of the within mentioned theatre,<br />
the Company shall pay to the Insured the total amount<br />
<br />
insured by this Policy, viz., £2,000. The Insured’s<br />
interest in the said theatre is hereby admitted.”<br />
<br />
There are some further special stipulations,<br />
and some further points in the usual policy<br />
issued by the company are cancelled.<br />
<br />
“The Insured binds himself under Clause 6 as follows :<br />
On the happening of any fire by reason of which the<br />
Insured shall sustain any Loss under this Policy, the<br />
Tnsured shall forthwith give to the Company notice thereof<br />
and shall use due diligence and do and concur in doing all<br />
things which may be practicable to minimise and to avoid<br />
or diminish such loss, and shall, at his own expense, deliver<br />
to the Company a claim in writing for the loss, together<br />
with, if demanded, a statutory declaration in support<br />
thereof, and no claim under this Policy shall be payable<br />
unless and until the terms of this condition are complied<br />
with.”<br />
<br />
We have by the courtesy of Mr. Tanner<br />
set out the main features of the policy, and<br />
shall be pleased to give any further details in<br />
confidence to members of the Society. His<br />
contract is with the Phoenix Assurance<br />
Company ; it is possible, however, that other<br />
companies would be willing to enter into a<br />
similar contract with dramatic authors should<br />
they desire to protect themselves in the same<br />
way as Mr. Tanner has done. No doubt the<br />
loss that a dramatist would sustain if a theatre<br />
was burnt in the full run of his play would be<br />
very serious, and it is perhaps probable that<br />
this chance has not entered the minds of<br />
numbers of the dramatic authors. Again, if<br />
it has done so, it is possible that they have<br />
been unsuccessful in carrying out the desire<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
SN. a ne ee<br />
<br />
<br />
<br />
<br />
<br />
- twenty-five copies, or positive films.<br />
<br />
THE AUTHOR.<br />
<br />
to protect themselves against loss. The<br />
Dramatic Sub-Committee hope, therefore, that<br />
those who wish to protect themselves may<br />
follow in Mr. Tanner’s footsteps and take up<br />
the idea which he has so kindly presented to<br />
them.<br />
<br />
a<br />
<br />
MOVING PICTURES.<br />
<br />
s<br />
<br />
HE excellence of Moving Pictures is<br />
already such, and their development is<br />
so rapid, that before long the Picture<br />
<br />
Palace will undoubtedly come into more or less<br />
acute competition with the Theatre.<br />
<br />
Dramatists, therefore, are advised to give<br />
some serious attention to the Moving Picture,<br />
as a vehicle for expressing their thoughts, and<br />
generally to the Picture Palace industry.<br />
<br />
The machine that flings the Moving Picture<br />
on to a screen is nothing more nor less than a<br />
superior magic lantern, but instead of the<br />
glass slide of our childhood there is run through<br />
this lantern a long piece of celluloid gelatine<br />
covered with photographs. This piece of<br />
celluloid gelatine is less than an inch wide, and<br />
is from 100 to 2,000 feet in length. It is called<br />
a film. This film in its original state is passed<br />
very rapidly through a camera, which is<br />
focussed upon the subject of the Moving<br />
Picture. When it is complete it is called the<br />
negative, and from it it is possible to print<br />
That<br />
number is not always printed, but can be<br />
printed in the case of a successful picture.<br />
<br />
The first exhibition of the film is what is<br />
called ‘‘ exclusive,’’ that is to say, it is exhibited<br />
in one, or possibly, two halls only. It is<br />
practically impossible to say what price is<br />
charged for the “exclusive”’ exhibition of a film.<br />
It depends upon the subject, the excellence of<br />
the film, and a variety of other conditions. In<br />
time the name of an author will also give it<br />
value, that is when authors write more<br />
regularly for the picture theatre. But the<br />
fact that the price I have mentioned is so<br />
uncertain, makes it essential that the author<br />
should be paid by taking some share of the<br />
money that the manufacturer receives.<br />
<br />
The “exclusive” period being over, the film<br />
comes on to the open market. Now it is the<br />
<br />
custom in Picture Theatres to change the<br />
<br />
programme twice in every week. Any one<br />
film therefore is let twice in each week, and for<br />
each of these lettings £6 odd is charged. This<br />
goes on for about six weeks, when the value<br />
of the film is supposed to have lessened. It is<br />
<br />
<br />
<br />
233<br />
<br />
then shown for about another six weeks, a<br />
little over £4 per let being charged for its hire.<br />
It then arrives at what is known as its third or<br />
final re-lease, when £2 per let is charged for it.<br />
It is not returned to the manufacturer, but<br />
remains the property of its last hirer, who<br />
resells it, or sublets it, to the small cheap halls,<br />
where the price of admission is 1d. or 2d. It<br />
will be seen that in its earlier stages one film<br />
earns over £12 per week for, say, six weeks.<br />
Say this equals £72. If twenty-five films of<br />
the same subject are also busy at the same time,<br />
twenty-five times £72 is earned, or £1,800. In<br />
the next six weeks the film is let twice in each<br />
week at £4 per week, that is to say £8 per week<br />
in all. In six weeks this equals £48. If<br />
twenty-five films.are at work the result is<br />
£1,200. If £200 were charged for the first<br />
‘* exclusive ” exhibition of the film, you will see<br />
that £3,200 could be earned by a successful<br />
picture, without counting the small money<br />
when it gets down to its £2 value. When,<br />
therefore, an author is invited to sell a story<br />
or a play, or write an original scenario for<br />
Moving Picture purposes, it seems highly<br />
desirable that he should insist upon a percen-<br />
tage of the gross fees earned by the films of<br />
his subject being paid to him.<br />
<br />
There is no difficulty about this. I recently<br />
received the following letter from a well-known<br />
American manager.<br />
<br />
“ Regarding the matter of moving pictures of plays, our<br />
custom here is to pay from £200 to £400 down on account<br />
of royalty, which runs from 5 per cent. to 15 per cent. of<br />
the profits accruing to us from the sale of films, rentals<br />
and exhibitions through our subsidiary companies and<br />
affiliated companies. But this amount depends entirely<br />
upon the prominence of the play or the popular value of<br />
the star. We make the same terms with the star who owns<br />
the play, or any who appears for us in a standard work of<br />
fiction.<br />
<br />
“These are terms that we are now using. Of course<br />
there is something in a business connection with a company<br />
of good standing which does the work. There are numbers<br />
of predatory companies who make big offers, and take their<br />
chances upon capitalising their quarry, just as you might<br />
find it with theatrical management.<br />
<br />
“With a sound and well-established company there is<br />
no difficulty about honest payments, as special, verified<br />
accounts in books are kept of each separate display. We also<br />
have other terms, such as paying £100 outright for a<br />
copyrighted novel (of which we have many in this country),<br />
and which the publishers realise are a help in stimulating<br />
the sale of the novel.”<br />
<br />
The highest terms above quoted are a little<br />
exceptional, however, and they refer mostly<br />
to a novel experiment that has been tried by<br />
certain American film manufacturers, who<br />
induce well-known actors and actresses to<br />
appear for them before the camera either in<br />
scenes from a popular play or in specially<br />
<br />
<br />
234<br />
<br />
written incidents. The remuneration of these<br />
actors and actresses is a percentage of the<br />
earnings of all the films showing such scenes<br />
and incidents. The Picture Palace proprietor<br />
is thus able to announce :-—<br />
<br />
“‘ Mr. Lewis Waller as ‘ Beaucaire ’ every<br />
night.”<br />
<br />
and the public is drawn accordingly. I do<br />
not know whether Mr. Waller has ever appeared<br />
for Moving Picture purposes, I merely give his<br />
name as an example of the system. As will<br />
be seen from the letter I have quoted, in the<br />
special cases referred to the author gets the<br />
same percentage as the star actor.<br />
<br />
It will be found, however, that, speaking<br />
generally, such a payment, down, as £400 on<br />
account of 10 per cent. is rather high, and can<br />
only be secured by authors with very well-<br />
known names. £100 down on account of<br />
five per cent. is quite fair remuneration either<br />
in this country or in America. All kinds of<br />
different prices have been charged. In<br />
America it is said that everybody writes<br />
moving picture plots, and that their price is<br />
$2. In this country endless plots have been<br />
written for £2 and £3 a piece. But this period<br />
is passing away, as the pictures develop<br />
upwards and require better work. I know of<br />
several instances in which dramatists have<br />
séld the Moving Picture rights of their plays<br />
for £200. That looked like becoming a<br />
standard price, but competition luckily brought<br />
an advance. Not long ago an author received<br />
£500 for the entire rights in a play, and more<br />
recently an author with a world-wide reputa-<br />
tion received £750 on account of a percentage<br />
of the gross.<br />
<br />
What I have said above refers to England<br />
and America. Dramatists should remember<br />
that there are several rights in a subject, the<br />
English right, the American right, the Con-<br />
tinental right, and so forth, though manu-<br />
facturers as a rule like to deal with the All-<br />
World right when they purchase, and this is<br />
only reasonable, because when once a film has<br />
been made it is difficult to control and easy<br />
to copy.<br />
<br />
What is the custom on the Continent with<br />
regard to the payment of authors I am unable<br />
to say. The French Society of Authors and<br />
Composers sent a long communication to the<br />
Dramatic Sub-Committee of the<br />
<br />
Authors’ |<br />
<br />
Society, laid emphasis on “ urgency,” sug- |<br />
<br />
gested a conference, and announced that they |<br />
<br />
had appointed a sub-committee. Since then<br />
our secretary has received no further com-<br />
munication.<br />
<br />
THE AUTHOR.<br />
<br />
On the other hand, we have had very<br />
interesting communications from America.<br />
<br />
It is only right that I should mention ‘a<br />
method of payment which some people hold<br />
in favour. Instead of a percentage on the<br />
gross receipts earned by the various films of<br />
any one subject, they advocate a payment of<br />
so much per foot on the films manufactured.<br />
Of course, if a film is 1,000 feet long, and<br />
twenty-five copies are made of it, and you<br />
charge let us say 1s. per foot, you would, as<br />
author, receive 25,000 shillings, or £1,250,<br />
But a good subject is not necessarily a long<br />
subject. A bad film may be 2,000 feet long.<br />
A brilliant and most effective film may be only<br />
500 feet long. Payment by length is never so<br />
desirable as payment by merit. Also, so far<br />
as my enquiries go, I doubt whether any<br />
manufacturer would pay so much as 1s. a foot.<br />
<br />
In thinking of the value of their work,<br />
dramatists should remember that in the<br />
making of Moving Pictures, scenery repre-<br />
senting exteriors cannot be used. It is pos-<br />
sible to photograph upon a film any built-up<br />
interior, but when you come to an exterior, it<br />
must be a real exterior, or at any rate some-<br />
thing that looks like a real exterior. I¢ cannot<br />
be ordinary paint and canvas scenery such as<br />
are used in theatres. I am now speaking of<br />
course of the author who has in his mind the<br />
writing of a serious plot for a Moving Picture<br />
representation.<br />
<br />
Ifa dramatist wants to write a ‘“freak”’ plot,<br />
that is to say, a story in which people fly over<br />
the roofs of London by night, or jump over<br />
houses, or visit the moon, he had much better<br />
go to a Moving Picture manufacturer first, and<br />
before he wastes much time upon his work, ask<br />
the manufacturer if the idea is possible. Very<br />
remarkable results are sometimes produced in<br />
“ freak ” or “‘ faked ’’ films.<br />
<br />
In writing plots for Moving Picture purposes,<br />
authors should remember that set words for<br />
the characters to speak are useless. The plot<br />
should be written out in exactly the same way<br />
that a ballet is written. The facts and the<br />
emotions only should be stated, as for example :<br />
<br />
“Gretchen is sitting Centre reading her lover’s.<br />
letter by the aid of a candle. Suddenly the<br />
door R is thrown open, and her father enters.<br />
Gretchen springs up in surprise, holding her<br />
lover’s letter in her left hand, which she keeps<br />
behind her. Her father eyes her sternly. He<br />
throws down his rifle, flings from his shoulder<br />
the dead chamois that he has brought back<br />
from his hunting, and throws aside his cloak.<br />
He comes down stage and for a moment eyes<br />
her critically. He holds out his hand as<br />
<br />
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<br />
Av dup<br />
<br />
* Sititegs 3<br />
ye ted) Le<br />
<br />
<A Dera G<br />
WET ne uh<br />
“SP aS as<br />
<br />
FADE UR Racks<br />
” he Ta<br />
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i<br />
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Ff<br />
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THE AUTHOR.<br />
<br />
though he would say, ‘Show me what is in<br />
your hand.’ She holds out her right hand<br />
before him. He shakes his head and demands<br />
the other hand. Vevy reluctantly she holds<br />
out her left hand from which, with a quick<br />
gesture of anger, he snatches her lover’s letter.<br />
He reads it and turns fiercely upon his daughter<br />
who falls back to the table L.”<br />
<br />
It is in these terms that the actual producer<br />
of a moving picture has got to think. If the<br />
author desires to be successful, the author<br />
must do likewise.<br />
<br />
In connection with the Moving Picture<br />
industry there are at present three combina-<br />
tions, the actual manufacturers of films, the<br />
renters, or middle-men, who do the work of<br />
distribution and the arranging of leases, and<br />
the exhibitors, who are the actual proprietors<br />
of the picture palaces. Between these bodies,<br />
both in this country and in Ametica, there is<br />
friction. In the fulness of time the renters<br />
will probably become extinct as a separate<br />
body, and will be amalgamated as part of the<br />
manufacturers’ organisation. The exhibitors<br />
naturally want to get their films wherever they<br />
like. Some of the greater manufacturers are<br />
a little inclined to say : “You shall take ours and<br />
ours only.”” The combination of manufacturers<br />
would of course, be very powerful, and could<br />
dictate to the best halls, what they could and<br />
could not show. . But these considerations do<br />
not, for the moment, affect the author very<br />
much. They may some day. At present the<br />
author should watch the developments of<br />
picture palaces regularly and seriously. They<br />
are bound to affect him. The production of<br />
words by means of the gramophone to be<br />
spoken in connection with the moving picture<br />
has been frequently attempted, but is not<br />
perfect yet. Something of the sort will come,<br />
however. A machine has already been<br />
patented which successfully reproduces noises,<br />
such as the ringing of bells, the blowing of<br />
motor horns, engine and steamboat whistles,<br />
which works quite correctly and automatically<br />
in connection with moving pictures. The<br />
singing of a song by a gramophone while the<br />
moving picture shows the artist is sometimes<br />
remarkably accurate, but is a little difficult.<br />
The time is not far distant, however, when<br />
public speeches will be taken down on a<br />
gramophone while the speaker, with all his<br />
movements and gestures, is being taken by the<br />
film. A speech made in Liverpool at twelve<br />
o’clock in the morning will be heard and seen<br />
at the Palace on the same evening. The<br />
Grand National Steeplechase which was run<br />
at Liverpool did not finish till nearly three<br />
<br />
235<br />
<br />
o’clock, but it was seer practically from start<br />
to finish on the screen at the Palace Theatre<br />
the same night.<br />
<br />
The needs of the Moving Picture will, in all<br />
probability, be of great advantage to dramatic<br />
art though not to dramatic literature. The<br />
moving picture story is told, not by beautiful<br />
and well-chosen words, but by dramatic and<br />
expressive gestures. These things are rare on<br />
the English stage, though they are common<br />
enough in France and Italy. Hundreds of<br />
artists who will be wanted for Moving Picture<br />
purposes in this country will have to give up<br />
looking fearfully well-bred, and doing nothing<br />
to emphasize their words except twiddling<br />
their watch chains. Their faces will have to<br />
express, their hands will have to indicate, they<br />
will have to act all over with their bodies,<br />
they will have to be something more than<br />
authors’ gramophones.<br />
<br />
And for this blessing let us be grateful to<br />
the Moving Pictures.<br />
<br />
Ceci RALEIGH.<br />
<br />
——____+—~>-+<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
—<br />
<br />
BLACKWOODS.<br />
<br />
Some Novels by Surtes. By Moira O'Neill.<br />
Musings Without Method. Lord Acton’s Letters.<br />
<br />
British REVIEW.<br />
<br />
Poetry: The Grey Rock. By W. B. Yeats.<br />
Pennant and His Friends. By the Countess of Denbigh.<br />
<br />
CoNTEMPORARY.<br />
<br />
The Fairy Tale in Education.<br />
donald, M.D.<br />
<br />
Maeterlinck, the Revolutionary. By J. H. Harley.<br />
<br />
The Optimism of Ibsen. By Edwin Bjorkman.<br />
<br />
The Conception of Resurrection in Literature.<br />
<br />
By Greville Mac-<br />
<br />
CoRNHILL.<br />
<br />
Books and Reading: a Retrospect.<br />
Green.<br />
<br />
By the Rev. W. C.<br />
<br />
Enoeuiso REVIEW.<br />
<br />
To Swinburne: a Poem. By John Helston.<br />
A National College of Music for Wales. By Granville<br />
Bantock.<br />
<br />
Literature as a Fine Art. By R. A. Scott-James.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENIS.<br />
<br />
<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT.)<br />
Frout Page ae FOE A vie £4 0 0<br />
Other Pages ot 80.8<br />
Half of a Page .. “i 0<br />
Quarter of a Page<br />
Highth of a Page eae Nes ee ae<br />
Single Column Advertisements perinch 0<br />
<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
Brimont & Co,, 29, Paternoster Square, London, £.C.<br />
<br />
oor<br />
me<br />
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0<br />
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<br />
HOW TO USE THE SOCIETY.<br />
<br />
—<br />
<br />
1. VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination,<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
This<br />
The<br />
<br />
7. Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
8. Some agents endeayour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
——— ee<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
—+—>— +<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I, Selling it Outright.<br />
* This is sometimes satisfactory, if a proper price. can be<br />
<br />
THE AUTHOR.<br />
<br />
obtained. But the transaction should be managed by 4<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pre-<br />
duction forms a part without the strictest investigation,<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for ‘office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental]<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
—__—_———__+—>_>+—___<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established —<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
<br />
<br />
<br />
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<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
THE AUTHOR.<br />
<br />
(2.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent, An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (é.e., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (d.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9, Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
a<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
<> +<br />
<br />
CENARIOS, typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
<br />
tules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
237<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
——<br />
<br />
RAMATIC authors should seek’ the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author’s rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
gg<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
ee ae<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
a i oe ee ee<br />
<br />
STAMPING MUSIC.<br />
<br />
a<br />
<br />
The Society undertakes to stamp copies of music on;<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
ie ee ee<br />
<br />
THE READING BRANCH.<br />
<br />
——> +<br />
<br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach, The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. Tbe<br />
Readers are writers of competence and experience. The<br />
<br />
fee is one guinea,<br />
<br />
—_——_—_—_—_.—>—_____—__<br />
<br />
REMITTANCES.<br />
<br />
AEs<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittences should be crossed Union of London and-<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
238<br />
COLLECTION BUREAU.<br />
<br />
1<br />
<br />
HE Society undertakes to collect accounts and moneys<br />
<br />
l due to authors, composers and dramatists.<br />
<br />
1. Under contracts for the publication of their<br />
works.<br />
<br />
2. Under contracts for the performance of their works<br />
and amateur fees.<br />
<br />
3. Under the Compulsory Licence Clauses of the Copy-<br />
right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause 19, referring to mechanical instrument<br />
records. :<br />
<br />
The Bureau is divided into three departments :—<br />
<br />
1. Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amount passing through the<br />
office, the expenses are more than covered, the Committee<br />
of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
The Bureau is in no sense a literary or dramatic<br />
agency for the placing of books or plays.<br />
<br />
—_——__+ > +___—<br />
<br />
GENERAL NOTES.<br />
<br />
——— +<br />
Tur AutHors’ LEAGUE OF AMERICA.<br />
<br />
WE must give our heartiest welcome to the<br />
first number of the Bulletin of the Authors’<br />
League of America, which was issued on<br />
April1. We hope the date is not ominous;<br />
but, putting aside this question, it is of the<br />
greatest interest to see that the American<br />
authors are combining, and it is very flattering<br />
to see that they are combining almost entirely<br />
along the lines of our own Society. We note<br />
their list of members and the statement that<br />
they number already 350, and that applicants<br />
are coming in daily. All this is very healthy<br />
and very satisfactory, and we feel convinced<br />
that the Authors’ League will justify its present<br />
popularity by showing that it really turns<br />
out useful information, and gives to its mem-<br />
bers strong legal support, according to the<br />
proposals set out in its paper and its pro-<br />
spectus. The committee of the Society of<br />
Authors promised to give the League its best<br />
assistance. As we hope the League may<br />
be able to furnish the Society with interesting<br />
advice as to the position of publishers, editors<br />
of magazines, theatrical managers, and others<br />
who deal with copyright property in America<br />
from the trade side, so the Society will be<br />
able to help the League by information from<br />
England. But why, if the League considers<br />
it necessary to appoint a literary agent in<br />
London, do they appoint a publisher? We<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
deal with the matter on principle. How can<br />
a publisher act as a literary agent, for it<br />
means either that he cannot publish himself<br />
any of the work put into his hands, or if he<br />
does publish it himself, that he ceases to be an<br />
agent. Perhaps the American Authors’ League<br />
will reconsider the position and explain.<br />
<br />
PUBLISHERS’ ASSOCIATION.<br />
<br />
WE desire to tender our congratulations<br />
to Mr. J. H. Blackwood on his election to the<br />
presidency of the Publishers’ Association,<br />
in succession to Sir Frederick Macmillan,<br />
who retired and was elected vice-president.<br />
<br />
While, in many cases, the interests of authors<br />
and publishers are necessarily opposed, there<br />
are still not a few matters on which their<br />
interests are at one. The recent Copyright<br />
Bill to which Mr. Blackwood, in proposing a<br />
vote of thanks to the retiring. president,<br />
referred, afforded the Society of Authors and<br />
the Publishers’ Association an opportunity<br />
of working together. We feel certain that<br />
in the event of any matter arising where joint<br />
action between the two bodies is feasible,<br />
we may count on the assistance and co-opera-<br />
tion of the Publishers’ Association’s latest<br />
president as we could on that of his predecessor<br />
in the chair.<br />
<br />
Movine Pictures.<br />
<br />
By the desire of the Dramatic Sub-Com-<br />
mittee, we print an article on Moving Pictures,<br />
being a report compiled by Mr. Cecil Raleigh<br />
for the benefit of dramatists who are members<br />
of the Society.<br />
<br />
Although Mr. Raleigh has been so successful<br />
in presenting the matter in practical form and<br />
in giving the figures obtainable, the Dramatic<br />
Sub-Committee desire to impress upon<br />
members the fact that before making any<br />
contract affecting their cinematograph rights,<br />
they should apply to the Society for advice.<br />
All information which is forwarded to the<br />
Society concerning these contracts will be<br />
submitted with the sanction of the member,<br />
to the Dramatic Sub-Committee and will be<br />
treated in absolute confidence. It is hoped<br />
that members will give their best support to<br />
the efforts of the Dramatic sub-Committee.<br />
It may be necessary with the larger develop-<br />
ment of the cinematograph to amplify and<br />
amend the report. The more information<br />
therefore at the disposal of the sub-committee,<br />
the more lasting will be the conclusion at<br />
which it is possible to arrive.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
MacazinE RicHTs IN THE U.S.A.<br />
<br />
Toucutne the matter of magazine rights,<br />
an American correspondent informs us that<br />
most of the better class magazines will accept<br />
or return a serial of some 60,000 to 100,000<br />
words within ten days, while a short story<br />
takes about the same time to get through,<br />
because, as a rule, it fetches a much higher<br />
price in proportion. Practically all magazines<br />
pay on acceptance, and have their stated<br />
pay-days, weekly, fortnightly or monthly.<br />
Those magazines that are of best repute for<br />
quick decisions and prompt pay get the pick<br />
of the market in fiction, and those at the bottom<br />
of the grade—information concerning which<br />
every author can easily obtain—get the dregs.<br />
He states further that almost every editor in<br />
America is easily accessible to, and is even<br />
anxious to meet, any contributor who shows<br />
promise of affording him scope of adding to<br />
his circulation.<br />
<br />
Serra, RIGHTS IN THE U.S.A.<br />
<br />
Tue Information Bureau of the Authors’<br />
League of America received a number of<br />
letters from members, asking what practical<br />
steps it was necessary to take in order<br />
that the author of the serial story appearing<br />
in a magazine in America may obtain for<br />
himself copyright of all other rights excepting<br />
the right of first publication owned by the<br />
magazine. The same question is constantly<br />
arising in Great Britain.<br />
<br />
We take pleasure therefore in printing the<br />
reply to such a question received from Mr.<br />
Thorwald Solberg, who is the Registrar of<br />
Copyrights in Washington. In addition to<br />
following the instructions contained therein,<br />
the author should, of course, publish under<br />
each instalment of his story a notice of the<br />
copyright reserved by him :—<br />
<br />
. “ Liprary or CONGRESS,<br />
‘**CopyRIGHT OFFICE,<br />
‘* WASHINGTON.<br />
“ Authors’ League of America,<br />
“30, Broad Street, New York.<br />
<br />
“ Duar Sres,—In response to the question raised in<br />
your letter, I beg to say that it would no doubt be a<br />
safer course to pursue to file a claim of copyright in<br />
each serial instalment upon the deposit of a copy of the<br />
periodical containing it in accordance with the express<br />
provisions of the copyright law.<br />
<br />
“ Under the express provisions of the statute, only the<br />
numbers which are deposited at the same time can be<br />
included in one registration. In the case of serial publica-<br />
tions some publishers believe that it is a secure enough<br />
procedure to hold numbers and send three or four at one<br />
time, and if this is done the Copyright Office will register<br />
them upon the responsibility of the claimant.<br />
<br />
“Tt is to be noticed, however, that if that course is<br />
<br />
<br />
<br />
239<br />
<br />
pursued, any inquiry as to whether the work has been<br />
registered for copyright in the United States must be<br />
answered in the negative before the deposit has been made.<br />
It is probably to obviate the possibly practical difficulties<br />
which might arise from such negative answers that more<br />
cautious publishers will deposit each instalment separately<br />
and pay a separate fee for each.<br />
<br />
“To the above I must add also that there is of necessity<br />
a limit of space in the record books of the Copyright Office<br />
for indicating the date of publication, and therefore the<br />
Office cannot undertake to include a great many separate<br />
issues of magazines with separate dates of publication for<br />
one registration.<br />
<br />
(Signed) ““THORWALD SOLBERG,<br />
“ Register of Copyrights.”<br />
We only wish it had been possible to obtain<br />
an equally authoritative answer to the question<br />
how to obtain copyright in Great Britain and<br />
America in the same story when it is published<br />
serially in both countries.<br />
<br />
Tue AUSTRALIAN MARKET.<br />
<br />
In another column of this issue we print an<br />
article from the Bookfellow, Sidney, Australia<br />
on The Tied Book System. The article needs<br />
consideration as it has been written by an<br />
Australian with a knowledge of the Austra-<br />
lian markets, but although it is important to<br />
hear that side of the question, the statements<br />
contained in the article are not in accord with<br />
other statements that have been received at<br />
the Society’s office with regard to the Austra-<br />
lian book trade. Indeed, in those cases where<br />
English authors have published themselves<br />
with one Australian publisher, the result has.<br />
been most satisfactory and the authors have<br />
obtained a wider circulation than they<br />
generally obtain from the free competition.<br />
We trust that the time is not far distant<br />
when the Australian publisher will come<br />
forward, contract with the English author<br />
and produce an edition in Australia for the<br />
Australians. If such a contract could be<br />
entered into, the advantage to the publisher<br />
as well as to the author would stimulate a<br />
much wider circulation. If a person produced<br />
a book at his own expense in England, no<br />
publisher would take it up unless he had a<br />
monopoly of publication. Why the same rule<br />
should not apply in Australia it is difficult to<br />
say.<br />
<br />
Toe TREATMENT OF THE LATE COLERIDGE<br />
TAYLOR BY THE Frrm oF MEssRs.<br />
NovELLo.<br />
In a paper called the Musical News, in the<br />
issue for March 22, there is an article on<br />
<br />
this subject by Mr. T. Lea Southgate. It<br />
is a rather pathetic presentation of the<br />
<br />
<br />
240<br />
<br />
relations between authors and composers and<br />
their publishers which were thought proper in<br />
the evil old times, when the artist regarded his<br />
publisher as his patron. Mr. T. Lea Southgate<br />
pleads his age and experience entitling him to<br />
discuss the whole question at large, but in<br />
truth the world has moved on without his<br />
knowledge, leaving him with nothing to say<br />
worth saying. We are glad to acknowledge<br />
his fairness, however, in one direction. He<br />
acquits Mrs. Coleridge Taylor of responsibility<br />
for the efforts of the chairman of the Society<br />
of Authors on behalf of her and her family.<br />
<br />
<br />
<br />
Tue AUTHOR AND THE PUBLISHER.<br />
<br />
A CORRESPONDENT has sent us a funny little<br />
pamphlet with this title, written by Mr.<br />
<br />
Filson Young, and reprinted from the<br />
Eyewitness. In this pamphlet we are told<br />
<br />
that ‘‘ agencies and societies exist for no<br />
other purpose than to point them (the sins of<br />
the publisher to the author) out’; and that<br />
“it is seriously believed also that, except for<br />
the vigilance of societies and agents, authors<br />
would all be starving in the gutter, and pub-<br />
lishers would all be millionaires.” To the<br />
novelist who is prudent enough not to séll his<br />
property outright unless he can get good terms<br />
we have this reference: ‘‘ Over a quite worth-<br />
less library novel he talks importantly about<br />
‘reserving the copyright,’ with the fond idea<br />
that his grandchildren may possibly derive a<br />
handsome annual income from it.’ To the<br />
novelist who would act in business affairs like<br />
any other sensible person, and would take his<br />
wares to the best market, wherever that might<br />
be, the following advice is addressed: “ For<br />
the author who writes books from any serious<br />
motive, and who wishes them to live, the plan<br />
of sticking to one publisher is far the best.”<br />
The pamphlet might make a good circular for<br />
a publisher, but as the counsel of an author to<br />
his brother authors it is an amazing piece of<br />
work.<br />
<br />
E. M. Unprerpown, K.C.<br />
<br />
WE regret to record the death of Mr. E. M.<br />
Underdown, K.C., which occurred suddenly<br />
last month. He was, for many years,<br />
honorary counsel to the Society, and one of<br />
the very earliest members of the company<br />
of authors from which it has_ evolved.<br />
Mr. Underdown rendered the Society many<br />
services in its earlier years—more particularly<br />
in connection with copyright law reform, which<br />
from the date of its foundation the Society<br />
<br />
THE AUTHOR.<br />
<br />
was endeavouring to promote. Many of the<br />
Bills initiated in those early days by the<br />
Society failed to obtain the Parliamentary<br />
facilities necessary for their transformation<br />
into Acts of Parliament. Nevertheless, the<br />
time spent was not wasted, and the knowledge<br />
of copyright law possessed by Mr. Underdown<br />
was of great assistance to the Society, and was<br />
generously placed at its disposal by him. He<br />
was an extraordinarily accomplished man, a<br />
great commercial lawyer, an expert musician,<br />
and at home in five European languages.<br />
<br />
Proressor EpwarD DowDEN.<br />
<br />
WE have also, with regret, to chronicle the<br />
death of Professor Edward Dowden, whose<br />
contributions to literature are well known to<br />
all students.<br />
<br />
Elected to the professorship of English<br />
Literature and Oratory at Trinity College,<br />
Dublin, in 1867, he published, eight years later,<br />
his first Shakespearean study, ‘‘ Shakespeare :<br />
His Mind and Art.” This work made him<br />
widely known as a critic, and was translated<br />
into German and Russian. Many other essays<br />
in criticism followed, but it was his ‘ Life of<br />
Shelley,’’ published 1886, which brought his<br />
name to the notice of the general public. He<br />
was also the author of several books of poems.<br />
His scholastic honours included the Cunning-<br />
ham Gold Medal of the Royal Irish Academy<br />
(1878), an Honorary LL.D. of Edinburgh, and<br />
an Honorary D.C.L. of Oxford. Apart from<br />
his literary work he held several public posts, -<br />
and displayed keen interest in political ques-<br />
tions as a Unionist. His association with the<br />
Society continued till his death, though his<br />
many other interests gave him little leisure for<br />
active participation in the Society’s work.<br />
<br />
——_<br />
<br />
FIELD-MARSHAL THE YISCOUNT<br />
WOLSELEY, K.P., P.C., ETC.<br />
<br />
<br />
<br />
E regret to chronicle the death of<br />
<br />
Field - Marshal Viscount Wolseley,<br />
<br />
K.P., P.C., ete., which occurred on<br />
<br />
March 27. It is unnecessary in these columns<br />
to give a detailed statement of his distinguished<br />
career as a soldier and of the brilliant services<br />
that he rendered to his country during the<br />
many campaigns through which he fought; all<br />
this has already been set out in the general<br />
press. It is only for us to chronicle his work<br />
as an author. ‘‘ The Soldier’s Pocket Book<br />
for Field Service”’ was already in its fifth edition<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
in 1886. This work without doubt, from the<br />
practical point of view, from the point of view<br />
of Lord Wolseley as the writer for his own pro-<br />
fession, is the most important work that he<br />
produced as an author. He wrote other works<br />
which are recognised as authoritative on their<br />
subjects, and they all of them deal with mil-<br />
tary matters: “The Life of the Duke of<br />
Marlborough,’ ‘‘The Decline and Fall of<br />
Napoleon,” and his own auto-biography,<br />
which is confined to the soldier side of his<br />
life, are the most important of these publica-<br />
tions. Though he was first and last a soldier,<br />
he was successful as a writer, as might have<br />
been expected, because he always wrote out<br />
of the fulness of his knowledge. He joined<br />
the Society in June, 1903, was elected to<br />
the Council, and, although he took no active<br />
part in the Society’s work, he was fully<br />
in accord with the principles on which’ it is<br />
based. We have pleasure in recording that<br />
his daughter, who succeeds to the title, has<br />
also been a member of the Society for some<br />
years.<br />
<br />
———_+——_+___—_<br />
<br />
THE ANNUAL GENERAL MEETING.<br />
<br />
1<br />
2 ieee Annual<br />
Society of Authors was held at<br />
<br />
4.30 p.m. on Thursday, April 3, in<br />
the rooms of the Society of Arts, 18, John<br />
Street, Adelphi, when, amongst others, the<br />
following members were present :—<br />
<br />
Dr. S. Squire Sprigge, Chairman; James<br />
Baker, Mackenzie Bell, Percy J. Brebner,<br />
Prof. Lewis N. Chase, Mrs. Lewis N. Chase,<br />
Miss W. J. Curwen, Mrs. L. F. Wynne Ffoulkes,<br />
Charles L. Freeston, Anthony Hope Hawkins,<br />
John Helston, Miss E. M. Hine, Mrs. Hope<br />
Huntly, The Rev. H. N. Hutchinson, John<br />
Ivimey, Cliff Keane, C. Lincoln, Gilbert S.<br />
Macquoid, Mowbray Marras, Miss H. E.<br />
Marshall, E. D. McCormick, Aylmer Maude,<br />
H. W. Ord, H. M. Paull, Mrs. Charles Perrin,<br />
Miss Alice Grant Rosman, Firth Scott, P. W.<br />
Sergeant, H. W. Seton-Karr, Adolphe Smith,<br />
Miss L. E. Tiddeman, Major Philip Trevor,<br />
George Vernon, L. C. Wharton, Louis Zangwill.<br />
<br />
The agenda list was as follows :—<br />
<br />
1. To receive, and, if desired, to discuss the<br />
accounts and report of the Committee of<br />
Management. 2. To elect a member of the<br />
Pension Fund Committee under the scheme for<br />
the management of the Pension Fund.<br />
(Mr. M. H. Spielmann resigns in due order,<br />
<br />
General Meeting of the<br />
<br />
<br />
<br />
241<br />
<br />
but submits his name for re-election. The<br />
name of no other candidate has been put<br />
forward). 8. To appoint scrutineers to count<br />
the votes under the Society’s constitution.<br />
4. To consider a proposal: (a) That all sums<br />
recovered through the agency of the Society’s<br />
solicitors for those members who are not<br />
employing the Society’s Collection Bureau<br />
shall be subject to the deduction of com-<br />
mission. (b) That the commission so deducted<br />
shall be the same as is deducted for the time<br />
being in the case of its members employing<br />
the bureau.<br />
<br />
Dr. S. Squire Sprigge, Chairman of the<br />
Committee of Management, who presided,<br />
proposed that the meeting should take first<br />
the second and third items of the agenda.<br />
Mr. M. H. Spielmann having been re-elected<br />
to the Pension Fund Committee, the election<br />
of scrutineers was left in the hands of the<br />
Committee of Management.<br />
<br />
Coming next to the accounts and report,<br />
which were already in the hands of the members,<br />
the Chairman invited any of those present who<br />
had anything to say concerning these to do so.<br />
The past year, he said, had been very favour-<br />
able to the Society. The membership had<br />
gone up, the total number of elections being<br />
345, a great advance on the numbers for the<br />
past four years; and the financial position<br />
was very strong. There had, moreover, been<br />
a drop in the number of resignations, the<br />
report showing a loss of 180, including fifty-five<br />
erasions for non-payment, ninety-nine resigna-<br />
tions, and twenty-six deaths. The question<br />
of resignations had always been, said the<br />
Chairman, a difficult one for their Society,<br />
for apparently a great number of people only<br />
came to them when in trouble. If these<br />
people, after obtaining the aid which they<br />
sought, did not remain to share the troubles<br />
of others, but dropped their membership<br />
again, then they were only a drain upon the<br />
finances of the Society. He hoped that the<br />
decrease in the number of resignations, even<br />
if it were only a slight one, might be taken as<br />
a sign that authors were beginning to recognise<br />
that the Society should be used as a form of<br />
insurance and a means of co-operation with<br />
their fellow-writers. With regard to finance,<br />
the accounts showed that their income last<br />
year was the largest they had ever received,<br />
an increase of £185 bringing the revenue from<br />
annual subscriptions to £2,250. At the same<br />
time the legal expenses of the year had been<br />
smaller, a point for congratulation when<br />
their membership was increasing. He again<br />
invited any who had remarks to make on the<br />
<br />
<br />
<br />
<br />
242<br />
<br />
report, or suggestions as to the future conduct<br />
of the Society, to make them now.<br />
<br />
No one responding to the invitation, the<br />
Chairman passed on to the fourth item in<br />
the agenda. This, he explained, arose partly<br />
out of a proposal, somewhat to the same effect,<br />
made at the last Annual Meeting by Mr. Paull.<br />
Similar suggestions had reached the Committee<br />
of Management, generally in letters from<br />
members, the effect of which was that it seemed<br />
to them a legitimate source of income to the<br />
Society to charge a small commission on<br />
moneys collected. Members usually made<br />
the suggestion when sending donations at<br />
the end of successful actions undertaken on<br />
their behalf by the Society. The Committee<br />
of Management had, therefore, decided to put<br />
forward the proposal now before the meeting,<br />
without expressing any collective opinion of<br />
their own either for or against it. They were<br />
not, indeed, all agreed upon it; but the<br />
proposal, in its present form, was the result<br />
of several debates in committee. The fact<br />
that the net result of its being passed would<br />
be an increase of revenue was a matter of<br />
importance to the Society, for, though their<br />
financial position was good, their growing<br />
work necessitated larger offices and more<br />
clerical assistance, and it must be remembered<br />
that the bigger their income the more good<br />
they could do on behalf of authors. It must<br />
also be remembered that they were not at<br />
<br />
resent banking any substantial reserve fund,<br />
and that the guinea subscription barely<br />
covered the expense of the services rendered<br />
to members. He asked Mr. Paull if he would<br />
speak first on the subject.<br />
<br />
Mr. H. M. Paull said that what appeared<br />
upon the agenda was not in so many words<br />
his own proposal, but he welcomed it never-<br />
theless. A large number of members did not<br />
appreciate the cost to the Society of the<br />
recovery of sums due to them. He knew<br />
himself of cases where the money recovered<br />
amounted to several hundreds of pounds. A<br />
small percentage charged as commission on<br />
such would be very acceptable to their funds.<br />
How could any reasonable objection be made<br />
to the charge of a small percentage? Yet<br />
he knew that some authors at least made no<br />
return to the Society for the money which it<br />
obtained for them. He expressed his pleasure<br />
in putting forward the proposal as it stood.<br />
<br />
Mr. Anthony Hope Hawkins said that he was<br />
sorry that this matter had been brought before<br />
so small a meeting as the present one. The<br />
decision would be hurried if they adopted the<br />
proposal now and instructed the committee to<br />
<br />
THE AUTHOR.<br />
<br />
act upon it. He regarded it as a departure<br />
from the guiding principles of the Society<br />
hitherto, and suggested certain modifications<br />
as being necessary. For instance, members<br />
who had already paid subscriptions for several<br />
years without asking for legal assistance ought<br />
to be exempt from such a charge. They<br />
might get the case of an author, who was also<br />
a poor man and who had already paid five<br />
guineas in the course of five years, and who<br />
then sued, through: the Society, for the<br />
recovery of a sum of five guineas, on which<br />
he would be called upon to pay a commission<br />
of 10s. 6d. Might he not justly think that he<br />
had already paid five guineas in subscriptions<br />
toward the expenses of recovery of his five<br />
guineas? Then there were some cases in<br />
which all that was needed was the sending of<br />
a lawyer’s letter. Was it reasonable to charge<br />
for this 5 per cent. on the sum recovered ?<br />
The Society wanted to get hold of every author<br />
it could. Would it get more members if it<br />
adopted this proposal, or would it not rather<br />
lose members thereby ? He thought that it<br />
would be right for the matter to be decided<br />
upon by a more representative gathering than<br />
was present that day. Let them not enable<br />
people to say, with more force than now, that<br />
the Society gave nothing in return for the<br />
guinea subscription. He would adopt the<br />
time-honoured device of moving “‘ the previous<br />
question.”<br />
<br />
It having been pointed out that the proposal<br />
had not yet been seconded, Mr. Aylmer Maude<br />
begged leave to do so. He admitted that it<br />
was a pity the meeting was so small, but<br />
considered that those who had come to it had<br />
a right to express their opinion. A plebiscite<br />
of the Society might follow. With regard to<br />
the justice of the proposal, they could not<br />
really afford to collect money for nothing.<br />
They had started a bureau for the collection<br />
of moneys, charging five per cent. commission<br />
without the benefit of legal proceedings. But<br />
there were some members for whom they were<br />
collecting money, with the aid of the law,<br />
and whom they were charging nothing. This<br />
was surely unreasonable. (Mr. L. Zangwill:<br />
No, no).<br />
<br />
Mr. James Baker, after congratulating the<br />
Society on its excellent financial position, said<br />
that he thought the proposed step unwise and<br />
unlikely to have a favourable effect on the<br />
membership.<br />
<br />
Mr. Louis Zangwill opposed the motion.<br />
He disagreed entirely with the sugges-<br />
tion that the members of the Society who<br />
did not employ the Collection Bureau had<br />
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THE AUTHOR.<br />
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now an undue advantage. As soon as what he<br />
might call the non-bureau group of authors<br />
passed over into the legal proceedings group<br />
they stood merely on a position of equality<br />
with the bureau group.<br />
<br />
Mr. James Baker, having formally seconded<br />
Mr. Hope Hawkins’s amendment (‘the previous<br />
question”) the Chairman put it to the meeting,<br />
when it was carried by twelve votes to seven.<br />
Several members did not vote.<br />
<br />
Mr. Hope Hawkins proposed a vote of thanks<br />
to Dr. S. Squire Sprigge for his services as<br />
Chairman. This was carried unanimously,<br />
and the meeting then came to an end.<br />
<br />
COPYRIGHT AND “THE LADY.”<br />
<br />
— 1<br />
<br />
N the May number of The Author, 1912, an<br />
J article was printed in criticism of a letter<br />
which had been issued by the proprietor<br />
of a paper to certain contributors. The letter<br />
asked for the transfer of the copyright to the<br />
proprietor. One paragraph ran as follows :—<br />
*¢ We shall be glad to have your assent to this<br />
arrangement, which is a mere formality<br />
required by the Copyright Act, and does not<br />
make any alteration in the conditions existing<br />
prior to the Copyright Act of 1911, when the<br />
copyright of such articles or photographs was<br />
also vested in the newspaper or periodical in<br />
which they appeared.’ The article pointed<br />
out that such a statement was distinctly mis-<br />
leading, that the matter was not one of mere<br />
formality, but of serious importance to the<br />
author; and that the suggestion that the<br />
assignment of such copyright did not make any<br />
alteration in the conditions existing prior to<br />
the Act was quite incorrect. The reason for<br />
bringing the matter forward again is because<br />
the manager of The Lady has asked the editor<br />
of that popular paper to send out a circular<br />
for the signature of contributors. It runs as<br />
follows :—<br />
39 anp 40, BeprorpD STREET,<br />
Srranp, W.C.,<br />
March 13, 1913.<br />
“The Lady.”<br />
<br />
Dear Mapam,—The Manager has requested me to send<br />
you the enclosed for your signature. The idea, so I under-<br />
stand, is to save contributors the trouble of sending him<br />
a special form of acknowledgment on receipt of each<br />
cheque. Once the enclosed has been signed, the indorse-<br />
ment on the cheque will be the only receipt required by the<br />
Manager.<br />
<br />
Yours truly,<br />
THe Eprror.<br />
<br />
<br />
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248<br />
<br />
[ENCLOSURE. |<br />
To the Proprietor of “ The Lady”? Newspaper.<br />
<br />
Tn consideration of your publishing in your newspaper<br />
or purchasing any article or drawing written or made by<br />
me I hereby assign and transfer to you the original and the<br />
copyright therein and also agree to assign and transfer to<br />
you the original of and copyright in all future articles and<br />
drawings written or made by me which may hereafter be<br />
purchased by you or published in your newspaper.<br />
<br />
Signature........<br />
<br />
Wetec. co os as<br />
<br />
It is quite true that “ once the enclosed has<br />
been signed the endorsement at the back of<br />
the cheque will be the only receipt required<br />
by the manager”; because under the docu-<br />
ment which.the author or artist is asked to<br />
sign he is transferring not only all his rights<br />
under the Copyright Act of 1911 in_ any<br />
contribution he is making at the time, and also<br />
the original of the drawing—if the matter<br />
refers to a drawing—but he is also assigning his<br />
copyright in any future article or drawing that<br />
he may contribute.<br />
<br />
The members of the Society have often<br />
been warned that in selling their work to<br />
a paper they should not sell anything beyond<br />
the first serial use of their work for that<br />
paper, and there is no real reason why the<br />
proprietor or manager should demand more<br />
than this. According to the ‘‘ Writers’ and<br />
Artists’ Year Book,’? Zhe Lady publishes<br />
articles which should not exceed a thousand<br />
words and stories of about 5,000 words, and<br />
also illustrations. If the author is writing on<br />
any special subject, and no doubt articles in<br />
The Lady would fall under the category, it is<br />
quite possible that he or she may wish to<br />
reprint the articles at a later date in book<br />
form. This could not be done, however, if<br />
the paper printed above were signed. The<br />
writer of a short story of 5,000 words might<br />
wish to deal with it in many ways. He might<br />
wish to republish it in a volume of stories,<br />
he might wish to sell secondary serial rights,<br />
he might wish to amplify it into a novel, or he<br />
might wish to dramatise it as a sketch for the<br />
theatres and music-halls. None of these<br />
undertakings would be open to him if he had<br />
signed the enclosure printed above.<br />
<br />
The question remains, “* Does the manager or<br />
the editor desire to print these articles in book<br />
form ? does he desire to utilise the short stories<br />
for dramatic purposes or for further publica-<br />
tion in any form?” If he does not so desire,<br />
and it is most improbable that he will, then<br />
there can be no reason for him to ask for the<br />
assignment of the copyright—it is mere greed<br />
hoping to trade on possible ignorance, and this<br />
comment would be due concerning any assign-<br />
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<br />
244<br />
<br />
ment of copyright, without any consideration<br />
by a contributor to serial literature. But here<br />
the position is worse. The manager of The<br />
Lady asks for the assignment not only of<br />
those articles and drawings that are sub-<br />
mitted to him, but for the copyright of all<br />
future articles. An author might sign the<br />
paper inadvertently, thinking it referred<br />
merely to one article, but might, a year<br />
afterwards send another story and _ then<br />
suddenly find that he had transferred his<br />
copyright in that also. If The Lady desires<br />
such full rights and so wide a power, then the<br />
manager or proprietor should pay for them<br />
proportionately. There is no mention in the<br />
document of the usual rate of payment.<br />
But supposing an author was willing to sell<br />
a short story of 5,000 words for £4 a thousand<br />
| for the first serial use, which would amount to<br />
£20, he most probably would not sell the whole<br />
copyright for a sum under £100, and if he was<br />
asked at the same time to bind himself to sell<br />
the copyright of future work, as his obligation<br />
increased his price would increase to £150 or<br />
£200. Would the manager of The Lady be<br />
willing to pay these prices ?<br />
<br />
As regards literary work, the contract is<br />
bad enough, but when it comes to artistic<br />
work it is even worse. An original MS. is<br />
really not of much value after it has been<br />
through the printers’ hands, as it generally<br />
comes back to the author in a mutilated<br />
condition, but an original drawing has always<br />
its market value ; and if artists in subsequent<br />
years became famous, these drawings some-<br />
times fetch a good price. The artist, therefore,<br />
is not only asked to sell the copyright, that is<br />
the right to reproduce the work in any form,<br />
in any size, and by any process at any price,<br />
but he is also asked to sell the original under<br />
the enclosure printed above, and to bind him-<br />
self to do the same with regard to any future<br />
work. Again, it is necessary to point out that<br />
the usual contract that a paper or magazine<br />
enters into with an artist is the right of<br />
reproduction in that paper or magazine,<br />
the author retaining the original drawing, which<br />
in many cases he will be able to sell, as well<br />
as the right to reproduce that drawing in<br />
other forms and by other process of production<br />
if necessary. The demand, therefore, which<br />
is made by the manager of The Lady through<br />
the editor is contrary to custom, though put<br />
forward in a way that might lead any unsus-<br />
pecting author or artist to think that it was<br />
a quite usual arrangement.<br />
<br />
If any more members of the Society have<br />
this enclosure forwarded to them, and it would<br />
<br />
THE AUTHOR.<br />
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appear that it has been sent out as a general<br />
circular, they should at once refer the matter<br />
to the Society.<br />
<br />
THE TIED BOOK SYSTEM IN<br />
AUSTRALIA.<br />
<br />
nh ee ah<br />
<br />
(Reprinted from the Bookfellow, Sidney, Australia,)<br />
<br />
EER. Ale. Stout. Stingo. Heavy.<br />
wet. With all variants from four-’alf<br />
to the brewer’s pride measured into a<br />
wine-glass for sixpence. The any-class, low-<br />
class, no-class people who live in English<br />
stories like Edwin Pugh’s or Neil Lyons’s seem<br />
to think that the drinker is better served in a<br />
‘* free house ”’ than in a ‘“‘ tied house.”<br />
You know more about that. Weknow more |<br />
about books; and we affirm that authors and —<br />
readers are better served with a “‘ free book ”<br />
than with a “ tied book.’’ For just the same<br />
reasons. As soon as you give an English ~<br />
publican or an Australasian importer a<br />
monopoly of his goods, either the price will<br />
tend to go up or the quality will tend to go<br />
down. We say “‘ tend,’”’ because the rule has —<br />
exceptions. Nevertheless, the rule is that as —<br />
soon as checked competition interferes with<br />
free consumption somebody is bound to suffer, —<br />
Because every monopolist is bound to get a |<br />
profit on his monopoly as well as a profit on the<br />
goods. “ That’s business.”<br />
<br />
How iT OPERATES IN AUSTRALIA,<br />
<br />
Not long ago we showed how the tied-book —<br />
system in fiction was operating in Australasia<br />
to reduce, upon the whole, the range and —<br />
quality of novels offered to readers. Authors<br />
come into consideration too. Australian —<br />
novelists publishing in London, as well as —<br />
English and American novelists, need to think<br />
hard about the tied book system. .<br />
<br />
Take the case of a book like “‘ The Happy _<br />
Warrior,” which recently we called (provi-<br />
sionally) the “* biggest ” English novel of 1912<br />
The London publisher of “* The Happy War<br />
rior ” sent the book for review. But you can’t —<br />
buy that book. Why not? We are informed —<br />
that it is because an importing firm has ~<br />
“bought the Australasian market,” and<br />
“The Happy Warrior” is tied, bound, and —<br />
hermetically sealed to the importing firm. -<br />
<br />
Yet even so, why does not the monopolist —<br />
sell the book ? There may be several reasons.<br />
In the first place, a monopolist in Australasia, —<br />
buying novels in London, cannot always fore- —<br />
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THE AUTHOR.<br />
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see how many copies of a novel can be sold in<br />
Australasia. He may not have enough stock<br />
to go round all the booksellers. In that case,<br />
he is apt to keep the book off the market while<br />
he is getting fresh supplies from London in<br />
order that he may prevent dissatisfaction by<br />
supplying all the booksellers together.<br />
<br />
In the next place, a monopolist importer is<br />
apt to accumulate so many tied novels that<br />
even voracious Australasian readers cannot<br />
swallow them all at a gulp. Besides, English<br />
publishing follows the sun and the seasons :<br />
novels are published chiefly in the English<br />
spring and autumn; so that, tallying with the<br />
English spring and winter, there are “ slack<br />
seasons ”’ here when there may not be enough<br />
good novels to satisfy readers’ demand.<br />
<br />
So a monopolist importer is apt to lay by a<br />
few novels for the slack season, and feed them<br />
out judiciously when he thinks that readers are<br />
hungry. His agreement with the English<br />
publisher ensures that the Australasian market<br />
is preserved to him. Thus a novel published<br />
in a London “Colonial Library”? in March<br />
may be held over for Australasian sale in<br />
September, or in December, or later still. A<br />
monopolist Australasian importer is like a<br />
Marguerite plucking her petals of tied books<br />
and murmuring ‘“‘ This year—next year—some<br />
time—any old time will do for Australasian<br />
readers.”<br />
<br />
Sometimes a few books filter past the barrier,<br />
but not many ; because the English publisher<br />
has tied himself by agreement. In considera-<br />
tion of an Australasian importing firm buying<br />
so many copies of a new novel, he has under-<br />
taken not to sell that novel to anybody else in<br />
Australasia. Usually all Australasian book-<br />
sellers who want a tied book to sell to their<br />
customers must come and buy it from the<br />
monopolist at the monopolist’s price. The<br />
marketing system causes a lot of business<br />
friction. Naturally.<br />
<br />
Booksellers, readers, and authors are affected<br />
in this way.<br />
<br />
The author of a novel is usually paid by a<br />
royalty on sales. Upon every copy of his book<br />
that is sold at the usual English price (4s. 6d.)<br />
the London publisher may agree to pay him<br />
25 per cent. of the price—sometimes less.<br />
Then the London publisher puts the book into<br />
what is called a ‘“ Colonial Library,’’ and it is<br />
offered to Australasian readers at 3s. 6d., or<br />
perhaps at 2s. 6d. in paper covers. “‘ Colonial<br />
<br />
Libraries ”’ usually get a separate clause in the<br />
-author’s agreement with his publisher. As the<br />
price is lower, the author is not promised so<br />
high a royalty per copy sold. Perhaps the<br />
<br />
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<br />
245<br />
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author is promised 3d. per copy. Perhaps he<br />
gets 14d. s<br />
<br />
But, whatever the author gets, he is paid<br />
usually according to sales—for ‘ Colonial<br />
Libraries ” too. So that anything tending to<br />
hamper the Australasian sale of a book reacts<br />
against an author. If fewer copies are sold in<br />
Australasia, he gets usually a smaller payment<br />
for his labour. And the marketing system,<br />
the tied-book system, is apt to be such a<br />
hamper on sales. The rule has few exceptions.<br />
<br />
Suppose that ‘The Happy Warrior” is a<br />
tied book, and Louis Stone’s ‘‘ Jonah ”’ is a free<br />
book (since many English publishers in the best<br />
class have refrained from selling the Austra-<br />
lasian market of their books to a monopolist<br />
importer). Then, if a monopolist has bought<br />
1,000 copies of ‘‘The Happy Warrior” in<br />
order to secure the Australasian market,<br />
clearly, when the monopolist is ready to sell<br />
‘“The Happy Warrior,” he is likely to put<br />
‘Happy Warriors” in the front row and<br />
“ Jonahs ” in the back row. Or even he may<br />
put all his tied books in all the rows and leave<br />
out some free books altogether, because his<br />
business eggs are in the tied-book basket. He<br />
has so many tied books which he must sell or<br />
lose money. And, as a monopolist, he makes<br />
a higher profit on his own tied books than on<br />
other people’s free books.<br />
<br />
So that, comparing the tied author with the<br />
free author, the free author is unlikely to get<br />
the fairest innings in a monopolist’s shop.<br />
Consequently, it is to the interest of free<br />
authors to oppose the monopoly system,<br />
because the free trade system is more likely to<br />
give every novel a chance of sale on its merits.<br />
<br />
But the tied author does not get a fair chance<br />
on his merits either. Because the booksellers<br />
who are not monopolists prefer to sell the free<br />
books. They may have to pay more for the<br />
tied book, because the monopolist wants a<br />
profit on his monopoly ; so that the free book-<br />
seller is not unlikely to get a smaller profit on,<br />
the tied book. Or, with good business reason,<br />
they may object to supporting a trade<br />
monopoly.<br />
<br />
So that all the time, in Australasian book-<br />
selling to-day, monopolised trade and _ tied<br />
books are fighting free trade and free books ;<br />
and the unfortunate author is squeezed out of<br />
his royalties in the middle. He may be<br />
squeezed very little, or he may be squeezed a<br />
whole lot; but always he is being squeezed,<br />
for always he has one section of booksellers<br />
standing against him. Not necessarily pulling<br />
against him, since when a book is demanded by<br />
readers it must be sold; but standing against<br />
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246<br />
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him. Declining to push a book on its merits<br />
because it is tied to an opposition monopolist.<br />
Or declining to push a free book because<br />
invested money must first be got out of a<br />
monopolised book.<br />
<br />
The effect of the tied-book system must be<br />
to limit the sale of any given book, since always<br />
under that system there is a section of book-<br />
sellers actively or passively hostile to a sale of<br />
any given book. The tied-book author makes<br />
his quick sudden profit only by bringing into<br />
operation forces that tend to restrict his further<br />
profit. And, not in every case, but in the long<br />
run, it is true that as many copies of a free<br />
novel will be sold in Australasia as a monopo-<br />
list can offer to buy. The cost of exceptions<br />
comes out of the monopolist’s pocket. Mono-<br />
poly is beer and skittles, but it isn’t all beer and<br />
skittles.<br />
<br />
For these reasons and others,<br />
should oppose the tied-novel system.<br />
<br />
authors<br />
<br />
THE SNOBBERY OF FREE-LANCING.<br />
<br />
—_1+—~—+—<br />
<br />
By AN Ex-Eprror wuHo Is ProupD OF His<br />
PROFESSION OF FREE-LANCE.<br />
<br />
HIS has been roused by an article in the<br />
April Author on ‘“‘ The Common-sense<br />
of Free-Lancing.”<br />
<br />
I want to protest as vigorously as I know<br />
how against those patronising obiter dicta of<br />
the editor who now leans back in his arm-<br />
chair, serene in the dignity of Editordom,<br />
complacent in the easy réle of critic, passing<br />
out from the editorial.desk crumbs of consola-<br />
tion to the poor free-lance.<br />
<br />
I want to protest against that tacit assump-<br />
tion that the one and only career for the free-<br />
lance must lie along the paths of journalistic<br />
snobbery.<br />
<br />
I. want to protest against that smug<br />
patronage of the profession to which I have<br />
the honour to belong.<br />
<br />
Snobbery. The: idea that the free-lance<br />
must set as his rungs of ambition the pages of<br />
solemn mausoleums such as the ancient weekly<br />
and monthly reviews; and his goal the rever-<br />
sion of an editorial chair in their musty<br />
sanctums.<br />
<br />
Snobbery. Servile bowing before the senile<br />
and gritless in journalism, merely because of a<br />
past tradition from the days when critic was<br />
king and creators courtiers.<br />
<br />
Snobbery. The ignoring of the vast popular<br />
<br />
THE AUTHOR.<br />
<br />
Press of to-day—daily and weekly and monthly<br />
—which reaches, and influences, its hundreds<br />
and thousands of readers to every unit reader<br />
of the former.<br />
<br />
A “cachet” is supposed to attach to the<br />
contributor who has an article accepted by the<br />
Joves of the journalistic Olympus. At least,<br />
that is what the free-lance coming fresh from<br />
the country is told. He is to gain fame by<br />
writing formal essays and criticisms of other<br />
men’s work for papers which announce on the<br />
front page: ‘‘ We neither return manuscripts<br />
nor enter into any correspondence regarding<br />
them. A manuscript not acknowledged within<br />
a month can be considered as rejected.”’<br />
<br />
I contend that any professional free-lance<br />
with a pride in his calling should throw such<br />
papers in the discard.<br />
<br />
Writing for them can be left to those who<br />
take up authorship as a sideline and are<br />
content to wait hat-in-hand on the pleasure of<br />
self-important editors. ‘<br />
<br />
The professional free-lance has a far wider,<br />
far more lucrative, and far more self-respecting<br />
field elsewhere. If he avoids the snobbery of<br />
free-lancing, and concentrates on the popular<br />
Press, Grub Street can be left very far behind.<br />
<br />
Certain very well-known writers have pointed<br />
the way. Many of us are quietly following, and<br />
finding it profitable as well as exceedingly<br />
pleasant—making incomes easily larger than<br />
editorial incomes, and being freed from the<br />
shackles of the office desk.<br />
<br />
Articles for the popular monthly magazines<br />
yield ten to twenty guineas apiece even for<br />
the rank and file of us who have not yet “ made<br />
our names.”<br />
<br />
Stories for the popular magazines—say of<br />
5,000 words in length—can be sold even by<br />
the rank and file of us for twenty-five and<br />
upwards, counting English and American rights<br />
together. Book rights and translation rights<br />
may easily add another ten or fifteen. Such<br />
stories (I speak from personal experience) can<br />
be evolved—plot, writing and revision—in<br />
from three to five days apiece.<br />
<br />
Many of the popular weekly papers pay as<br />
highly for their articles as the gods of Olympus.<br />
A few pay higher.<br />
<br />
The daily papers of to-day, with their<br />
“ fourth-pages ” and their ‘‘ magazine pages,”<br />
offer a splendid field.<br />
<br />
All these media are profitable not only in<br />
actual coin, but what is more important tor<br />
the professional free-lance, in publicity. A<br />
<br />
signed article in the popular evening oF<br />
<br />
morning papers brings the unknown’s name<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
before half a million to two million readers.<br />
At the same expenditure of mental energy, he<br />
would secure in the Olympian Press a mere<br />
10,000 to 30,000 readers—mostly of the<br />
Victorian era.<br />
<br />
Moreover, the gods of Olympus like to veil<br />
their contributors in anonymity. From the<br />
professional point of view, writing unsigned<br />
articles is a fool’s game. Very few indeed<br />
amongst readers ever trouble to guess who the<br />
author may be. The unsigned effort brings<br />
in merely the bare monetary payment, stripped<br />
of the larger payment of publicity.<br />
<br />
Better a signed article in Answers than an<br />
unsigned in the Atheneum.<br />
<br />
I hope that the readers of The Author will<br />
agree with me in my contention that the<br />
professional free-lance needs no patronising<br />
from the Olympian editor.<br />
<br />
The free-lance is his own master. He builds<br />
up in his name a property of his own. He is<br />
not dependent for his income on the whims of<br />
one individual proprietor. He is not shackled<br />
to an office desk. He is free to travel the<br />
whole wide world and earn his living at the<br />
same time. He can work on ocean liners as<br />
well as on terra firma. He can choose town or<br />
country, England or the continent, Europe or<br />
America, for his writing-desk.<br />
<br />
The common-sense of free-lancing, I maintain,<br />
is to avoid the snobbery of free-lancing; to<br />
treat one’s work as a profession ; to study the<br />
modern reading demands; to join one’s<br />
professional union, exchange knowledge of<br />
publishing conditions with fellow-workers, and<br />
unite with them in action for the rights of the<br />
profession; to let it be known that we are<br />
proud of our calling and want no smug<br />
patronage from an outworn Olympus.<br />
<br />
Max RITTENBERG.<br />
<br />
.CORRESPONDENCE.<br />
<br />
—+ +<br />
CONCERNING Cat ATHLETICS.<br />
<br />
Dear Srr,—I am always ready to oblige<br />
a fellow member of the Authors’ Society, and<br />
so let me help “ Justice” to the career he<br />
contemplates by telling him that the sum<br />
‘to a ha’penny” I have ‘‘ put out advertising”<br />
to “ arrive ” at my “ present stage of success ”<br />
is just exactly £0 Os. Od., and I have no doubt<br />
that Mr. Bennett and Mr. Shaw will confess to<br />
an equal parsimony. What my publisher<br />
spends is between himself and God. I never<br />
<br />
<br />
<br />
247<br />
<br />
pay for advertisement or corrections, never<br />
allow. an agency clausé in my agreements<br />
(I generally don’t do business through agents),<br />
always take 25 per cent. upon a 6s. book,<br />
always exact a big cheque on account of<br />
royalties (rather larger than what is caused by<br />
the certain sales), always reserve the right to<br />
publish a cheap edition at less than 13d. at<br />
the end of two years, and never suffer a 13<br />
as 12 clause. I draw up my own agreements<br />
with Messrs. Macmillan, who also, as a matter<br />
of courtesy—and subject, of course, to a con-<br />
siderate use of the privilege—give me unlimited<br />
free copies. If an author is really worth while<br />
publishing, he can get these terms from any<br />
decent publishing house, and I wish we could<br />
make some agreement among authors to hold<br />
the publishers generally at this level. In the<br />
past I was not so wise as I am now; [ left<br />
nearly all my business to an agent. T am still<br />
encumbered with his slovenly and disadvan-<br />
tageous agreements. Now I do business with<br />
an agent when it suits me. None of them is<br />
good all round, and none can be trusted to<br />
“handle” the whole of an author’s affairs.<br />
One agent is rather good with short stories,<br />
another is brilliant at a serialisation, another<br />
who goes about upsetting authors with<br />
imperfectly substantiated offers of large sums<br />
in order to get hold of their business is a<br />
dangerous nuisance. The ideal thing for an<br />
author to do is to fix up a standing agreement<br />
on the lines I have given above with a big<br />
honest solvent firm, give his books to a<br />
capable agent to serialise—and think no more<br />
of these things.<br />
H. G. WELLS.<br />
<br />
oo<br />
<br />
CoMMON SENSE AS IT APPEARS TO A<br />
FREE LANCE.<br />
<br />
I reap with keen interest the reply to my<br />
article: ‘‘ The Sorrows of a Free Lance,”’ in<br />
the March Author, but common sense does not<br />
allow me to convince myself (nor, I think, will<br />
it convince free lances in general, whether<br />
sorrowing or not) that amending one’s ways<br />
will suffice to turn one in due course into an<br />
editor.<br />
<br />
If luck is left out of the reckoning as an<br />
incalculable factor in getting to the top—<br />
the fact that a free lance has succeeded in<br />
doing so proves that he must have been<br />
amongst the “strikingly uncommon, clever<br />
people compelling attention” which I did not<br />
overlook in my article, even though I do not<br />
belong to their class; one cannot be guided<br />
by exceptions. All contributors know that<br />
<br />
<br />
248<br />
<br />
contributions are, in any case, sent at owner’s<br />
risk, but what they do not always realise is,<br />
what they are “ risking.”<br />
<br />
The object of my article was not a complaint,<br />
and I made this clear by my final statement ;<br />
to me at least it has been very well worth<br />
while, but a warning to would-be writers not<br />
to “risk” starving if they had nothing to<br />
live on but their incomes, as “ ordinary ”’<br />
Free Lances.<br />
<br />
A Free Lance.<br />
<br />
9<br />
<br />
Epiror1aL Courtesy.<br />
<br />
S1r,—The discussion of this subject in The<br />
Author seems to me rather one sided. I<br />
hold no brief for any editor, but nearly all<br />
your correspondents imagine that editors only<br />
exist to adjudge the merits or demerits of Free<br />
Lancers’ unsolicited MSS., and are all animated<br />
by a desire to decry and neglect aspiring<br />
contributors to the journals of which they<br />
are “the head and front.” This appears to<br />
me an absurd assumption. The various and<br />
varied duties of editors, occupying their<br />
available time, may preclude them from<br />
giving due attention to the numerous MSS.<br />
of unknown writers; business modes and<br />
methods may not have formed a portion of<br />
their early training, or may be, neither nature<br />
nor art have exactly fitted them for their<br />
onerous position. Be this as it may, I think<br />
the complainants in The Author are some-<br />
what eaigeant, and expect too much from the<br />
often harassed controllers of periodicals. One<br />
remembers the thorny chair of Thackeray.<br />
It is a fact that disappointment and weariness<br />
of spirit are the natural concomitants of all<br />
those who are striving to gain the ear of the<br />
public through editorial channels. It must<br />
then be patent to your correspondents that<br />
if all free lancers would at once desist from<br />
launching their MSS. on the uncertain sea<br />
of free lancing, and the agents would also<br />
abandon their efforts to gain a hearing,<br />
all the periodicals of the United Kingdom would<br />
still flourish without their assistance.<br />
<br />
The experiences of very many years have<br />
justified my remarks. I have been on the<br />
staff of three weeklies at once; I have had<br />
commissions to furnish articles, and the<br />
doubtful luxury of free lancing has also been<br />
mine. I have had the pleasure of interviewing<br />
editors, and have been in correspondence with<br />
many, and, of course, with a very few excep-<br />
tions, taking them all in all, I have always<br />
met with civility, politeness, urbanity, and<br />
<br />
'<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
often kindness, and I am glad to be allowed<br />
to testify this fact in The Author.<br />
Yours, etc., IstporE G. AscHER.<br />
—- 1 —_<br />
Review Copies.<br />
<br />
Dear Str,—Mr. Ascher’s suggestion, in the<br />
February Author, that publishers and authors<br />
should enclose stamps for the return of<br />
unreviewed books, seems at first sight a good<br />
one, but supposing that 100 (one hundred)<br />
copies go out, postage say 6d. (six pence) a<br />
copy, there’s £5 (five pounds) right away for<br />
the publisher or author to add to his initial<br />
expenses! No, I think some other solution<br />
could be found. How would it be for the<br />
procedure to be reversed, and for newspaper<br />
editors to solicit copies of advertised forth-<br />
coming books, on a halfpenny postcard if<br />
they like? An editor could tell a publisher<br />
exactly what he is prepared to review, and<br />
decide what is in his line and what he has space<br />
for, just as well from the printed description<br />
of a book as he can from its flaring red cover.<br />
Why should 60% (sixty per cent.) of an<br />
author’s venture be wasted? It is almost<br />
impossible for a writer to be certain that<br />
such-and-such a paper has not reviewed his<br />
book, the press cutters are human (very much<br />
so, we are told), and it is not thanks to mine<br />
that I saw the most important (from a business<br />
point that I should see) review of my book.<br />
Still, about two-thirds of the copies sent out<br />
for review were, as far as I can ascertain,<br />
unnoticed. My book had twenty-eight notices,<br />
counting its birthday notice, on All Fools’<br />
Day, in the Morning Post! I have a complete<br />
list of the eighty-five papers to which the book<br />
was sent, and it amounts to this: that 57 (fifty-<br />
seven) copies have been, as the saying is—<br />
thrown away. So I think my experience was<br />
more disastrous than Mr. Storey’s, related<br />
in the April Author. But all this, to my<br />
mind, comes, to a large extent, from writers<br />
not knowing the rules of the game. My book<br />
was advertised for just one fortnight (I knew<br />
no more about the cost of an advertisement<br />
than I know about Marconis !), and sixteen of<br />
the reviews and notices are dated April.<br />
My deduction, therefore, is that just as long<br />
as a book is advertised from the start will it<br />
live in the newspaper columns; and there is<br />
reason in this, considering the advertisements<br />
are a paper’s vital source of income. I think<br />
this is the crux of the whole thing, for we live<br />
in a commercial world, where business is<br />
business and should be such.<br />
<br />
Yours faithfully, F. R. M. Furspon.<br />
<br />
April 5th, 1918. | https://historysoa.com/files/original/5/528/1913-05-01-The-Author-23-8.pdf | publications, The Author |
| 529 | https://historysoa.com/items/show/529 | The Author, Vol. 23 Issue 09 (June 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+09+%28June+1913%29"><em>The Author</em>, Vol. 23 Issue 09 (June 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-06-01-The-Author-23-9 | | | | | 249–278 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-06-01">1913-06-01</a> | | | | | | | 9 | | | 19130601 | Che<br />
<br />
<br />
<br />
FOUNDED BY SIR<br />
<br />
<br />
<br />
Muthor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
ay) : Vor. XXTII.—No. 9.<br />
<br />
JUNE 1, 1913.<br />
<br />
<br />
<br />
[PRIcE SIXPENCE.<br />
<br />
<br />
<br />
TELEPHONE NuMBER:<br />
374 VICTORIA.<br />
<br />
+ TELEGRAPHIC ADDRESS:<br />
: AUTORIDAD, LONDON.<br />
<br />
a 0<br />
<br />
NOTICES.<br />
<br />
—_+-~> +<br />
<br />
OR the opinions expressed in papers that<br />
<br />
4 are signed or initialled the authors alone<br />
<br />
are responsible. None of the papers or<br />
<br />
paragraphs must be taken as expressing the<br />
<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
<br />
<br />
ARTICLES AND: CONTRIBUTIONS.<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
_ forward to the Secretary the modest 5s. 6d.<br />
_ subscription for the year.<br />
<br />
' Communications for The Author should be<br />
_ addressed to the offices of the Society, 1, Cen-<br />
<br />
' tral Buildings, Tothill Street, Westminster,<br />
$§.W., and should reach the Editor not later<br />
<br />
| than the 21st of each month.<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
On and after June 13 Messrs. Matthews’<br />
Advertising Service, Staple Inn Buildings,<br />
High Holborn, W.C., will act as agents for<br />
advertisements for ‘The Author.” All<br />
communications respecting advertisements<br />
after that date shouid be addressed to them.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
ease. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
eg<br />
<br />
<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
ee ek<br />
<br />
“[_\ROM time to time members of the Society<br />
K desire to make donations to its funds in<br />
<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
<br />
"2<br />
250<br />
<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund. This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
<br />
Ce See oe<br />
<br />
THE PENSION FUND.<br />
<br />
———1 —<br />
<br />
le January, the secretary of the Society<br />
laid before the trustees of the Pension<br />
<br />
Fund the accounts for the year 1912, as<br />
settled by the accountants. After giving the<br />
matter full consideration, the trustees in-<br />
structed the secretary to invest a sum of £300<br />
in the purchase of Buenos Ayres Great<br />
Southern Railway 4% Extension Shares, 1914,<br />
£10 fully paid. The number of shares pur-<br />
chased at the current price was twenty-five<br />
and the amount invested £296 1s. 1ld, The<br />
trustees are also purchasing three more Central<br />
Argentine Railway New Shares at par, on<br />
which as holders of the Ordinary Stock they<br />
have an option.<br />
<br />
The trustees desire to thank the members<br />
of the Society for the continued support which<br />
they have given to the Pension Fund.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
to £4,764 6s., details of which are fully set out<br />
in the following schedule :—<br />
<br />
Nominal Value.<br />
<br />
£ os. 2.<br />
Local Loans ........+5.2+005+% 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ............ 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4% Certificates ........ 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
<br />
Stock. 0.0.0.5. ten 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4% Preference Stock . 228 0 0<br />
New Zealand 34% Stock ....... 247 9 6<br />
Trish Land 22% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1927—57 ........-.45- 4388 2 4<br />
Jamaica 34% Stock, 1919—49 .. 182 18 6<br />
Mauritius 4% 1987 Stock ....... 120 12 1<br />
Dominion of Canada, C.P.R. 34%<br />
<br />
Land Grant Stock, 1938 ...... 198 8 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5% Preferred Stock .......... 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
Aynary Stock ..64.....5.5.55. 232 0 0<br />
<br />
THE AUTHOR.<br />
<br />
‘prior to October, nor does it include sub-<br />
<br />
<br />
<br />
<br />
Nominal Value.<br />
<br />
s. d.<br />
$2,000 Consolidated Gas and<br />
Electric Company of Baltimore<br />
44% Gold Bonds .......-.+- 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
Preference Shares ..........-- 250 0 O<br />
<br />
55 Buenos Ayres Great Southern<br />
Railway 4% Extension Shares,<br />
1914 (fully paid) ..........--<br />
<br />
8 Central Argentine Railway £10<br />
Preference Shares, New Issue.. 30 0 O-<br />
<br />
PENSION FUND.<br />
age<br />
<br />
Tue list printed below includes all fresh dona-<br />
<br />
tions and subscriptions (7.é., donations and<br />
<br />
subscriptions not hitherto acknowledged)<br />
<br />
received by, or promised to, the fund from<br />
October 1, 1912.<br />
<br />
It does not include either donations given<br />
<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
Subscriptions.<br />
<br />
1912. £ 5. 4<br />
Oct. 10, Escott, T. H. S. . . 0-5 @<br />
Oct. 10, Henderson, R. W. Wright. 0 5 0<br />
Oct. 10, Knowles, Miss M. W. - 0 5 8<br />
Oct. 11, Buckley, Reginald . 0 5 O<br />
Oct. 12, Walshe, Douglas 010 0<br />
Oct. 12, ‘‘ Penmark”’ . : 010 0<br />
Oct. 15, Sinclair, Miss Edith. 010 6<br />
Oct. 16, Markino, Yoshio 1 1°06<br />
Oct. 20, Fiamingo, Carlo 70s 8<br />
Oct. 29, Henley, Mrs. . 4 yo ia 8<br />
Nov. 8, Jane, L. Cecil . . 0 8 6<br />
Nov. 14, Gibb, W. 0 5 0<br />
Dec. 4, De Brath, SS. . : 0 5 0<br />
Dec. 4, Sephton, The Rev. J. 0 5 0<br />
Dec. 4, Cooper, Miss Marjorie 010 0<br />
Dec. 7, MacRitchie, David 0 5 OF<br />
Dec. 11, Fagan, James B. 10 04<br />
Dec. 27, Dawson, Forbes. . 010 6<br />
<br />
1913.<br />
<br />
Jan. 8, Toynbee, William (in addi-<br />
tion to his present sub-<br />
scription). . .<br />
<br />
Jan. 9, Gibson, Frank .<br />
<br />
Jan. 29, Blackley, Miss E. L. ‘.<br />
<br />
Jan. 31, Annesley, Miss Maude .<br />
<br />
Feb. 6, Rothenstein, Albert . ‘<br />
<br />
Feb. 10, Bradshaw, Percy V. .<br />
<br />
April 8, Caulfield-Stoker, TT. ‘<br />
<br />
2°<br />
<br />
eeocescsceo<br />
—<br />
Aontonane<br />
<br />
SAaAanDSSS<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
vtDec.<br />
<br />
| 7<br />
ec<br />
<br />
| \oafDec.<br />
oatDec.<br />
<br />
THE AUTHOR. 251<br />
<br />
Donations.<br />
<br />
7 1912.<br />
<br />
‘oyNov. 20, Kennard, Mrs. N. H. :<br />
A, McEwan, Miss M. S. .<br />
4, Kennedy, E. B. . :<br />
<br />
11, Begarnie, George ;<br />
11, Tanner, James T. . :<br />
11, Toplis, Miss Grace .<br />
<br />
ve(Dec. 14, Watson, Mrs. Herbert A..<br />
- \9afDec. 14, French, Mrs. Warner :<br />
<br />
(Dec.<br />
ri iofDec.<br />
aa(Dec.<br />
<br />
17, Smith, Miss Sheila Kaye .<br />
17, Marras, Mowbray . ‘<br />
27, Edwards, Percy J. :<br />
<br />
oan 1913.<br />
<br />
ag Jan.<br />
‘a Jan.<br />
igJan.<br />
is Jan.<br />
‘eiJan.<br />
+ aed an.<br />
: ald an.<br />
<br />
Jon.<br />
‘elJan.<br />
.asiJan.<br />
aelJan.<br />
_asiJan.<br />
al Jan.<br />
‘si Jan.<br />
ialJan.<br />
we isi Jan.<br />
atl Jan.<br />
48 Jan.<br />
A alJan.<br />
' agLJan.<br />
48 Jan.<br />
‘cal Jan.<br />
| “i Jan.<br />
<br />
<br />
<br />
1, Risque, W. H. ‘<br />
<br />
1, Rankin, Mrs. F. M.<br />
<br />
2, Short, Miss L. M.<br />
<br />
2. Mackenzie, Miss J. A<br />
<br />
2, Webling, Miss Peggy Z<br />
<br />
3, Harris, “Mrs. E. H.. :<br />
<br />
S, Church, Sir Arthur,<br />
K.C.V. O., ete. :<br />
<br />
4, Douglas, James A. : ;<br />
<br />
A, Grant, Lady Sybil<br />
<br />
6, Haultain, Arnold<br />
<br />
6, Beveridge, Mrs. 2<br />
<br />
6, Clark, The Rev. Henry<br />
<br />
6, Ralli, C. Scaramanja . :<br />
<br />
6, Lathbury, Miss Eva .<br />
<br />
6, Pryce, Richard -<br />
<br />
7, Gibson Miss L. S. :<br />
<br />
10, K. ‘ :<br />
<br />
10, Ford, Miss May<br />
<br />
12, Greenstreet, W. J.<br />
<br />
14, Anon<br />
<br />
15, Maude Aylmer<br />
<br />
16, Price, Miss Eleanor .<br />
<br />
17, Blouet, Madame<br />
<br />
, 20, P. H. and M.K. . :<br />
. 22, Smith, Herbert W. . ‘<br />
.25, Anon. . ‘ ‘<br />
. 27, Vernede, R. E. :<br />
<br />
. 29, Plowman, Miss Mary .<br />
. 29, Todd, Miss Margaret, M.D.<br />
, 31, J acobs, W. W. c :<br />
1, Davy, Mrs. E.M. .<br />
<br />
. 8, Abraham, J. J. .<br />
. 4, Gibbs, F. L. A. :<br />
. 4, Buckrose, J. E. ‘ :<br />
. 4, Balme, Mrs. Nettleton :<br />
. 6, Coleridge, The Hon. Gilbert<br />
. 6, Machen, Arthur i<br />
. 6, Romane-James, Mrs. .<br />
. 6, Weston, Miss Lydia . :<br />
. 14, Saies, Mrs. F. H. (in addi-<br />
<br />
tion to her subscription)<br />
<br />
Feb. 14, O’Higgins, H. J. é<br />
<br />
a<br />
<br />
aH<br />
Ooo eeoceoogaonoonoancoooooecooooeooooooo cooooo ocooooeoooce:<br />
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COOCSCSCO CHOCO CONMSCSCOMM<br />
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tet a<br />
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Ror oN:<br />
<br />
Feb. 15, Stephens, Dr. Ricardo<br />
Feb. 15, Jones, Miss E. H.<br />
Feb. 17, Whibley, Charles<br />
Feb. 22, Probert, W. S.<br />
Feb. 24, S. F. G.<br />
Feb. 27, XX. Pen Club :<br />
Mar. 7, Keating, The Rev. J.<br />
Lloyd. . -<br />
Mar. 7, Tharp, Robert C. . :<br />
Mar. 10, Hall, H. Fielding . :<br />
Mar. 18, Moffatt, Miss Beatrice<br />
Mar. 14, Bennett, Arnold .<br />
Mar. 17, Michell, The Right Hon.<br />
Sir Lewis, K.C.V.O, .<br />
Mar. 17, Travers, Miss Rosalind :<br />
Mar. 26, Hinkson, H. A. A 5<br />
Mar. 26, Anon. . : . :<br />
April 2, Daniel, E. J. . : ‘<br />
April 2, Hain, H. M. :<br />
April 7, Taylor, Miss Susette M.<br />
April 7, Harding, Newman .<br />
April 9, Strachey, Miss Amabel<br />
April 10, Aspinall, Algernon .<br />
April 15, Craig, Gordon<br />
<br />
naomoso OrRoooh<br />
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SO Or Or<br />
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moocoocoourorF<br />
ececooconooeoso SSeSoSoo cocoa eo oe<br />
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<br />
CoMMITTEE’S CONFERENCE WITH EDITORS AND<br />
. NEWSPAPER PROPRIETORS.<br />
<br />
ene<br />
<br />
Durrine the past few months a considerable<br />
correspondence has passed between the Com-<br />
mittee of Management of the Society and the<br />
editors and publishers of papers, in order, if<br />
possible, to agree to some _ standardised<br />
arrangement for the payment of accepted<br />
contributions.<br />
<br />
It will be remembered that the committee<br />
notes published in the May issue of The Author<br />
contained a reference to a proposal to hold a<br />
conference on the subject in that month.<br />
Accordingly a circular was forwarded to the<br />
editors of magazines, putting forward the<br />
following proposal, that accepted articles,<br />
stories and illustrations should be paid for<br />
on publication or within six months from<br />
acceptance, whichever should be the shorter<br />
period. A number of letters were received in<br />
response and an influential gathering met to<br />
discuss the question. It was found impossible<br />
to pass any definite resolution at the meeting<br />
owing to the fact that some of the editors<br />
present were bound to refer the matter to the<br />
proprietors of the papers they represented,<br />
but they promised to do this, and the meeting<br />
accordingly was adjourned till Thursday,<br />
252<br />
<br />
June 19, when it is hoped that some definite<br />
issue may be reached, which it will be possible<br />
to announce in The Author.<br />
<br />
<br />
<br />
Dramatic SuB-COMMITTEE.<br />
<br />
Tur May meeting of the Dramatic Sub-<br />
Committee was held at the offices of the<br />
Society on Friday, May 23. After the<br />
minutes of the previous meeting had been<br />
read and signed, on a letter received by Mr.<br />
Bernard Shaw from Sir Herbert Beerbohm<br />
Tree the question of meeting delegates of<br />
the West End‘ Managers’ Association was<br />
discussed. It was decided that Mr. Shaw,<br />
Mr. Carton, Mr. Jerome and the secretary,<br />
subject to their consent, should act as delegates<br />
of the Dramatic Sub-Committee, and the<br />
secretary was instructed to write to the<br />
Society of West End Managers with a view to<br />
a meeting, if possible, early in June.<br />
<br />
The question of amateur rights was next<br />
dealt with, and a letter from the Association<br />
of Amateur Dramatic Clubs was laid before<br />
the mecting. The secretary was appointed<br />
as delegate to meet the association, and to<br />
discuss with that body the possibility of getting<br />
into touch with their members for the produc-<br />
tion of plays by the dramatists of the Society.<br />
<br />
A letter from Mr. H. M. Paull was also laid<br />
before the meeting, as also was a letter from<br />
Mrs. Maxwell Armfield. The secretary<br />
received instructions to reply. The questions<br />
contained in both the letters referred to<br />
amateur performances and the Collection<br />
Bureau of the Society, which is about to<br />
circularise the amateur clubs on behalf of the<br />
members.<br />
<br />
The secretary then reported to the sub-<br />
committee the plays with which the Bureau<br />
was dealing, and the number of dramatists<br />
for whom it was acting.<br />
<br />
The question of foreign dramatic agents<br />
appointed by the Society was considered and<br />
the sub-committee suggested that their names<br />
and addresses should be published monthly<br />
in The Author.<br />
<br />
It was decided to adjourn the Dramatic<br />
Conference till the autumn, after the meeting<br />
with the delegates of the West End Managers’<br />
Association.<br />
<br />
The sub-committee decided to ask the<br />
Committee of Management to obtain the<br />
opinion of a Dutch lawyer on the peculiar<br />
position arising out of the fact that Holland had<br />
only just joined the Berlin Convention. It<br />
appears that the Dutch are anxious to produce<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
English plays, but the question has arisen ag<br />
to the rights both of English dramatists and<br />
Dutch translators.<br />
<br />
The secretary then reported the legal cases —<br />
which had been taken up by the Society,<br />
After the discussion of the details of one case<br />
the sub-committee passed a recommendation ~<br />
to the Committee of Management that it —<br />
would be advisable to submit the matter to<br />
arbitration. i<br />
<br />
The consideration of the Dramatic Contract<br />
and Pamphlet was next commenced, and after<br />
considerable discussion the secretary was<br />
instructed to draft a fresh contract, for a period<br />
of years, between dramatists and managers.<br />
as this seemed to the sub-committee a more<br />
suitable form of contract for the benefit o<br />
members than the contract already embodied<br />
in the pamphlet.<br />
<br />
—_+ =<<br />
<br />
ComposERS’ SUB-COMMITTEE.<br />
<br />
A MEETING of the Composers’ Sub-Com.<br />
mittee was held at the offices of the Society o<br />
Saturday, May 26. After reading the minute<br />
of the former meeting, a circular, which it wai<br />
proposed to send round to composers, wa<br />
considered and settled. The secretary wai<br />
instructed to send it round as soon as possibl<br />
that composers might be given an opportunit<br />
of answering the questions put before them,<br />
with a view to a closer combination of the<br />
profession.<br />
<br />
The sub-committee then considered thi<br />
names of members of the Society who might b<br />
suggested to the Committee of Managemen<br />
to fill the vacancy caused by the resignatio<br />
of Mr. Herbert Sullivan, and the secretary wa<br />
instructed to put forward their recommen<br />
dation at the next meeting.<br />
<br />
It had been suggested that the Mechanica<br />
Instrument Trade should be _ invited<br />
co-operate with the Society in order to obtai<br />
a joint opinion from counsel on question<br />
relating to copyright and mechanical repro<br />
duction. The secretary reported to the sub<br />
committee that the trade’ were unwilling<br />
adopt the suggestion, giving as their reaso<br />
the fact that they had, already, taken man<br />
opinions and that they did not see that an,<br />
good purpose would be served by taking<br />
further opinion. The sub-committee regrette<br />
they had adopted this view, as it seemed<br />
them that a joint opinion might have bee<br />
very useful to all parties and, if all parties ha<br />
decided to abide by it, would have saved<br />
considerable amount of litigation in the fut<br />
<br />
<br />
THE AUTHOR.<br />
<br />
‘A contract proposed by a German Society<br />
_ fin respect to the collection of mechanical<br />
‘epinstrument fees was next considered, and<br />
sathe secretary was instructed to write for<br />
“pfurther particulars in the hope that a satis-<br />
ioefactory agreement might be settled, by which<br />
ermembers of the Society could have their<br />
»rmechanical instrument fees collected in<br />
*o»Germany.<br />
<br />
A letter from a French society for the<br />
lecollection of fees was also considered, and the<br />
‘ssecretary was instructed to ask for further<br />
jaidetails.<br />
<br />
! The replies from music publishers to a<br />
ovicircular sent to them, on the instructions of<br />
eithe sub-committee, on the question of the<br />
“uniform rendering of accounts, were next<br />
soconsidered, and the secretary was instructed<br />
/ eto tabulate the answers and to print an article<br />
son the matter in The Author.<br />
<br />
: After due consideration it was found<br />
“impossible to adopt a proposal to circularise<br />
Jpvillage musical clubs with a list of composers’<br />
tovworks suitable for reproduction by their com-<br />
‘“semunities. With regret the sub-committee felt<br />
“compelled to abandon the idea. The view of<br />
sdthe sub-committee was that the matter was<br />
afone for the publishers rather than for the<br />
<br />
sor Society.<br />
—_ + <-> —<br />
<br />
Cases.<br />
<br />
Durie the month twelve cases have passed<br />
«i through the secretary’s hands. It is curious<br />
'@ to note the increasing number of cases abroad.<br />
iC Of the twelve, four are foreign cases, two being<br />
“in the United States, and two in France.<br />
*s Last month four of the total number were<br />
’# cases in foreign countries, one beingin Hungary,<br />
+7 two in the United States and one in Russia.<br />
1The majority of cases this month are disputes<br />
fon terms of agreement. Five come under this<br />
so head ; of these, two have been settled, but the<br />
1% other three are still open. Disputes on agree-<br />
of ments generally take a longer time to arrange<br />
sf than ordinary claims for money and accounts,<br />
9% because, as a rule, a considerable amount of<br />
‘1, correspondence is necessary.<br />
(There are four cases of claims for the<br />
‘9 return of MSS. Two of these have been<br />
om successful and the MSS. have been returned<br />
9 to the members ; in the third case, the person<br />
6 to whom the MS. was sent has made every<br />
»-effort to find it, but the author had no evidence<br />
© to show that it actually came to hand. The<br />
‘a6 last case has only recently come to the office.<br />
"There are two cases for money and accounts.<br />
‘one being in France and one in the United<br />
<br />
r<br />
<br />
<br />
<br />
253<br />
<br />
States. These are both open, as sufficient time<br />
has not yet elapsed in which to receive a reply.<br />
<br />
The last question is one of accounts which<br />
has only come to the office just before going to<br />
press.<br />
<br />
There are two cases open from former<br />
months, one being in Hungary. As it is<br />
a dispute on an agreement and therefore a<br />
matter for negotiation, some time must elapse<br />
before it is finally settled, but the Socicty’s<br />
lawyers in Hungary have been successful in<br />
getting into favourable communication with<br />
the defendants. The second is an ordinary<br />
question of settlement of ageeement and as<br />
has already been stated, settlements of<br />
disputes on agreements take a longer time than<br />
mere questions of claims for liquidated<br />
amounts.<br />
<br />
Elections.<br />
<br />
Arthurs, George . . 22, Shandon Road,<br />
S.W. :<br />
<br />
Ivy Cottage, Clare-<br />
morris, Co. Mayo.<br />
97, Finborough<br />
Road, Earl’s Court.<br />
Knocke - sur - mer,<br />
Belgium.<br />
The Towers,<br />
dlesham.<br />
Oaklands, Elstree.<br />
Lyceum Club, Picca-<br />
dilly, W.<br />
<br />
43, Chisholm Road,<br />
Croydon.<br />
<br />
Aylward, Frank<br />
Banner, Joseph<br />
Brentwood, Evelyn<br />
<br />
Elvey, G. F. Handel Win-<br />
Everett, P. W. . S<br />
Graham, Miss Bertha N.<br />
<br />
Hardy, Dr. H. Nelson,<br />
<br />
F.R.C.S., Edin.<br />
Hosie, Miss Lillie C.<br />
Jerningham, Charles E. 14, Pelham Crescent,<br />
Thurloe Square,S.W.<br />
c/o Messrs. H. Massie<br />
& Co., 21, Tavistock<br />
Street, Covent Gar-<br />
dens, W.C.<br />
<br />
Landi, Caroline F. M.,<br />
Countess Zanardi<br />
<br />
Louis, Edward Z<br />
Manahan, William A. . 110, Seville Place,<br />
North Strand, Dub-<br />
lin.<br />
<br />
12b, London Road,<br />
St. Albans.<br />
Whitehall Hotel, 18,<br />
Montague Street,<br />
Russell Square,<br />
and Summit, W.C. ;<br />
New Jersey, U.S.A.,<br />
36, Priory Terrace,<br />
Stamford, Lines.<br />
<br />
Nuttall, G. Clarke ,<br />
<br />
Porter, Grace Cleveland<br />
<br />
Raythorne, Miss Valerie<br />
254<br />
<br />
Temple, The Rev. W. . The Hall, Repton,<br />
Burton-on-Trent.<br />
<br />
. The Towers, St.<br />
Stephens Road,<br />
Bath.<br />
<br />
West, Mrs. Katherine East<br />
S: Sussex.<br />
<br />
Willis, William 20, Belmont Road,<br />
Nicholas. Twickenham, S.W.<br />
<br />
Talbot, Mrs. :<br />
<br />
Grinstead,<br />
<br />
——_+—>—_+—___—_<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
—— +<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
ART.<br />
<br />
Wantep: A Mruistry oF Fine Arts.<br />
DewHurst. Reprinted from the<br />
84 x 54. 101 pp. Hugh Rees. 1s. n.<br />
<br />
BIOGRAPHY.<br />
<br />
Wui1am Morris. A Study in Personality. By A.<br />
Compton Rickert. 82 X 5}. 325 pp. Herbert<br />
Jenkins. 7s. 6d. n.<br />
<br />
Goxtpwin SMITH’s CoRRESPONDENCE.<br />
Haviram. 9 x 53. 540 pp. Werner Laurie.<br />
<br />
BOOKS OF REFERENCE.<br />
<br />
Tue SraresMan’s YuAR Boor. 1913. Edited by<br />
J. Scorr Kerrie, LL.D. Assisted by M. Epsrzrn,<br />
Ph.D. 74 x 43. 1452 pp. Macmillan. 10s. 6d. n.<br />
<br />
DRAMA.<br />
<br />
Prays or Onp Japan. Tue “No.” By Mane C.<br />
Sroxzs, D.Sc., and Proressor Jogi SakuRal. With<br />
a Preface by His Excettency Baron Karo. 8} X 54.<br />
103 pp. Heinemann. 5s. n.<br />
<br />
Tus Marrrep Woman. A Play in Three Parts. By<br />
Cc. B. Fernatp. 74x 5. 111 pp. Sidgwick &<br />
Jackson. 3s. 6d. n.<br />
<br />
Toe “Minp THE Paint” GIRL.<br />
Acts. By Arraur W. PINzERO.<br />
Heinemann. ls. 6d.<br />
<br />
FICTION.<br />
<br />
Lorz or PROSERPINE. By MauricE HEWLETT.<br />
288 pp. Macmillan. 5s. n.<br />
<br />
TurovcH THE Winpow. By Mary E. Many.<br />
319 pp. Mills & Boon. 6s.<br />
<br />
Tue Bonp or Freepom. By A. B. SPENS.<br />
316 pp. Everett. 6s.<br />
<br />
Bistine Dawn. By Hanoitp Bzcain. 7} x 5.<br />
Hodder & Stoughton. 68.<br />
<br />
Tun Destroyine ANGEL. By Louis J. VANCE.<br />
309 pp. Grant Richards. 68.<br />
<br />
Ix tue Grre or Destiny. By Cuaruzs E.<br />
74 x 5. 301 pp. George Allen.<br />
Tue Sxy-Line. By ErueEL CaNNIne.<br />
<br />
Digby, Long. 6s.<br />
<br />
By WyYNFORD<br />
Art Chronicle.<br />
<br />
Edited by ARNOLD<br />
18s. n.<br />
<br />
A Comedy in Four<br />
62 x 5. 234 pp.<br />
<br />
72 x Sh.<br />
72 x 5.<br />
7% x 5.<br />
312 pp.<br />
7} x 5.<br />
SrERNY.<br />
<br />
7h x 5. 381 pp.<br />
<br />
THE AUTAOR.<br />
<br />
Hearts at War. By Erris ADELAIDE ROWLANDS_<br />
72x 5. 336 pp. Hurst & Blackett. 6s.<br />
<br />
Oncz Rounp. By SterHen Knorr. 73 x 5. 366 pp,<br />
Murray & Evenden. 6s.<br />
<br />
Love Lerrers or A WorLDLY Woman, By Mrs. W. K.<br />
Cuirrorp. Newand Enlarged Edition, 277 pp. Con-<br />
stable. 2s. 6d, n.<br />
<br />
Tur Pursuit or Mr. Favret.<br />
<br />
6} x 4}. 380 pp. Nelson. 7d. n.<br />
<br />
Tur Sprvster. By Husert Waxes. (Cheap Edition)<br />
74 x 43. 320 pp. John Long. Is. n.<br />
<br />
I wut Repay. By Tae Baroness Onczy.<br />
<br />
74 x 44. Hodder & Stoughton. Is. n.<br />
<br />
So ir Is WITH THE DaMSEL. By Nora VYNNE.<br />
Stanley Paul. 6s.<br />
<br />
Tun Kryepom. By H. ErspaLe Goap.<br />
pp. Heinemann. 6s.<br />
<br />
Tur Hovse or Sanps. By L. M. Wart.<br />
<br />
312 pp. Martin Secker. 6s.<br />
<br />
Mr. Laxwortuy’s ADVENTURES. By E. P. OPPENHEIM<br />
7% x 5. 312 pp. Cassell. 3s. 6d.<br />
<br />
Tur Mixp Reaper. By Max RITTENBERG.<br />
325 pp. Appletons. 6s. :<br />
<br />
Tus Gops ARE Atuirst. Authorised Translation. B<br />
A. Attinson. 8} x 5}. 285 pp. Lane. 6s.<br />
<br />
Tue Pomp oF THE Lavierres. By GisERT PARKER<br />
64 x 4}. 223 pp. Methuen. 7d. n. :<br />
<br />
Tue STRENGTH OF THE Hits. By HaLirwELt SUTCLIFFE-<br />
732 x 54. 307 pp.<br />
<br />
Hatr anp Harr TRAGEDY.<br />
By A. R. Horn. 8 X 5}.<br />
<br />
E1iza’s Son. By Barry Pain. 7} X 5.<br />
Cassell. Is. n. ]<br />
<br />
Tas Woorne or Miranwy. Second Edition. By<br />
Eprru C. Kenyon. Holden & Hardingham. 6s.<br />
<br />
THe WINNING oF GwENoRA. By Epira C. Kenyon-<br />
Holden & Hardingham. 6s.<br />
<br />
HISTORY.<br />
<br />
A GxgweraL History oF THE WORLD. By Oscar<br />
BROWNING, Senior Fellow of King’s College, Cambridge,.<br />
ete. With Maps and Genealogical Ta les. 74 X 5.<br />
799 pp. Arnold. 7s. 6d. n. School Edition. 5s. n.<br />
<br />
it x 5<br />
<br />
Stanley Paul. 6s.<br />
<br />
Scenes in Black and White.<br />
58, 8<br />
119 pp.<br />
<br />
340 pp. Black.<br />
<br />
LAW,<br />
<br />
Pmorace Law. Being the Pilotage Act, 1913. With<br />
Introduction, Notes and Appendices. By E. AYLMER.<br />
Diasy, Lieutenant R.N. (retired), Secretary to Depart-<br />
mental Committee of Pilotage, 1909—11. Barrister-at-<br />
Law, and 8. D. Corz, Member of the Departmental ©<br />
Committee on Pilotage, 1909—11, Solicitor of the ~<br />
Supreme Court. 8} X Bf. 108 pp. Sweet & Maxwell.”<br />
<br />
_ 56. nD.<br />
LITERARY.<br />
<br />
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Murray. 3s. 6d. n.<br />
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THe VULGATE VERSION OF THE ARTHURIAN RoMANCES. ©<br />
Edited from Manuscripts in the British Museum. By —<br />
Hi. Oskar Sommer. Vol. VI., Le Aventures ou las:<br />
Queste del Saint Graal: La Mort de Roi Artus..<br />
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<br />
MISCELLANEOUS.<br />
<br />
‘Tan Perrect GentLEMaN. A guide to Social Aspirants.<br />
By Harry GRraHAM. New Edition. 7$ x 5. 212 pp<br />
Arnold. 2s. 6d. n.<br />
<br />
<br />
<br />
<br />
NATURAL HISTORY.<br />
<br />
‘oul FLowrrLess Puants. How and Where they Grow.<br />
i ‘By S. Lzonarp Bastry. 8} x 5}. 152 pp. Cassell.<br />
‘Oo 68. n.<br />
<br />
“if Tur Brrps or Austra. By<br />
‘sf ‘~-Vol. IIT., Part II. 143 x 10}. 105—204 pp..<br />
<br />
SOCIOLOGY.<br />
<br />
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nied GRUNDLAGE DER Kuttur. By GrorGEs CHATTERTON-<br />
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<br />
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<br />
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Witherby<br />
<br />
xvii x 207 pp. Tiibingen:<br />
<br />
TOPOGRAPHY.<br />
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By Himatre BELLoc.<br />
7s. 6d. n.<br />
<br />
TRAVEL.<br />
<br />
c70) Queer THINGS ABOUT JAPAN. By Dovetas SLADEN.<br />
Fourth Edition, to which is added a Life of the late<br />
“ +Emperor of Japan. 8} x 54. 443 pp. Kegan Paul.<br />
: 6s. n.<br />
/an—) me Conressions oF A TENDERFOOT.<br />
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304 pp. Constable.<br />
<br />
By Ratpx Stock.<br />
<br />
—<br />
<br />
re<br />
<br />
MITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
Ts HE late Professor Goldwin Smith’s<br />
Bt ‘Correspondence’? has been _ pub-<br />
: lished by his literary executor, Mr.<br />
“@* Arnold Haultain, through Mr. T. Werner<br />
I Laurie. The book, which is demy §8vo,<br />
560 pages, with illustrations, costs 18s. net,<br />
“ee .and comprises letters written, not only by<br />
_ Goldwin Smith, but also to him by Matthew<br />
Arnold, W. E. Gladstone, Frederick Harrison,<br />
Lord Cromer, and many other famous people,<br />
living and dead.<br />
<br />
The ‘Life of the Right Hon. Sir Alfred<br />
“Comyn Lyall,” by Sir Mortimer Durand<br />
(Messrs. Blackwood & Sons, 16s. net),<br />
noticed in another column.<br />
<br />
M. Maurice Bourgeois, the sole authorised<br />
French translator and producer of the late<br />
J. M. Synge’s “Playboy of the Western<br />
World ” and ‘‘ Well of the Saints,” is bringing<br />
out, in September, through Messrs. Constable,<br />
.a work entitled ‘“‘ John Milligan Synge and the<br />
Irish Theatre.”<br />
<br />
Mr. Douglas Sladen’s new novel is ‘‘ The<br />
‘Curse of the Nile ’’—a story of Egypt in Khar-<br />
tum and Omdurman days. The publishers<br />
-are Messrs. Stanley Paul & Co.<br />
<br />
Messrs. Duckworth & Co. publish Mr. J.<br />
‘Quigley’s “‘ Leandro Ramon Garrido: His<br />
Life and Art,” with twenty-six full-page<br />
‘reproductions of the painter’s art.<br />
is 5s. net.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
The price<br />
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<br />
Dr. Henry Lansdell has brought out the<br />
fourth part of his history of “ Princess 4lfrida’s<br />
Charity” (Messrs. Burnside, Ltd., 6d., by<br />
post 7d.), describing Morden College under its<br />
early trustees, ete.<br />
<br />
** Pilotage Law ”’ (described in the sub-title<br />
as ‘* The Pilotage Act, 1913, with Introduction,<br />
Notes, and Appendices’) is the joint pro-<br />
duction of Messrs. E. Aylmer Digby, lieutenant<br />
R.N., retired, and Sanford D. Cole, author of<br />
‘* The Shipmaster’s Handbook to the Merchant<br />
Shipping Acts,” etc. Messrs. Sweet & Maxwell<br />
are the publishers.<br />
<br />
Mr. Humfrey Jordan’s novel, ‘“‘ Patchwork<br />
Comedy,” is being produced by Messrs. Put-<br />
nam in three editions—English, American, and<br />
Australian.<br />
<br />
‘“Feigning or Folly’ is the name of Miss<br />
A. V. Dutton’s latest story (Messrs. Heath,<br />
Cranton & Ouseley).<br />
<br />
Mrs. J. G. Frazer has produced, through<br />
Messrs. Heffer & Sons, of Cambridge, ‘* First<br />
Aid to the Servantless,” a book for all who<br />
would reduce the work of the house to a<br />
minimum without sacrificing its comforts.<br />
The price is 1s. net, and 2,000 copies have<br />
already been sold.<br />
<br />
Mr. R. H. Forster, the Northumbrian author,<br />
is bringing out with Messrs. John Long, Ltd.,<br />
** The Little Maister,”’ another historical novel<br />
dealing with his favourite portion of England.<br />
<br />
Mr. R. F. Johnston, author of ‘‘ From Peking<br />
to Mandalay,” ete., has written a book on<br />
** Buddhist China,”’ which is to be published by<br />
Mr. John Murray.<br />
<br />
Miss Grace Porter’s forthcoming work will<br />
be a collection of traditional negro plantation<br />
singing-games, most of them transcribed by<br />
the author with the guidance of an old negress ;<br />
to which is added a group of French Canadian<br />
folk singing-games played by the “‘ Habitants.”<br />
It will be published by Messrs. Curwen.<br />
<br />
“A Grey Life,” by ‘“‘ Rita’ (Mrs. Desmond<br />
Humphreys), is already in its fourth edition.<br />
<br />
Under the title of “Letters to Jack’s<br />
Mother,’ Mr. Edgar W. Martin has written a<br />
little pamphlet on the training of a child—at<br />
the request of a lady social worker in Bir-<br />
mingham. Messrs. Cornish Brothers, of that<br />
city, publish it at 1s. 8d. a dozen copies,<br />
including postage.<br />
<br />
** Life’s Many Colours” is a collection of<br />
essays by Mr. J. C. Wright, F.R.S.L.<br />
<br />
A new and cheaper edition of ‘‘ The Perfect<br />
Gentleman: A Guide to Social Aspirants,”’ by<br />
Captain Harry Graham, has been issued by<br />
Mr. Edward Arnold. The pen-and-ink sketches<br />
by Mr.. Lewis Baumer are included.<br />
256<br />
<br />
Mr. Ralph Stock, whose travel book, “ The<br />
Confessions of a Tenderfoot,” is chronicled<br />
elsewhere in this issue, has published a novel,<br />
entitled ‘‘ The Pyjama Man,” through Messrs.:<br />
Hutchinson & Co., during the past month.<br />
The first book is a record of the author’s world<br />
wanderings and experiences during the last<br />
twelve years in Canada, America, the South<br />
Pacific Islands, and Australia, illustrated with.<br />
eighty-five photographs taken by Mr. Stock.<br />
The second book is the love story of a young<br />
Englishman in Australia.<br />
<br />
It is announced that this spring MM. Payot<br />
& Cie., of Lausanne, intend to issue a French<br />
translation, by E. Combe, of Mr. W. A. B.<br />
Coolidge’s book entitled ‘‘ The Alps in Nature<br />
and History” (published by Messrs. Methuen<br />
in 1908). Mr. Coolidge asks us to state that<br />
this translation has been neither authorised<br />
nor approved by him, so that he declines to be<br />
held responsible for any mistakes or alterations<br />
that may be contained therein.<br />
<br />
Mr. Basil Stewart edits ‘‘ The Lecture Year<br />
Book, 1913-4,’ which Messrs. Heath, Cranton<br />
& Ouseley publish at 3s. 6d. net. Lecturers,<br />
the Preface states, are perhaps the only pro-<br />
fessional class hitherto without their annual<br />
reference book, and this is an endeavour to<br />
supply the lack. Portraits of various pro-<br />
minent lecturers and lecture-secretaries are<br />
included.<br />
<br />
“Christopher Columbus: An Historic<br />
Drama in Four Acts,’’ is published for the<br />
author, Mr. Roland Hill, by Messrs. Sampson,<br />
Low, Marston & Co.<br />
<br />
‘People (thither coming out of a region<br />
wherein disasters are met as if they were a jest)<br />
whom You may Meet at the Fair ” is the name<br />
given by Mr. Adair Welcker, of Berkeley, Cali-<br />
fornia, to a work of which a copy has been<br />
forwarded to us by him. We take a passage<br />
from the Foreword: ‘‘ One of the great labors<br />
that through this book will eventually be seen<br />
to have been accomplished is this: All pub-<br />
lishers, and all authors of the world, are to be<br />
shown that to a work not miscalled ‘ literature ’<br />
will the attention of mankind be, to the limit<br />
of its reading capacity, given, without the<br />
adoption into the world of business by any<br />
publisher, and use . . . of the various methods<br />
that by prescription have become the property<br />
of (and therefore of which they should not be<br />
despoiled) mendicants — beggars — lazaroni.”<br />
In other words, Mr. Welcker has published the<br />
book himself.<br />
<br />
We regret to record the death, on April 25,<br />
of Mrs. Harcourt-Roe, of Hurst, Berks, for<br />
many years a member of the Society. Her<br />
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THE AUTHOR.<br />
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chief literary work lay in novel writing, though<br />
her latest publication, ‘ as a March<br />
Hare,” or “The Land of Shadows,” could —<br />
hardly be designated as such, being a political<br />
skit. Among her novels were ‘‘ The Bachelor<br />
Vicar of Newforth?” ‘‘ Whose Wife?” ‘* The<br />
Silent Room,” ‘‘ A Man of Mystery,” ete., all<br />
of which earned the appreciation of her public,<br />
In connection with *‘ A Man of Mystery ”’ Mrs.<br />
Harcourt-Roe received many letters from the<br />
late Lady Isabel Burton and others on the<br />
subject of its exposition of the Buddhist<br />
religion and its suggestion of the force of will-<br />
power. Her favourite line of thought was of<br />
a high spiritual order, thrown into the form of<br />
a novel, and she took great interest in all<br />
literary affairs.<br />
<br />
Soho Square—‘“‘the prettiest square in<br />
London,”’ according to Sir Walter Besant—<br />
has been the scene of a reception by Messrs.<br />
A. and C. Black to the contributors of the<br />
‘*Englishwoman’s Year Book,’’ one of the<br />
many annuals issued by them. The guests.<br />
were received by the editor, Miss G. E. Mitton,<br />
supported by the consultative committee, Lady<br />
Strachey, Lady Huggins, Mrs. Hertha Ayrton,<br />
M.1.E.E., Miss S. A. Burstall, M.A., Mrs. J. R.<br />
Green, and Dr. Margaret Todd; also by Mr.<br />
Adam Black and his partner, and other mem-<br />
bers of the firm. After tea the many treasures<br />
in possession of Messrs. Black were displayed,<br />
including the famous interleaved set of the<br />
Waverley Novels, in which Sir Walter Scott<br />
made his additions and corrections for the final<br />
edition.<br />
<br />
<br />
<br />
DraMarIc.<br />
<br />
At the Court Theatre, on May 12, Miss<br />
Horniman revived “The Pigeon,” Mr. John<br />
Galsworthy’s three-act fantasy, originally pro-<br />
duced at the same theatre a year and a half ago.<br />
The sketch ‘“‘ The Widow Woos,” which is<br />
now the curtain-raiser to “* The Headmaster ”<br />
at the Playhouse, is a dramatisation by Mrs.<br />
Francis Blundell and Mr. Sydney Valentine of<br />
a short story by the former.<br />
On May 17 a new musical play, “ The Mar-<br />
riage Market,”’ was produced at Daly’s Theatre,<br />
being the work of Messrs. Brody and Martos,<br />
adapted for the English stage by Miss Gladys<br />
Unger, with lyrics by Messrs. Arthur Anderson<br />
and Adrain Ross, and music by Mr. V. Jacobi.<br />
On May 29 Mr. Bernard Shaw’s “ Cesar and<br />
Cleopatra ”’ was played by Mr. Forbes Robert-<br />
son for the last time at Drury Lane. On the<br />
following day there was a revival of the<br />
dramatic version of Mr. Rudyard Kipling’s<br />
“The Light that Failed.”<br />
<br />
<br />
THE AUTHOR.<br />
<br />
_ At the Aldwych Theatre, from May 27 to<br />
-/May 31, a new musical play, “‘ Claude Abroad,”<br />
swas staged, in aid of the Middlesex Hospital.<br />
The book was by Mr. and Mrs. Charles Scott-<br />
eaatty, and the music by Mr. Charles Scott-<br />
asatty, Sir Alfred Scott-Gatty, and Mr. Cecil<br />
oForsyth.<br />
‘| During the Croydon Repertory Season, at<br />
uche Grand Theatre, Mr. Keble Howard pre-<br />
-asented, for the third week, Mr. Charles<br />
~9McEvoy’s four-act comedy, “* The Situation at<br />
»Newbury,”’ first seen at the Liverpool Reper-<br />
scory Theatre last year.<br />
MUSICAL.<br />
_ At the Queen’s Hall, on the evening of<br />
aMay 6, the London Choral Society gave an<br />
anniversary concert in memory of King<br />
5Edward’s death, May 6, 1910. The pro-<br />
“sgramme consisted chiefly of works by Miss<br />
~sMargaret Meredith, including settings of Mr.<br />
biRudyard’s Kipling’s “‘ Recessional’”’ and Mr.<br />
“wOwen Seaman’s ‘“ Passing of King Edward<br />
IVIL.,” for choir, organ, and piano. Among the<br />
»oerformers were Sefior Casals (violoncello),<br />
»2iMiss Ada Forrest, Miss Phyllis Lett, and Mr.<br />
s9cecil Fanning (vocalists), and Miss Meredith<br />
wterself (pianoforte). The whole concert was<br />
seleserving of a larger audience than was<br />
»eooresent ; but, as it was, encores lengthened it<br />
© yy nearly half an hour.<br />
<br />
——_—__—_—_+——_e_—__.<br />
<br />
PARIS NOTES.<br />
— a<br />
<br />
[ A MAISON ”’ is the title of the latest<br />
novel by Henry Bordeaux. It is<br />
the autobiography of a boy, Francis,<br />
“iavhich, with the exception of certain details,<br />
‘uinight be the autobiography of hundreds of<br />
“iaoys of provincial France of to-day. The<br />
shitle, “La Maison”? would be extremely<br />
oth ifficult to render in English, as it means here<br />
“ She ancestral house, the symbol of the past,<br />
') f£ the family which has inhabited it for<br />
/ofenerations. It is one of the most essentially<br />
rench books which has been published for<br />
long time and, in order to appreciate it, the<br />
“Peeader must be able to place himself in the<br />
<br />
murroundings described by the author.<br />
“T The book is extremely interesting as a<br />
“oysychological study. The boy’s father is the<br />
“iqypical head of the family, his mother a very<br />
ypical French wife and mother, upholding the<br />
ditions of the race. Then comes a curious<br />
gure in the person of the boy’s grandfather,<br />
‘man who would break through the traditional<br />
stters and who, perhaps more out of bravado<br />
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than from real conviction, professes to have<br />
gone over to the new order of things. Francis<br />
is greatly influenced by his grandfather. He<br />
begins to look disdainfully on the rest of his<br />
family and their old-fashioned ways. He<br />
accompanies his grandfather to a café, where<br />
he hears all kinds of theories propounded.<br />
He is at first amazed, but gradually becomes<br />
quite accustomed to the new ideas. Nothing<br />
could be more slight than the story. There<br />
are very few events interesting to anyone but<br />
the family immediately concerned. The whole<br />
interest centres in the psychology of the various<br />
members of the family, including the typical<br />
spinster aunt, with her ever-ready duster and<br />
brush. It is not until Francis finds himself<br />
unexpectedly the head of the family that he<br />
realises all that it means and rouses to a sense<br />
of responsibility. This novel is, perhaps, the<br />
strongest and most concise of any yet written<br />
by M. Bordeaux, who is a typical representative<br />
of conservative France.<br />
<br />
‘““Au Hasard de la Vie,” by Edouard<br />
Lockroy, has just been published, with a<br />
preface by Jules Claretie. This volume of<br />
notes and souvenirs represents half a century<br />
of the author’s life. M. Lockroy, who was<br />
formerly Minister of the Navy, has known<br />
most of the interesting Frenchmen of his<br />
time. He is an extremely cultivated man and<br />
an ardent patriot. The volume is composed<br />
of a series of articles on the most varied topics<br />
imaginable. The author writes of his recol-<br />
lections of the year 1848, of Garibaldi, of<br />
Renan. M. Lockroy accompanied Renan on<br />
his scientific mission to Phoenicia and he now<br />
gives us some excellent portraits of one of the<br />
most interesting of Frenchmen. Several<br />
chapters are devoted to this expedition, which<br />
is most graphically described. A large part of<br />
the volume treats of the various episodes of<br />
the war of °70. Autour de Metz, Autour du<br />
4 Septembre, Pendant le Siege and A Versailles,<br />
are the titles of these chapters. M. Lockroy<br />
also gives us two excellent chapters on M. de<br />
Bulow and Victor Hugo.<br />
<br />
In a volume, entitled ‘“‘ Les Fantoches de la<br />
Peur,” Charles Foley has grouped the various<br />
individuals who have inspired fear. We have<br />
Les Fantoches de la Bastille, Dupes, Dupeurs,<br />
Dupes, Fantoches burlesques, Fantoches tra-<br />
giques, Folies burlesques, Folies tragiques.<br />
In the last chapter, Leur Fraternité, the author<br />
sums up the chief principle of this fraternity in<br />
the celebrated phrase, ‘‘ Sois mon frére, ou je te<br />
tue,” which is the main principle of nearly all<br />
political and religious fanaticism. In this<br />
work the author has gone back to the accounts<br />
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258<br />
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of contemporaries, and the consequence is that<br />
we find quite another La Fayette, Biron,<br />
Hanriot and Fouquier-Tinville than those<br />
which later historians have painted. The<br />
grouping of the fantoches is an excellent idea,<br />
and the various anecdotes and quotations make<br />
the accounts most entertaining.<br />
<br />
“ J;’Entraineuse ” is the title of the novel by<br />
Charles Esquier from which the piece now<br />
being given has been taken. It is a novel<br />
which appeals more directly to the Latin race ;<br />
the story of a wife sacrificing everything for<br />
her husband, a weak man, whom she loves<br />
with an almost maternal love. The play is<br />
having as much success as the novel.<br />
<br />
‘* Parvati,”’ by Robert Chauvelot, is a story<br />
of one of the désenchantées of India. The<br />
author tells us the tragic story of a beautiful<br />
young woman, who, after finishing her educa-<br />
tion in European countries, is destined for the<br />
wife of a Maharajah. Her husband sends for<br />
a celebrated French artist to paint her por-<br />
trait, with the result that the artist falls hope-<br />
lessly in love with his model. We then have<br />
some very graphic descriptions of the ways and<br />
customs of the country to which the woman<br />
belongs, and we follow the lovers through the<br />
various episodes of their escapade to the tragic<br />
dénouement.<br />
<br />
“En Colonne ” is the title of a volume by<br />
General Bruneau, in which the intrepid<br />
soldier and explorer gives us an account of his<br />
various expeditions. Among the subjects are :<br />
Souvenirs de V Insurrection Kabile, Le Sanglier<br />
Marabout, Une Vision des Temps Prehistoriques,<br />
Un Affut a la Panthere, Un Raid_d'Infanterie,<br />
Entre la Vie er la Mort, and A la Légion.<br />
<br />
An extremely valuable historical work has<br />
just been published by Mlle. Emilie Cher-<br />
buliez. It is entitled ‘“‘ Mémoires de Isaac<br />
Cornuaud sur Genéve et la Révolution de 1770<br />
421795.” The book will be greatly appreciated<br />
by all who are interested in the history of<br />
Switzerland. Isaac Cornuaud was one of the<br />
ardent patriots of his day, a man who con-<br />
tributed largely to the political history of his<br />
country. Mlle. Cherbuliez has compiled the<br />
volume from ten huge manuscript volumes, of<br />
about 500 pages each, written between the<br />
years 1785 and 1796 by her great-great-grand-<br />
father. Isaac Cornuaud was the great-grand-<br />
father of Victor Cherbuliez, and, thanks to his<br />
position and personality, he had_ excellent<br />
opportunities for seeing and knowing every-<br />
thing which concerned the life, at that critical<br />
time, of the “ political atom,” as he styles<br />
Geneva. The Introduction to the volume is<br />
written by Gaspard Vallette, and the bio-<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
graphical notice by Mlle. Cherbuliez. Among<br />
the twenty-three chapters are the following;<br />
Introduction a Vhistoire des Natifs jusqu'a 1766,<br />
including the Rapports des Natifs avec Voltaire;<br />
Le Plan de Conciliation; La Prise d’armes dus<br />
fevrier 1781; Entrée des troupes étrangeres %<br />
Geneve; Genéve, apres la Révolution de 1782;<br />
La Révolution de 1789; L’égalité politique; Le ~<br />
gouvernement révolutionnaire; and Questions sae"<br />
administratives et économiques.<br />
<br />
At the Odéon, ‘‘ David Copperfield ” is being — -<br />
played. ‘‘ La Demoiselle de Magasin is now #<br />
being given at the Gymnase, and, at the | «<br />
Athenée, ‘‘ La Semaine Folle.”<br />
<br />
At the ThéAtre des Champs-Elysées “ Boris<br />
Godounow”’ is now on the bill, and at the ©<br />
Gymnase we are to have a series of Polish plays, |<br />
<br />
Atys Hatuarp,<br />
<br />
“La Maison.’ (Plon.)<br />
<br />
<< Au Hasard de la Vie.”’ (Grasset.)<br />
<br />
“Les Fantoches dela Peur.” (Blond.)<br />
<br />
“L’Entraineuse.” (Calmann-Lévy.)<br />
<br />
“Parvati.” (Michel.)<br />
<br />
«En Colonne.” (Calmann-Lévy.)<br />
<br />
“Mémoires de Isaac Cornuaud sur Genive et la<br />
Révolution de 1770 4 1795.’ (A. Jullien.)<br />
<br />
+—<—_+—___—_-<br />
<br />
LEGAL CASES.<br />
<br />
———+ —<br />
Copyricut TECHNICALITIES 1N THE U.S.A, — =<br />
I<br />
<br />
EGAL cases in the United States ate ©<br />
matters of almost equal interest to<br />
United States authors and to British<br />
<br />
authors. The case quoted below is of special<br />
importance as it shows the difficulties into»<br />
which it is possible to run when the law makes |<br />
technicalities essential for securing copyright. | ~<br />
There is hardly any copyright case taken im<br />
the United States but the pirate or other’ ©<br />
offender bases his defence on the technicalities ~<br />
necessary under the United States Act. Tne :<br />
case quoted is taken from the New York Times :<br />
and that paper in its leader on the subject,<br />
states as follows :—‘ Section 12, upon while<br />
the Court based judgment, says that no action<br />
or proceedings shall be maintained for oe<br />
ment of copyright until the copies of<br />
pea have been deposited in the mails<br />
n vain the counsel for The Times pointed out<br />
to the Court that the action was not for<br />
infringement of copyright, it was not 4 suit)<br />
to recover damages, it was an equity pro="<br />
ceeding to restrain a threatened violation of | 3,<br />
its copyright.” It further adds :—* If the) ©<br />
law is to be construed as it has been constru Ls ;<br />
in the present case, ‘ what may we expect when’<br />
<br />
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<br />
’ Pole,<br />
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THE AUTHOR.<br />
<br />
the Courts are asked to pass on the meaning<br />
of the “registration” in Section 127°” The<br />
matter is, of course, a very serious matter, and<br />
it is a real blessing that under the new English<br />
Copyright Act no technicalities whatever are<br />
necessary. This has its disadvantages, but the<br />
advantages running with no technicalities are<br />
overwhelming, and the plenipotentiaries who<br />
met at the Convention of Berlin, as at the<br />
Convention of Berne, fully understood its<br />
importance.<br />
<br />
The Circuit Court of Appeals has affirmed<br />
the decree of the United States District Court,<br />
dismissing on demurrer the complaint of The<br />
New York Times Company against The Sun<br />
Printing and Publishing Association in an<br />
equity suit to secure an injunction forbidding<br />
the publication by the defendant of Amund-<br />
sen’s account of his discovery of the South<br />
of which copyright had been secured by<br />
The Times. The decree of the District Court<br />
is sustained on the ground that at the time the<br />
injunction was applied for The Times had not<br />
complied with that provision of the copyright<br />
law which requires that two complete copies<br />
of the publication must be deposited in the<br />
mails addressed to the Register of Copyrights<br />
at Washington.<br />
<br />
The history of the case is that The Times<br />
acquired by purchase from the London<br />
Chronicle the full American rights of publica-<br />
tion and copyright in Amundsen’s personal<br />
narrative. The Amundsen story was cabled<br />
to The Times on the afternoon of March 8,<br />
1912. The matter was put in type, bound in<br />
book form with a copyright notice on each<br />
copy, and prior to the application for injunction<br />
it was publicly exposed for sale and copies were<br />
sold. ‘This step was taken in order to secure<br />
a copyright under section 9 of the Copyright<br />
Act, which provides—<br />
<br />
“That any person entitled thereto by this Act may<br />
secure copyright for his work by publication thereof with<br />
the notice of copyright required by this Act ; and such notice<br />
<br />
shall be affixed to each copy thereof published or offered<br />
for sale in the United States by the authority of the copy-<br />
<br />
right proprietor.”<br />
<br />
The Times felt that this publication with<br />
copyright notice had made the copyright secure.<br />
The word ‘‘ secure” is used in section 9. The<br />
word is again used in section 12—<br />
<br />
“that after copyright has been secured by publication of<br />
the work with the notice of copyright as provided in<br />
section 9 of this Act.”<br />
<br />
If the provisions of section 9 and section 12<br />
mean anything, they mean that by publication<br />
of the Amundsen story in book form with<br />
copyright notice, The Times had before 10 P.M.<br />
of March 8 secured its copyright.<br />
<br />
259<br />
<br />
Now as to the mailing provision. Sec-<br />
tion 12 provides that after copyright has been<br />
secured by publication with the copyright<br />
notice,—<br />
<br />
“there shall be promptly deposited in the copyright office<br />
or in the mail addressed to the Register of Copyrights,<br />
<br />
Washington, D.C., two complete copies of the best edition<br />
thereof then published.”<br />
<br />
It is perfectly true, as Judge Lacombe said<br />
in his opinion, on which the decree of the<br />
District Court was made, that The Times,<br />
had in its possession copies of the publication,<br />
two of which it might at once have deposited<br />
in the mails. But on the evening in question<br />
The Times had before it the rules and regula-<br />
tions established by the Register of Copyrights<br />
for procedure in such cases. One of these<br />
rules related to the form of the affidavit to be<br />
submitted to the Register with the copies<br />
mailed or deposited by the applicant. It is<br />
here quoted :—<br />
<br />
“Noricy.—The date of the execution of this affidavit<br />
must be subsequent to the stated date of the publication<br />
of the book.”<br />
<br />
That is not permissive, but mandatory.<br />
The date of the publication of the book was<br />
March 8. Therefore two copies of the book<br />
with the accompanying affidavit were deposited<br />
in the mails addressed to the Register of Copy-<br />
rights at Washington a few minutes after mid-<br />
night. The copies were mailed, that is, on<br />
March 9. But as The Times had been put no<br />
notice of an intention on the part of some of<br />
its contemporaries to publish the Amundsen<br />
story, it was necessary that the application<br />
for an injunction to restrain such acts in<br />
violation of its copyright should be made<br />
before midnight on March 8. The application<br />
was so made and a restraining order issued.<br />
Both the application and issue necessarily<br />
preceded the deposit of the copies in the mails<br />
addressed to the Register of Copyrights, which<br />
did not take place until a few minutes alter<br />
midnight.<br />
<br />
On this account the District Court set aside<br />
the restraining order, and on this ground the<br />
Circuit Court of Appeals affirms the decree<br />
dismissing the injunction proceedings. The<br />
court bases its affirmance upon this provision<br />
of section 12 of the copyright law :—<br />
<br />
“No action or proceeding shall be maintained for infringe-<br />
ment of copyright in any work until the provisions of this<br />
Act with respect to deposit of copies and registration of<br />
such work shall have been complied with.”<br />
<br />
This decision would seem proper enough in<br />
a suit for damages for infringement begun<br />
before the deposit of copies in the mails. But<br />
The Times had begun no such suit; its pro-<br />
<br />
<br />
260<br />
<br />
ceeding on the night of March 8 was taken for<br />
the purpose of preventing, not punishing,<br />
infringement. Section 86 of the Copyright<br />
Act provides—<br />
<br />
“That any such Court or Judge thereof shall have power,<br />
upon bill in equity filed by any party aggrieved, to grant<br />
injunctions to prevent and restrain the violation of any right<br />
secured by said laws.”<br />
<br />
Taking the words of section 9, “‘ may secure<br />
copyright for his work by publication thereof<br />
with the notice of copyright,” in connection<br />
with those of section 36 just quoted, it would<br />
seem to the lay mind that The Times had a<br />
clear right to protection, by injunction, against<br />
intended theft. But the Court holds otherwise.<br />
<br />
It seems a curious matter that The New York<br />
Times, instead of disputing the decision and<br />
carrying the action to a second Court, did not,<br />
having registered their copyright, begin a<br />
second action for infringement. This would<br />
no doubt have been the cheaper proceeding<br />
of the two.<br />
<br />
<br />
<br />
RESERVATION OF Dramatic RIGHTS,<br />
IN THE U.S.A.<br />
II.<br />
{Reprinted from the Bulletin of the Author League of<br />
America.) :<br />
<br />
Tue case of Dam v. Kirk La Shelle Com-<br />
pany, decided in the United States Circuit<br />
Court of Appeals, Second Circuit, in Janu-<br />
ary, 1910, is of such importance to writers<br />
for magazines and other periodicals as well<br />
as to publishers that it deserves careful<br />
attention. This case may be said to be the<br />
last important decision on the question of what<br />
protection the blanket copyright secured by a<br />
magazine publisher, upon his magazine, affords<br />
the authors of the various storiés, articles and<br />
poems contained in it. The facts were briefly<br />
as follows :—<br />
<br />
Henry J. W. Dam wrote a story in 1898,<br />
called “ The Transmogrification of Dan.” In<br />
1901 he sent the manuscript to the Ess. Ess.<br />
Publishing Company, a corporation publishing<br />
the “Smart Set Magazine.” The editor<br />
accepted the story and sent a check in return<br />
for $85, together with a receipt reading :—<br />
<br />
“Received of the Ess, Ess. Publishing<br />
<br />
Company $85 in full payment for story<br />
<br />
entitled *‘ The Transmogrification of Dan.’ ”<br />
<br />
This Dam signed and mailed back to the<br />
editor. At no time did he have any interview<br />
with the editor or any correspondence bearing<br />
on the understanding with which the story was<br />
sold.<br />
<br />
The story came out in the ‘‘ Smart Set ”’ for<br />
<br />
Erc.,<br />
<br />
THE AUTHOR.<br />
<br />
September, 1901, and the particular number<br />
in question was copyrighted by the Ess. Ess,<br />
Publishing Company, in its own name, and<br />
bearing a notice which read :—<br />
<br />
‘“‘ Copyrighted, 1901, by Ess, Ess. Pub-<br />
lishing Company.”<br />
No steps were taken by the magazine or b<br />
Dam to copyright the story separately from the<br />
<br />
magazine.<br />
<br />
Some time afterward Paul Armstrong wrote<br />
a play entitled ‘‘ The Heir to the Hoorah,”<br />
which Dam claimed was founded on his story,<br />
“The Transmogrification of Dan.” The<br />
defendant, Kirk La Shelle Company, presented<br />
the play by arrangement with Paul Armstrong,<br />
<br />
On October 27, 1905, the Ess. Ess. Pub-<br />
lishing Company assigned to Dam its copy-<br />
right of the particular number of the ‘‘ Smart<br />
Set ’ in which his story had appeared, in so<br />
far as it covered or protected his story, and all<br />
its interest in the story itself and any claim or<br />
demand which it might have for the infringe-<br />
ment of the copyright in question.<br />
<br />
In due course Dam sued for a preliminary<br />
injunction against the defendant, and in his<br />
affidavit swore :—<br />
<br />
““T have not at any time parted with any<br />
right or interest in said literary work entitled<br />
* The Transmogrification of Dan,’ except the<br />
right for publication thereof in said number<br />
of the ‘ Smart Set ’ for September, 1901.”<br />
<br />
Later on, the complaint was amended so as<br />
to allege simply that Dam sold and assigned<br />
the story in question to the Ess. Ess. Pub-<br />
lishing Company.<br />
<br />
Among other things in defence the Kirk La<br />
Shelle Company set up the claim that Dam’s<br />
original statement, sworn to in his complaint<br />
to the effect that he had not sold any of his<br />
rights in the story to the “‘ Smart Set,” except<br />
the right of publication in the particular<br />
number in question, must be taken as true;<br />
and that it followed as a necessary consequence<br />
that the blanket copyright secured by the Ess.<br />
Ess. Publishing Company, on the particular<br />
issue of the magazine, only operated to afford<br />
such protection as the Publishing Company<br />
needed as publishers of the magazine, and did<br />
not operate to protect the rights which Dam<br />
retained, whatever they might have been,<br />
including the right of dramatisation which<br />
Dam claimed had been infringed, and for<br />
which he asked an injunction.<br />
<br />
The Circuit Court of Appeals.found as a fact<br />
that Dam’s statement that he had parted with ~<br />
no right or interest in the story except that of<br />
serial publication was not the case, and (in spite<br />
<br />
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NDE Zo pete EG ee ee ae ess<br />
ae Pe en SR ee ee ES SS<br />
feet ee Se) OO ree St EN ewe en<br />
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<br />
THE AUTHOR. 261<br />
<br />
of Dam’s original allegations to the contrary)<br />
that when he mailed the story to the “ Smart<br />
Set ’ and the editor sent him a check for $85<br />
this constituted an absolute sale without<br />
reservations, and that the Ess. Ess. Publishing<br />
Company thereby acquired all rights in the<br />
story, including the dramatic rights.<br />
<br />
This, in itself, would have been a decision of<br />
considerable importance, in view of the widely<br />
prevalent belief that when a magazine writer<br />
sends his product to a magazine, without an<br />
accompanying letter specifying the terms under<br />
which the story or article is offered, he is selling<br />
merely the serial rights thereto. But the<br />
Court in discussing the facts in general, went<br />
somewhat beyond the precise point in issue,<br />
and held that if it had been true that Dam had<br />
offered for sale and sold to the Ess. Ess. Pub-<br />
lishing Company only the right to print the<br />
story in serial form, that probably, as matter<br />
of law, the dramatic rights would never have<br />
been copyrighted at all, since it was a funda-<br />
mental proposition that no one could copy-<br />
right that which he did not own, and, if the<br />
Ess. Ess. Publishing Company had purchased<br />
only the serial rights in the story, the copy-<br />
right upon the particular number of the<br />
“Smart Set ’’ would have operated to protect<br />
only those serial rights, and that as Dam had<br />
taken no further steps to protect or copyright<br />
the rights or interests in the story which he had<br />
reserved, and as the story had been published,<br />
there would have been an abandonment of it<br />
to the public and no protection for the dramatic<br />
rights at all.<br />
<br />
The opinion of the Court is reported in 176<br />
Federal Reporter, page 902, and reads as<br />
follows :—<br />
<br />
**Tt is claimed, however, that such steps<br />
accomplished no more than to obtain such<br />
protection needed as publishers of the<br />
magazine. Assuming that Dam retained<br />
the dramatic rights to the story, there would<br />
be much force in this contention. In such<br />
a case we doubt very much whether the steps<br />
which the publisher took to copyright his<br />
magazine, especially in view of the form of<br />
the copyright notice, would have been<br />
sufficient to protect the dramatic rights.”<br />
<br />
After referring to the case of Mifflin v. Dutton<br />
<br />
et} (190 U. S. 265), the Court continued :—<br />
<br />
** In view of this decision by the Supreme<br />
Court, we think that had Dam retained the<br />
dramatic rights to his story, the entry of the<br />
magazine and the notice of copyright would<br />
have been insufficient to protect them. . . .<br />
In the case of the reservation of dramatic<br />
rights, in addition to the notice of the copy-<br />
<br />
right of the magazine, it may well be that it<br />
should appear in some distinct way that such<br />
reservation of such rights to the particular<br />
story is made for the benefit of the author.<br />
Indeed, it may be that the author should<br />
contemporaneously take out in his own<br />
name a copyright covering such rights.”<br />
<br />
The Court then proceeded to hold that inas-<br />
much as the Ess. Ess. Publishing Company had<br />
in fact acquired all rights to the story, the copy-<br />
right which they secured on the particular<br />
number of the magazine in question did operate<br />
to protect all rights, including the dramatic<br />
rights; and that, since there had been a re-<br />
assignment by the Ess. Ess. Publishing Com-<br />
pany to Dam of the dramatic rights, he could<br />
properly ask for an injunction and an account-<br />
ing, and they thereupon awarded to the com-<br />
plainant, who, at the time the decision was<br />
rendered, was the administratrix of Dam’s<br />
estate, the total profits received by the Kirk<br />
La Shelle Company from its production of the<br />
play. The case was not appealed to the<br />
Supreme Court, but has since been settled, and,<br />
therefore, represents the law to-day, which may<br />
be stated as follows :—<br />
<br />
(a) The sale by an author of a story to a<br />
magazine, and the acceptance of a sum of<br />
money ‘‘in full payment for the story,”<br />
without any further agreement, is in legal<br />
fact an absolute sale without reservation,<br />
carrying with it as an incident of ownership<br />
the exclusive right to dramatise the story.<br />
<br />
(b) The copyright of such magazine is suffi-<br />
cient to secure the copyright of the story pub-<br />
lished therein, and protects the right to<br />
dramatise it when the publisher is the owner<br />
of both the story and the dramatic rights.<br />
<br />
(c) (Dictum.) Where the owner of a story<br />
sells the same only for magazine or serial<br />
publication, the copyright of the magazine<br />
does not protect those rights which the author<br />
retains, unless he takes some independent steps<br />
to copyright them himself; and since the<br />
publishing of the story in the magazine<br />
operates as an abandonment of such rights,<br />
if the story is thereafter dramatised by a third<br />
party, the author can have no redress.<br />
<br />
The action, although a recent one, was<br />
brought under the former copyright law, but<br />
there would not seem to be anything in the<br />
present Act which would qualify or render less<br />
significant the decision. The attorney for the<br />
Authors’ League of America doubts seriously<br />
whether the dictum of the court (c) is the view<br />
which will ultimately prevail if the point 1s<br />
eventually properly raised either before the<br />
Circuit Court of Appeals or the Supreme Court<br />
<br />
<br />
262<br />
<br />
of the United States. He believes that this<br />
court could have reached the same decision in<br />
the Dam case by another process of reasoning<br />
more consistent with the general understanding<br />
under which authors are accustomed to submit<br />
their manuscripts to editors and publishers.<br />
This he believes to be that, in default of any<br />
written or oral agreement between the parties,<br />
an editor or publisher of a magazine who pur-<br />
chases a manuscript does so on the implied<br />
understanding that he shall copyright the<br />
same and hold the copyright thereof in trust<br />
for the author, thus protecting not only the<br />
dramatic rights, but all other rights for the<br />
author’s benefit. If this be so, the author can<br />
compel a reassignment of the copyright to him-<br />
self when necessary, such as Dam secured<br />
voluntarily from the Ess. Ess. Company.<br />
<br />
But, in any event, so long as this and similar<br />
matters remain in doubt, both authors and<br />
publishers should, for their own protection,<br />
agree on some system whereby the dramatic<br />
and all other rights sre thoroughly safeguarded.<br />
This can be accomplished in either of two<br />
ways :—<br />
<br />
(a) The editor can copyright each story or<br />
article separately in the author’s name,<br />
printing at the bottom of the first page thereof<br />
a proper copyright notice, as follows :—<br />
<br />
‘Copyright, John Doe, 1913.”<br />
<br />
The author should then immediately on pub-<br />
lication mail one copy of the magazine to the<br />
Registrar of Copyrights in Washington, in<br />
conformity with the requirements of the<br />
present Act, enclosing the fee of One Dollar.<br />
This is perhaps the simplest way, although it<br />
involves a separate registration of the magazine<br />
for each story or article so copyrighted.<br />
<br />
(b) Or the author can sell his story outright<br />
to the editor or publisher, and safely reserve<br />
his equitable interests in the dramatic or other<br />
rights thereto by attaching to his manuscript<br />
a “rider” or slip somewhat as follows :—<br />
<br />
“This manuscript is submitted with the<br />
understanding that if accepted for publication,<br />
the same shall be copyrighted by the pub-<br />
lishers, and all rights under said copyright<br />
(except that of magazine publication) shall be<br />
held in trust for the benefit of the writer or his<br />
assigns, and will be reassigned to him upon<br />
demand.”<br />
<br />
The writer believes that, under the present<br />
state of the law, only by one of the two methods<br />
outlined above can a magazine writer be sure<br />
that his rights will be properly protected.<br />
<br />
Arruur C. TRAIN,<br />
Attorney for Authors’ League of America.<br />
<br />
THE AUTHOR.<br />
<br />
MAGAZINES AND THEIR CONTRIBUTORS.<br />
<br />
——<br />
<br />
HE attention of the committee of the<br />
Society of Authors has been called to<br />
certain transactions by proprietors and<br />
<br />
editors of magazines which bring great hard-<br />
ship upon those authors who contribute to their<br />
journals. The difficulty arises owing to the fact<br />
that neither editor nor author makes a clear<br />
statement of the terms of the contract under<br />
which the one desires to sell his work and the<br />
other desires to publish it. The author sends<br />
his work up to a journal, the editor writes a<br />
letter stating that he is willing to accept the<br />
work; the work is. published and the author<br />
receives a cheque with a receipt either on a<br />
separate paper or endorsed at the back of the<br />
cheque, purporting to convey certain rights<br />
which the author never contemplated con-<br />
veying, and which, when obtained, are often<br />
of no value to the proprietor or editor. The<br />
receipt purports to convey either the whole<br />
copyright or all serial rights. In the first<br />
case, that is where the receipt is a separate<br />
document, the author is able to cash the cheque<br />
and to alter the receipt according to the<br />
implied terms of the contract that has been<br />
entered into. The hardship in this case<br />
arises out of the fact that an author sometimes<br />
is afraid to alter the receipt because he thinks<br />
such alteration may prejudice him in future<br />
in his negotiations with the firm. This has<br />
not infrequently been shown to be the result.<br />
When, however, the receipt purporting to<br />
convey the copyright or all the serial rights<br />
is printed on the back of the cheque, the<br />
bankers, as a rule, have instructions not to<br />
cash the cheque if any alteration is made in<br />
the receipt. The author anxious, first, to<br />
obtain the money, and secondly, not to have<br />
any trouble with the proprietors for the reasons<br />
already given, signs the document and thus<br />
sells his birthright for a mess of pottage.<br />
<br />
To a certain extent there is fault on both<br />
sides, for the author, if he was really business-<br />
like, would forward his article to the magazine<br />
and would state clearly, in a covering letter,<br />
the rights he desired to sell, and the price<br />
at which he desired to sell those rights.<br />
If the editor then accepted the MS., it<br />
would be accepted, on the terms of the letter<br />
which had been sent, unless the editor made<br />
some special stipulation before publication.<br />
The case is unbusinesslike from the editor’s<br />
point of view, for when he accepts the work<br />
he ought to state clearly what rights he desires<br />
to buy, and the price he desires to give for those<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
rights. A worse complexion, however, is<br />
thrown on the case where the author sends up<br />
his work and it is printed without any accept-<br />
ance whatever. There is, no doubt, some<br />
implied contract where no terms are specified<br />
and the implied contract seems to be quite<br />
clear. When a person sends an article up to a<br />
magazine, the implied contract is, that he<br />
grants to the magazine the first serial use of<br />
that article for that paper. He doesn’t grant<br />
all his serial rights, for no doubt in many<br />
cases secondary serial rights are very valuable.<br />
He certainly doesn’t grant his copyright, and<br />
indeed, under the present copyright law, he<br />
could not assign away his copyright except in<br />
writing.<br />
<br />
It is, therefore, very unbusinesslike or unjust<br />
of proprietors and editors to put the author<br />
in the awkward position of having to sign<br />
away his rights, or of being boycotted for<br />
the future.<br />
<br />
As several complaints have come to the<br />
<br />
- Committee of Management of the methods of<br />
<br />
certain magazines and certain publishers who<br />
acted on these lines, a circular was issued from<br />
the Society’s office, asking for the editors’<br />
opinions in the circumstances put forward.<br />
Out of a dozen letters that were issued, under<br />
the committee’s authority, some half-dozen<br />
replies were received. An answer from the<br />
Religious Tract Society stated that no endorse-<br />
ment was made on the cheques, but a<br />
separate receipt was sent. As, however,<br />
the separate receipt asked for the copyright,<br />
it was clear that there was no alleviation of<br />
the author’s position, except that he got<br />
his money and had the power to alter the<br />
receipt. But on his altering the receipt<br />
considerable dispute arose, and the editor, in<br />
a letter addressed to the author, stated clearly<br />
that all matter printed in his paper was<br />
the copyright of the paper, and that he had<br />
no record of any arrangement by which the<br />
author had reserved the copyright of his story.<br />
An editor who had any knowledge of the<br />
business side of his position would know that,<br />
as an universal rule, an author does not intend<br />
to convey his copyright to a magazine, and<br />
that it is not for the author to reserve the<br />
copyright, but for the editor, if he desires to<br />
have the copyright, to make a special contract<br />
for it.<br />
<br />
In a letter received from the Amalgamated<br />
Press, Ltd., the manager says that the rights<br />
that have been acquired are specified at the<br />
back of the cheque, and at the same time<br />
states that great inconvenience would be<br />
caused if every short story or article that was<br />
<br />
263<br />
<br />
purchased was the subject of a written agree-<br />
ment. This may be frue in some circumstances,<br />
but the procedure adopted in this case turns<br />
out all for the advantage of the papers repre-<br />
sented by this manager. For, if anagreement<br />
has not been entered into beforehand (and<br />
apparently the manager considered and acted<br />
upon the consideration that it would be a great<br />
inconvenience to enter into an agreement on<br />
every occasion), then it is quite clear that the<br />
only right acquired would be the first serial<br />
use of the story in the paper to which it<br />
had been forwarded. If the manager was pre-<br />
pared to fill in the endorsement on the back<br />
of the cheque on these lines, in those cases,<br />
where no written agreement had been made<br />
beforehand, then there would be no objection<br />
to this method of carrying on the business,<br />
and a great deal of difficulty might be saved ;<br />
but if the endorsement on the cheque exceeds<br />
the first serial use, it is needless for the<br />
manager to say, as he states in his letter, that<br />
‘the author in endorsing the cheque would<br />
note the form and could at once raise any<br />
question as to the rights acquired by the com-<br />
pany,” for that places the author under the<br />
very hardship that was mentioned at the<br />
beginning of this article.<br />
<br />
A third letter from Messrs. Cassell & Co.,<br />
states that they have received no complaints<br />
in regard to the points raised in the com-<br />
mittee’s circular. This statement is not<br />
endorsed by the information which has come<br />
to the office on several occasions. It would<br />
be as well, perhaps, if this manager had<br />
made closer enquiries before he responded<br />
tothe circular. Another well-known proprietor<br />
of magazines stated, as in the first instance,<br />
that the company did not place a printed form<br />
of receipt on their cheques, but that a separate<br />
slip was enclosed in which the terms of purchase<br />
were plainly stated. This, as has already been<br />
pointed out, has a great advantage if the terms<br />
are disputed.<br />
<br />
Finally, the last letter received was from<br />
the ‘English Review.” The manager recog-<br />
nised the difficulty and suggested that the<br />
Society should draw up some form, and<br />
should organise some method which would<br />
be simpler for both the authors and the<br />
proprietors.<br />
<br />
It would be useless to multiply cases, but<br />
it may be of interest to quote an example<br />
of what very frequently happens, and the<br />
committee are able to give the particulars of a<br />
very clear case that ‘is before them. A<br />
member of the Society sent up a copy of<br />
verses to a magazine, the proprictors of which<br />
<br />
<br />
264<br />
<br />
are Messrs. Dent & Co. The verses were<br />
published without any communication what-<br />
ever to the author. In due course the author<br />
received a cheque, with a formal receipt<br />
accompanying, asking for the whole of the<br />
copyright ; the receipt running as follows :—<br />
<br />
** Received this day of from<br />
(publishers) the sum of in<br />
payment of the amount agreed to be paid<br />
by them to me for a poem entitled<br />
a ” in the number of<br />
on the terms that the copyright in any<br />
work therein shall belong to the said<br />
(publishers) absolutely.”<br />
<br />
The payment was very inadequate, even for the<br />
first serial use. It was absolutely absurd for<br />
the copyright of a work, and the receipt is<br />
inaccurate for it contains the words ‘“ the<br />
amount agreed to be paid by them to me,”<br />
and ‘‘on the terms that the copyright...<br />
shall belong to the publishers absolutely,”<br />
though no agreement whatever had been<br />
come to on either point. In this special<br />
case the author altered the receipt, returned<br />
it, did not fight about the absurd smallness<br />
of the payment, but handed the cheque<br />
over to the Pension Fund of the Society<br />
of Authors. In this case, all the points<br />
that have been raised are clearly set out.<br />
First, the author receives an inadequate<br />
payment even for the serial use; secondly, he<br />
receives a receipt asking him to convey the<br />
whole copyright, the only saving point being<br />
that the receipt was not at the back of the<br />
cheque.<br />
<br />
It is all very well for proprietors to maintain<br />
also that the author can dispute the rights,<br />
but many authors do not understand the legal<br />
technicalities contained in the words and may<br />
be, and often are, quite unconsciously, selling<br />
rights which they never intended to sell. In<br />
this special instance, it must be remembered<br />
that the power of selling poetry, especially<br />
if it is fitted for production to music, is exten-<br />
Sive, as sometimes two or three composers<br />
will set a song to music, and for each licence<br />
the author may obtain from two to five pounds.<br />
The committee, however, desire, in order, if<br />
possible, to come to some satisfactory arrange-<br />
ment, to propose the following :—<br />
<br />
1. That no receipt whatever should be<br />
demanded by the process of endorsement<br />
to the cheque.<br />
<br />
2. That in the case where, owing to pressure<br />
of business or other matters, it is impossible<br />
to make a formal written agreement with the<br />
author, and failing any covering letter sent<br />
<br />
THE AUTHOR.<br />
<br />
by the author to the publisher, the receipt<br />
should run as follows :—<br />
<br />
“* Received of the sum of<br />
being payment for the first serial use of<br />
the article entitled in maga-<br />
zine. The author hereby, undertakes not<br />
to produce the said work in serial or book<br />
form for a term of months from the<br />
<br />
date of such publication,”<br />
<br />
The committee have given the time limit<br />
their serious consideration. They consider<br />
that in many cases where a striking story or<br />
striking poem has been published ina magazine,<br />
review or paper, it is only fair that the<br />
magazine, paper or review should benefit by<br />
the increase in its circulation for a limited time<br />
after the publication of the work. They<br />
think that in special cases a six months’ limit<br />
is reasonable, but in the majority of cases the<br />
limit should be much less, and that, if any-<br />
thing, this limit gives an advantage to the<br />
magazine rather than to the author.<br />
<br />
ST<br />
<br />
MAGAZINE CONTENTS.<br />
a,<br />
British REVIEW.<br />
The Popular Taste. By R. A. Scott James.<br />
<br />
CoNTEMPORARY.<br />
<br />
Wagner in 1913. By Ernest Newman.<br />
Shakespeare and Pictorial Art.<br />
<br />
CoRNHILL.<br />
The Little Brothers of the Pavement. By Gilbert<br />
Coleridge.<br />
Encuish REVIEW.<br />
Boceaccio. By Walter Raleigh.<br />
Mr. Newton-Robinson’s Poems. By William Steb-<br />
<br />
bing.<br />
FORTNIGHTLY.<br />
<br />
By Oliver Onions.<br />
<br />
Henry Ospovat.<br />
By W. L. Courtney.<br />
<br />
Realistic Drama, I.<br />
<br />
NINETEENTH CENTURY AND AFTER.<br />
<br />
Gobineau, Nietzsche, Wagner. By Georges Chatterton-<br />
Hill.<br />
<br />
SCALE FOR ADVERTISEMENTS,<br />
<br />
<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
<br />
Front Page dee . £4 0 0<br />
Other Pages vee one se ae see ase a 8 0 0<br />
Half of a Page ... aes en aes Ca oie eek wea ks 10> 0<br />
Quarter of a Page uae oan ves on on ae on O16 6<br />
Highth of a Page ce se ms - $ cs a OT 8<br />
Single Column Advertisements perinch 0 6 0<br />
<br />
Reduction of 20 per cent. made for a Series of Sia and of 25 per cent, for<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addvessed to J. F.<br />
Brimont & Co., 29, Paternoster Square, London, E.G.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i<br />
3<br />
a<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
—<br />
<br />
i. VERY member has a right toask for and to receive<br />
iD advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel's opinion without<br />
any cost to the member. Moreover, where counsel's<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
8. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourse!f, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7. Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution,<br />
Secretary will undertake it on behalf of members.<br />
<br />
This<br />
The<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
Oi<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
—_=<—+—_<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
265<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation,<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements,<br />
<br />
(3.) Not to allow a special charge for “ office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author,<br />
<br />
IY. A Commission Agreement,<br />
<br />
The main points are :-—<br />
<br />
(1.) Be careful to obtain a fair cost of production,<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means,<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
++ —____—___<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
a<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager,<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
264<br />
<br />
are Messrs. Dent & Co. The verses were<br />
published without any communication what-<br />
ever to the author. In due course the author<br />
received a cheque, with a formal receipt<br />
accompanying, asking for the whole of the<br />
copyright ; the receipt running as follows :—<br />
<br />
‘* Received this day of from<br />
(publishers) the sum of in<br />
payment of the amount agreed to be paid<br />
by them to me for a poem entitled<br />
a *? in the number of<br />
on the terms that the copyright in any<br />
work therein shall belong to the said<br />
(publishers) absolutely.”<br />
<br />
The payment was very inadequate, even for the<br />
first serial use. It was absolutely absurd for<br />
the copyright of a work, and the receipt is<br />
inaccurate for it contains the words “the<br />
amount agreed to be paid by them to me,”<br />
and ‘“‘on the terms that the copyright...<br />
shall belong to the publishers absolutely,”<br />
though no agreement whatever had _ been<br />
come to on either point. In _ this special<br />
case the author altered the receipt, returned<br />
it, did not fight about the absurd smallness<br />
of the payment, but handed the cheque<br />
over to the Pension Fund of the Society<br />
of Authors. In this case, all the points<br />
that have been raised are clearly set out.<br />
First, the author receives an inadequate<br />
payment even for the serial use; secondly, he<br />
receives a receipt asking him to convey the<br />
whole copyright, the only saving point being<br />
that the receipt was not at the back of the<br />
cheque.<br />
<br />
It is all very well for proprietors to maintain<br />
also that the author can dispute the rights,<br />
but many authors do not understand the legal<br />
technicalities contained in the words and may<br />
be, and often are, quite unconsciously, selling<br />
rights which they never intended to sell. In<br />
this special instance, it must be remembered<br />
that the power of selling poetry, especially<br />
if it is fitted for production to music, is exten-<br />
sive, as sometimes two or three composers<br />
will set a song to music, and for each licence<br />
the author may obtain from two to five pounds.<br />
The committee, however, desire, in order, if<br />
possible, to come to some satisfactory arrange-<br />
ment, to propose the following :—<br />
<br />
1. That no receipt whatever should be<br />
demanded by the process of endorsement<br />
to the cheque.<br />
<br />
2. That in the case where, owing to pressure<br />
of business or other matters, it is impossible<br />
to make a formal written agreement with the<br />
author, and failing any covering letter sent<br />
<br />
THE AUTHOR.<br />
<br />
by the author to the publisher, the ;<br />
should run as follows si receipt<br />
<br />
“Received of the sum of<br />
being payment for the first serial use of<br />
the article entitled in maga-<br />
zine. The author hereby, undertakes not<br />
to produce the said work in serial or book<br />
form for a term of months from the<br />
date of such publication.”<br />
<br />
The committee have given the time limit<br />
their serious consideration. They consider<br />
that in many cases where a striking story or<br />
striking poem has been published in a magazine,<br />
review or paper, it is only fair that the<br />
magazine, paper or review should benefit by<br />
the increase in its circulation for a limited time<br />
after the publication of the work. They<br />
think that in special cases a six months’ limit<br />
is reasonable, but in the majority of cases the<br />
limit should be much less, and that, if any-<br />
thing, this limit gives an advantage to the<br />
magazine rather than to the author.<br />
<br />
ee<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
——— +<br />
<br />
British REVIEW.<br />
The Popular Taste. By R. A. Scott James.<br />
CoNTEMPORARY.<br />
Wagner in 1913. By Ernest Newman.<br />
Shakespeare and Pictorial Art.<br />
CoRNHILL.<br />
<br />
The Little Brothers of the Pavement.<br />
Coleridge.<br />
<br />
By Gilbert<br />
<br />
Eneuish REVIEW.<br />
Boccaccio. By Walter Raleigh.<br />
Mr. Newton-Robinson’s Poems.<br />
bing.<br />
<br />
By William Steb-<br />
<br />
FORTNIGHTLY.<br />
<br />
Henry Ospovat. By Oliver Onions.<br />
Realistic Drama, I. By W. L. Courtney.<br />
<br />
NINETEENTH CENTURY AND AFTER.<br />
<br />
Gobineau, Nietzsche, Wagner. By Georges Chatterton-<br />
Hill.<br />
<br />
SCALE FOR ADVERTISEMENTS,<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.}<br />
<br />
Front Page ie see ee tee me << sau es a<br />
Other Pages ae ste see obs ee “se “8 ose )<br />
Half of a Page ... ake owe wee a<br />
<br />
Quarter of a Page tee 5<br />
EHighth of a Page sae Ge<br />
Single Column Advertisements<br />
<br />
Q<br />
<br />
6<br />
os au 0 T 0<br />
. perinch 0 6 O<br />
Reduction of 20 per cent. made for a Series of Six and of 25 per cent. for<br />
<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
<br />
Bextoont & Co., 29, Paternoster Square, London, B.C.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
a<br />
<br />
i. VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinarysolicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer,<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of thesafe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7. Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
This<br />
The<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
anoum, or £10 10s. for life membership.<br />
<br />
Or<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
een gece<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I, Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
265<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |!<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author,<br />
<br />
IY. A Commission Agreement,<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production,<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
he<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
ee<br />
<br />
EVER sign an agreement without submitting it to the<br />
N Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager,<br />
<br />
8. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
<br />
266<br />
<br />
(v.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent, An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (i.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration,<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
+<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
——$- 9<br />
<br />
ne ape typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 24. 6d. per act,<br />
<br />
THE AUTHOR.<br />
<br />
DRAMATIC AUTHORS? AND AGENTS.<br />
<br />
—t<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author's feeg<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general.the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees*in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable,<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
ee<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
oe<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
Oi<br />
<br />
STAMPING MUSIC.<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society’s<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
re<br />
THE READING BRANCH.<br />
<br />
— ><br />
EMBERS will greatly assist the Society in this<br />
branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works, The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
—— ee<br />
<br />
REMITTANCES.<br />
<br />
a :<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only.<br />
<br />
<br />
THE AUTHOR.<br />
<br />
COLLECTION BUREAU.<br />
<br />
——_-—<br />
<br />
| due to authors, composers and dramatists.<br />
<br />
1. Under contracts for the publication of their<br />
works.<br />
<br />
2. Under contracts for the performance of their works<br />
and amateur fees.<br />
<br />
3. Under the Compulsory Licence Clauses of the Copy-<br />
right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause 19, referring to mechanical instrument<br />
records.<br />
<br />
The Bureau is divided into three department :—<br />
<br />
1; Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amount passing through the<br />
office, the expenses are more than covered, the Committee<br />
of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
The Bureau is in no sense a literary or dramatic<br />
agency, for the placing of books or plays.<br />
<br />
—___—_+—~>—_+-—____—_-<br />
<br />
GENERAL NOTES.<br />
<br />
THEATRICAL CONDITIONS IN HOLLAND.<br />
<br />
F We have received a very interesting report<br />
<br />
from Mr. A. Reyding, the Society’s recently<br />
appointed agent in Holland, touching the<br />
theatrical conditions obtaining in that country.<br />
Mr. Reyding informs us that while the fees<br />
paid for representations in Amsterdam are not<br />
those which could be obtained in London or<br />
Paris, they are by no means to be despised.<br />
Amsterdam possesses five theatres of import-<br />
ance, and a few smaller ones, apart from<br />
music halls and numerous cinematograph<br />
theatres. Four managers in Amsterdam and<br />
one in Rotterdam are continually in search of<br />
good plays which have attained success in<br />
London.<br />
<br />
One of the most important theatrical<br />
institutions is the “Royal Company” in<br />
Amsterdam. It is managed by a board of<br />
directors and liberally subsidised by the<br />
Queen. Moreover, it is allowed to give<br />
performances in the “ Municipal Theatre,”<br />
a large, modern building. Practically the<br />
management run two companies, alternatively<br />
travelling in the provinces.<br />
<br />
Another first-rate enterprise is the ‘‘ Crystal<br />
Palace Theatre’? in Amsterdam. It is man-<br />
aged by a gifted and energetic actor-manager,<br />
who has already achieved great successes<br />
during the short period of his directorship.<br />
Here again a double company is maintained<br />
with a view to travelling.<br />
<br />
267<br />
<br />
As third and fourth in rank, the ‘‘ Holland<br />
Theatre” and the ‘Grand Theatre” in<br />
Amsterdam may be mentioned, both under the<br />
management of a well-known author. The<br />
company engaged by this director is so numer-<br />
ous that it allows of dividing into three or<br />
even four parts, according to circumstances.<br />
<br />
The ‘Rembrandt ‘Theatre’ produces<br />
musical comedies only.<br />
<br />
Among the smaller theatres, two are worthy<br />
ofattention. Firstly, the “‘ Frascati Theatre,”<br />
managed by a young, intelligent actor-manager,<br />
and presenting good performances of the<br />
Paris ‘‘ Theatre des Varietes ’’ repertory and<br />
light comedy in general. Secondly, the<br />
‘Plantage Theatre,” cultivating detective-<br />
drama.<br />
<br />
As to gross box receipts, these are naturally<br />
inferior to London figures, owing to the fact<br />
that the charges for seats remain far below<br />
cosmopolitan standard prices and that, practi-<br />
eally, real full houses occur on Sunday nights<br />
only. At a rough estimate, £40 may be con-<br />
sidered as the average gross takings on a<br />
week-day in any principal theatre, always<br />
provided that the play is a success. And the<br />
receipts on Sunday nights may amount to<br />
£120, and even more in one or two houses.<br />
It follows that the totality during each week<br />
might be valued at about £360 in favourable<br />
cases.<br />
<br />
Series of a hundred consecutive representa-<br />
tions are by no means the longest on record ;<br />
the way in which Amsterdam companies are<br />
being managed allows of continuous runs.<br />
An exception, however, must be made for the<br />
“Royal Company,” where the “ Comedie<br />
Francaise” example is followed, the playbill<br />
changing about every day. Nevertheless, if<br />
a play produced by that company prove<br />
successful, it may become a repertory play,<br />
yielding profits during many years. Other<br />
companies only re-start a play in case of its<br />
run having been interrupted by the end of<br />
the season, or on the ground of some other<br />
urgent cause; for, as a rule, re-starting a<br />
piece does not pay.<br />
<br />
Amsterdam may be called the centre of<br />
theatrical life in Holland, yet Rotterdam<br />
possesses a fine playhouse and an excellent<br />
company of its own. But as that city has a<br />
relatively small number of inhabitants, long<br />
runs never occur there. A series of twenty<br />
representations may be considered as a maxi-<br />
mum. As to receipts there is no sensible<br />
difference between Amsterdam and Rotterdam<br />
figures.<br />
<br />
It. may be taken as a general rule that, in<br />
<br />
<br />
268<br />
<br />
Holland, translators’ fees are paid by the<br />
managers, quite separate from authors’ fees.<br />
English authors, therefore, should never put<br />
their plays into the hands.of would-be trans-<br />
lators, who offer to divide equally the profits<br />
derived from representations in Holland.<br />
<br />
Concerning authors’ fees for cinematograph<br />
performances, up to this moment films of<br />
British origin have only been produced here<br />
by way of exception, and in these cases the<br />
usual course seems to be that the manufac-<br />
turers pay a sum once to the author of a<br />
plot.<br />
<br />
Music PUBLISHERS AND FoREIGN MECHANICAL<br />
Ricuts.<br />
<br />
WE have already called attention to the<br />
claim of the English music publisher to take<br />
50% of the composer’s mechanical fees. This<br />
claim, when admitted by composers, reduces<br />
their fees under the compulsory licence clauses<br />
of the Copyright Act to something near the<br />
vanishing point, so far as the United Kingdom<br />
is concerned. ‘But the mischief does not end<br />
here. There are the foreign mechanical fees<br />
to be considered, and from correspondence<br />
which has come to the Society’s office, it<br />
would seem that the case of the composer in<br />
respect of these fees, is even worse than it is<br />
in the United Kingdom.<br />
<br />
For example, reference may be made to the<br />
sale of mechanical reproductions in Germany.<br />
The practice of the English music publisher<br />
is to assign the mechanical rights to the German<br />
publisher, subject to the payment to the<br />
English house of half the fees which their sale<br />
produces. The effect of this is that the<br />
English music publisher gets 50°% of what the<br />
German publisher receives, and the English<br />
composer 50% of what the English publisher<br />
receives, or 25% of the figure actually paid by<br />
the mechanical trade in Germany, less the cost<br />
of collection by the agent who is employed to<br />
carry through the collection.<br />
<br />
It may seem strange to the composer that<br />
the English publisher should be willing to<br />
yield to the German publisher 50% of the<br />
fees. Composers are quite accustomed to the<br />
music publisher’s request that they should<br />
surrender 50% of their fees, but the willingness<br />
of the publisher to make a similar surrender<br />
does not coincide with their experience of<br />
his ability to look after himself in these<br />
matters.<br />
<br />
An explanation, however, occurs to us. It<br />
<br />
THE AUTHOR.<br />
<br />
may not be the correct one, but as it certainly<br />
would explain a practice otherwise almost<br />
inexplicable, we think it worth while to put it<br />
forward. We shall be very glad to learn that<br />
it is incorrect.<br />
<br />
Is there a reciprocal arrangement between<br />
the British and German music publisher, by<br />
which each surrenders 50°% of the mechanical<br />
fees produced in their respective countries ?<br />
For example, the English publisher may<br />
accept half the mechanical fees in Germany<br />
for one of his composer’s works on condition<br />
that the German house allows him the same<br />
share in the mechanical fees in Great Britain<br />
of the work of a German composer.<br />
<br />
An arrangement of this kind protects both<br />
parties against loss. But what of the two<br />
unfortunate composers. They are obviously<br />
in a different position. Depending as each of<br />
them does on the popularity of his own<br />
compositions, neither is able to reap any<br />
advantage from an arrangement of the kind<br />
indicated. In consequence, this alliance, if<br />
our deduction is correct, is admirable from the<br />
point of view of the publishers in the two<br />
countries, but is extremely unsatisfactory from<br />
the standpoint of the composer, alike in Ger-<br />
many and in the United Kingdom.<br />
<br />
Movine Pictures.<br />
<br />
Ir is with much pleasure we note that the<br />
valuable report by Mr. Cecil Raleigh on<br />
Moving Pictures that appeared in last month’s<br />
issue, has raised considerable interest not only<br />
with the producers of cinematograph films,<br />
but also with the authors that write the plots.<br />
<br />
The Bioscope has interviewed Mr. Raleigh<br />
and the Daily Chronicle has inserted a long<br />
article from his dictation.<br />
<br />
As we pointed out in last month’s Author<br />
the matter is of the greatest importance; it<br />
must not be reckoned that that report is final.<br />
Mr. Raleigh, himself, does not consider it so.<br />
Since it was produced, further information<br />
has come to his knowledge and to the office of<br />
the Society. It appears that the French<br />
Society has also issued a report, and a report<br />
has also come through from Germany ;<br />
further details are also to hand from America.<br />
It is likely, therefore, that at no distant date<br />
a subsidiary report will have to be made,<br />
dealing with these new facts. It seems quite<br />
clear that there will be a large and increasing<br />
market for good plots for films, and if properly<br />
handled there should be a considerable income<br />
for those authors who study the public tastes.<br />
<br />
<br />
<br />
<br />
BOOK PUBLISHING IN THE UNITED<br />
STATES,<br />
<br />
<br />
<br />
R. GEORGE P. BRETT has been<br />
or writing in the April number of the<br />
Atlantic Monthly on ‘* Book Publish-<br />
ing and its present Tendencies.” We take it<br />
that he refers to book publishing in America.<br />
He arrives at the conclusion that although the<br />
number of books put on the market has greatly<br />
inereased during the past few years, the total<br />
circulation of books in the United States has<br />
not increased in anything like the same pro-<br />
portion; and he further explains that many<br />
of the publishers who were known for a particu-<br />
lar class of book have gone in for general<br />
publishing business. He draws the conclusion<br />
that the gross circulation has not increased<br />
owing to the fault in distribution, and his<br />
solution of the difficulty appears to be that<br />
books should be published at a cheaper rate,<br />
and as a corollary, that the authors must take<br />
smaller royalties. It is quite true that if books<br />
are published at a cheap rate, the authors<br />
cannot take the same amount of royalty as<br />
they can if the book is published at a higher<br />
price, but it does not follow by any means that<br />
if the book is produced in the first instance at a<br />
low price that the increase in the circulation<br />
will be at all proportionate. I mean by that,<br />
that the publisher and the author will arrive at<br />
the same amount of profit in the end. Indeed,<br />
all evidence goes to show that the deduction<br />
isfalse. There are no doubt a few authors who<br />
make a universal appeal, that is, an appeal to<br />
all people who can read and write, but the<br />
number who can make this appeal can be<br />
reckoned on the fingers of one hand. The<br />
general author has a certain following, and,<br />
however cheap his books are, that following<br />
will not be increased very perceptibly by<br />
publishing at a cheaper rate.<br />
<br />
The Society of Authors went into the figures<br />
as far as the English market is concerned, in<br />
great detail, and issued a report not long ago on<br />
the subject. Mr. Brett instances France and<br />
Germany, but the case in France certainly has<br />
tended to reduce the profits, and has not been<br />
a financial success from the author’s point of<br />
view.<br />
<br />
In England, for instance, supposing an<br />
author gets 1s. on a 6s. book, published<br />
subject to discount, he would get, perhaps,<br />
_ 14d. on.a 1s. net book. He would, therefore,<br />
have to obtain eight times the circulation in<br />
order to make his returns equivalent, and this<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
269<br />
<br />
<br />
<br />
extra circulation he does not, as a rule, obtain.<br />
Indeed, the publication of so many cheay<br />
books is very often, as the booksellers pointed<br />
out, disastrous to the bookselling trade.<br />
The booksellers having no room in which to<br />
display the crowd of new and cheap books,<br />
in consequence find their shops filled with<br />
unworkable stock. Mr. Brett says, “‘ the<br />
successful experiments in the publishing of<br />
cheap editions of books abroad are usually<br />
with those books which are either out of copy-<br />
right, and consequently pay no royalty to<br />
the authors, or for which a very low rate of<br />
royalty can be arranged.” By abroad, no<br />
doubt he includes England, but although no<br />
doubt the English classics are published in<br />
cheap form, there is, at the same time, an<br />
enormous output of copyright books pub-<br />
lished also in the cheap form, but—after they<br />
have already appeared in a more expensive<br />
edition.<br />
<br />
The article contains some very interesting<br />
statements, but statements which are not by<br />
any means satisfactory from the author’s.<br />
point of view, statements which by no means<br />
apply to the English market, even if they do<br />
to the American. Has Mr. Brett really made<br />
an exhaustive study from all points ? or is he<br />
only feeling his way as a publisher? I<br />
cannot at all agree with Mr. Brett that the<br />
solution of the difficulty, at any rate as far as<br />
England is concerned, is by issuing books at<br />
alow price. It is always possible to reduce the<br />
price of a book half-a-dozen years after its<br />
original publication, if it is clear that there<br />
is still a continuing demand for it, but the result<br />
of this reduction in the price is by no means<br />
always financially successful to the author<br />
and the publisher for the reasons already given.<br />
If the book shows that it is likely to have a<br />
universal appeal, then no doubt, after a run<br />
at a higher price, it will be best to produce<br />
the book in cheap form, but if there is not<br />
sufficient vitality to carry the book through<br />
five or six years, then a cheap edition is not<br />
desirous but disastrous; and probably if the<br />
book had originally been published at a low<br />
price, the financial result to the author and<br />
the publisher would have been unsatisfactory<br />
and destructive to both their interests. The<br />
main point of Mr. Brett’s arguments, as has<br />
already been pointed out, lies in the fact that<br />
he considers authors are too grasping. From<br />
the author’s point of view, neither Mr. Brett’s<br />
deductions nor his arguments can for a<br />
moment be admitted.<br />
<br />
G. H. T.<br />
<br />
<br />
270 THE AUTHOR.<br />
<br />
THE COMMERCIAL SIDE OF MUSIC.<br />
<br />
————_<br />
<br />
(Reprinted from “The English Review” by<br />
kind permission of the Editor.)<br />
<br />
1 is a degradation to the profession that<br />
any composer should be asked to sign<br />
the common form of agreement that is<br />
<br />
at present being put forward by some of the<br />
best houses in the music publishing trade.<br />
<br />
There has been considerable correspon-<br />
dence in The Times and other papers about<br />
the sale by Mr. Coleridge Taylor of his copy-<br />
right in ‘“‘ Hiawatha” to Messrs. Novello<br />
& Co. outright for a sum down. But it is<br />
not on this form of contract that I desire to<br />
comment, but on a much more subtle form,<br />
namely, a contract for the payment of a<br />
royalty on the assignment of the copyright.<br />
This form is distinctly more subtle, for it seems<br />
to the composer that by securing a royalty he<br />
may be gaining his just reward, whereas he<br />
may still be losing by the assignment every-<br />
thing that is worth holding. When a publisher<br />
of literary works asks for a licence to publish,<br />
he is generally contented with a licence to<br />
ublish in book form; in some cases even this<br />
1s limited to book form at a certain price or<br />
during a certain period, and if the publisher<br />
does not keep the book on the market the<br />
contract is at an end. He does not ask for<br />
—or should he ask for, does not get—the<br />
dramatic rights, the rights of translation, the<br />
American copyright and cinematograph rights ;<br />
but the music publisher, who should be content<br />
with a licence to publish in printed form, asks<br />
for an assignment of copyright which carries<br />
the performing rights—equal to dramatic<br />
rights; the rights of publication in foreign<br />
countries—infinitely more valuable than the<br />
translation rights, for music is a universal<br />
language; the rights in the United States—<br />
infinitely more valuable than an author’s<br />
United States rights, because the heavy tax<br />
of printing in the United States is unnecessary<br />
in the case of music; and the rights of repro-<br />
duction by mechanical instruments—at the<br />
present time more valuable still than the<br />
cinematograph rights in a book.<br />
<br />
After this preamble, it may be useful to<br />
print an ordinary form of music publisher’s<br />
agreement :—<br />
<br />
y ieee se OL aise ca in consideration of the royalties<br />
hereinafter reserved and of the sum of one shilling (the<br />
receipt of which I hereby acknowledge as an advance pay-<br />
ment) hereby assign to.....; SAOr el (hereinafter<br />
called the Publishers) their successors and assigns the entire<br />
and exclusive copyright, rights of representation and<br />
<br />
arrangement of whatever kind, rights of reproduction tipon<br />
mechanical instruments of every description and all othe ‘<br />
rights whatsoever in the United Kingdom of Great Britain<br />
and Ireland its Colonies and Dependencies and in all<br />
foreign countries their Colonies and Dependencies now or<br />
hereafter conferred or created of and in the following<br />
original work of which I am the composer and compiler<br />
<br />
The Royalties shall be<br />
<br />
(a) In the United Kingdom its Colonies (except Canada)<br />
and Dependencies at the rate of pence on all copies<br />
sold by the Publishers or their successors or assigns.<br />
<br />
(b) And in the United States of America and Canada<br />
and on the Continent of Europe one half of that rate.<br />
<br />
No royalty on copies gratuitously distributed nor on<br />
Band parts. :<br />
<br />
7 copies shall be counted as 6.<br />
<br />
On Mechanical Reproductions :—<br />
<br />
50 per cent. of the nett amounts received by the Pub-<br />
lishers therefor :<br />
<br />
AS WITNESS &c.<br />
<br />
It is surely a mockery to call such a document<br />
an agreement ; and, indeed, many of the music<br />
publishers realise this fact,,as they refuse or<br />
neglect to send the composers a copy signed<br />
by the firm; and if the composer has not the<br />
business acumen to keep an exact copy, he<br />
is left in the humiliating position of having to<br />
appeal to the publisher should he subsequently<br />
desire to have particulars of the document he<br />
has so rashly and foolishly signed.<br />
<br />
Before discussing this particular form, it will<br />
be as well to repeat here some of the legal<br />
difficulties which arise out of an assignment of<br />
copyright.<br />
<br />
To begin with, if anything should happen<br />
to the firm, if it should become bankrupt, or<br />
—if a company—go into liquidation, the<br />
composer would have no right, according to<br />
existing decisions of the Court, to prevent<br />
the assignment of the copyright to another<br />
purchaser, and he might find that his property<br />
had come into the hands of a most undesirable<br />
assignee.<br />
<br />
But there is worse to follow, for the com-<br />
poser would have no claim for royalties against<br />
the assignee, and would be in a worse position<br />
than if he had sold his copyright for a sum<br />
down.<br />
<br />
Secondly, after the work has once been<br />
published, even in a limited degree, no power<br />
on earth can force the publisher to continue to<br />
<br />
keep the work on the market, and the com- *<br />
<br />
poser might have to buy back that which the<br />
publisher refuses to utilise at the publisher’s<br />
owr price.<br />
<br />
Thirdly, if after the work is put on the<br />
market an action for infringement of copyright<br />
is threatened—this case actually occurred—<br />
even though the composer may have the<br />
strongest evidence that there is no infringement<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the publisher may refuse to run the risk and<br />
has power to withdraw all copies. Again the<br />
eomposer is without a remedy.<br />
<br />
Finally, the publisher may alter the work<br />
within the limit of libel, produce a chorale as<br />
a waltz, or adapt the airs for other purposes<br />
than those originally designed by the composer.<br />
Such alterations, which might be the cause of<br />
the greatest annoyance to the composer, need<br />
not, and probably would not, give him a right<br />
of action.<br />
<br />
These are some of the legal difficulties<br />
arising out of the assignment of copyright.<br />
The financial loss is also considerable, for the<br />
performing rights, save in few cases, are<br />
squandered by the publishers for the adver-<br />
tisement of their own wares, when these rights<br />
might be husbanded by the composer, and, if<br />
properly marketed, bring in, in this country,<br />
as good a return as they bring in to foreign<br />
composers. Reference will be made later to<br />
the Toss to the composer arising from the<br />
assignment of his mechanical instrument rights.<br />
<br />
The faults to which attention has been drawn<br />
are, however, faults of commission ; but look<br />
at the faults of omission.<br />
<br />
The publishers do not undertake to put the<br />
work on the market. No doubt, as payment<br />
of a royalty on every copy sold is part of the<br />
consideration, publication would be an implied<br />
term of the contract. But what kind of pub-<br />
lication? In what form? At what price ?<br />
By what date?<br />
<br />
As the royalty is a fixed royalty of so many<br />
pennies a copy, it is of great importance that<br />
the published price should be fixed, for what<br />
might be a fair royalty if the work was issued<br />
at one price might be a very unfair royalty<br />
if the work was issued at another price. Then,<br />
again, all mention of the date is omitted. It<br />
is not unknown in the publishing trade that<br />
where no date has been fixed, delays of six,<br />
twelve, or eighteen months have occurred.<br />
<br />
Again, there is no clause to compel the<br />
publisher to continue publishing, or, alterna-<br />
tively, having published, to give up his rights<br />
if he does not intend to use them further<br />
when the work is out of print.<br />
<br />
There is not even a common form clause: by<br />
which the composer is to receive accounts<br />
properly issued at fixed dates.<br />
<br />
Many other points might be noted, but for<br />
the present purpose these are sufficient.<br />
<br />
The answer of the man of business is clear :<br />
“What a fool the composer must be.” To<br />
some extent this is true, but it must be reme-<br />
bered that the marketing of works of art is<br />
different from the marketing of merchandise.<br />
<br />
<br />
<br />
271<br />
<br />
The artist is a man often in absolute ignorance<br />
of his rights and their potentialities, and he<br />
is dealing with a man whose business in life<br />
has been to study every detail of artistic<br />
property from the commercial standpoint.<br />
<br />
No wonder, then, that music publishers grow<br />
fat and prosper, and that, as far as financial<br />
returns are concerned, there are many<br />
Coleridge Taylors among the rank and file of<br />
the profession. What wonder, also, when one<br />
of the leading members of the profession in<br />
his smug prosperity says he sees no need for<br />
a combination of composers to strengthen the<br />
chances of his struggling confreres ; when<br />
another states in public that he is too busy to<br />
look after his royalties (he may be quite sure<br />
the publisher is not) ; when another writes that.<br />
most of his contracts are made across his<br />
publisher’s dinner-table. If the leaders are so<br />
weighted with chains, whether of gold or of<br />
inertia or of prejudice, no wonder that the<br />
young composer sees so little chance.<br />
<br />
But the young generation is vigorous and<br />
full of life. If it is neglected by those who<br />
ought to make it their duty to help, by those<br />
who have known what it is to be told that if<br />
they did not like to put their name to a con-<br />
tract of slavery, the publisher will never<br />
publish anything more for them, still, let<br />
it fight on until it carves the way to its own<br />
salvation.<br />
<br />
Rights of Reproduction on Mechanical Instru-<br />
ments.—When the Copyright Act of 1911 came<br />
into force, a splendid opportunity occurred<br />
for the composer to break away from his<br />
bondage. The rights of reproduction on<br />
mechanical instruments were then, for the first<br />
time, included under Statutory Copyright,<br />
and in order that composers who, before the<br />
Act, had assigned their copyrights, might not<br />
lose by such conveyance rights of property<br />
which, prior to the Act, had not existed, the «<br />
Act placed those rights, in spite of the assign<br />
ment of copyright, in their hands to deal with.<br />
But it stipulated that composers should receive<br />
a fixed royalty. The publishers, seeing what<br />
was about to happen, at once took steps to<br />
counteract the benefits that the Act bestowed.<br />
The Society of Authors wrote a letter to The<br />
Times to point out to composers their position<br />
under past contracts. But the publishers<br />
proceeded to form a company for the collection<br />
of fees, by the rules of which, after deducting<br />
all the expenses of collection—a quite indeter-<br />
minate quantity—80 per cent. of the royalties<br />
on the property, which, by the Act, was the<br />
composer’s absolutely, was transferred to the<br />
publishers’ pockets. The music publishe<br />
<br />
<br />
272 THE AUTHOR.<br />
<br />
claimed that he was entitled to a percentage<br />
of these fees because, by publishing the<br />
composer’s music, he had made the mechanical<br />
reproduction rights valuable. This may or<br />
may not have been true, but if it were true it<br />
was a matter to be decided between the com-<br />
<br />
oser and the publisher, and not arbitrarily<br />
& a company which was started on a business<br />
basis and not for the settlement of an ethical<br />
question. It is certain, however, that in the<br />
near future it will be the music publisher<br />
who will have to’ thank the mechanical<br />
reproducer for the advertisement rather than<br />
the mechanical reproducer the publisher.<br />
Mechanical reproduction is going ahead very<br />
fast, and many owners of pianolas, gramo-<br />
phones, etc., go to the retail dealers and<br />
try reproductions, quite irrespective of the<br />
music publisher, and make their choice for<br />
purchase or hire, quite irrespective of whether<br />
they have heard the original played from sheet<br />
music. This practice will become more and<br />
more common, so that the music publisher’s<br />
argument that he is entitled to a share in the<br />
mechanical instrument rights, if ever it was<br />
good, grows less and less valid. But I do not<br />
admit it was good. The music publisher is<br />
the agent of the composer to produce his music<br />
in a certain form specified in the contract, and<br />
the author’s royalty is based on this considera-<br />
tion. He is not the principal, to claim from<br />
the composer control over his rights. The<br />
editor of a magazine might as well claim<br />
a share in the book production, or the pub-<br />
lisher of a book claim a share of the serial<br />
rights.<br />
<br />
But the rules of this company contained<br />
other interesting statements.<br />
<br />
The committee of the company was to be<br />
allowed to conduct or defend’ such legal<br />
proceedings, as they might sanction, appar-<br />
ently, without reference to the composer who<br />
was the owner of the rights. Under this rule<br />
they might neglect, perhaps for financial<br />
reasons, to protect the composer’s rights,<br />
and in that case the composer would have no<br />
means of obtaining redress for infringements,<br />
as the transfer of his rights to the company<br />
would have prevented his taking independent<br />
action. Secondly, the committee might decide<br />
to take action in a case to which the composer<br />
might strongly object; and thirdly, the com-<br />
mittee might take action in respect of the repro-<br />
duction of the rights of one of its members,<br />
and get involved in a complicated lawsuit,<br />
leaving the rest of the members to bear the<br />
expenses of the proceedings, however indis-<br />
creetly the committee may have acted. The<br />
<br />
only limit upon the expenses was the total<br />
amount of all royalties collected. Generally,<br />
a society can rely on the subscriptions received,<br />
and no member is liable for anything more,<br />
But in the case of the company referred<br />
to, the whole income of the members for<br />
royalties on mechanical reproductions was at<br />
stake.<br />
<br />
The principles embodied in the rules of this<br />
company have been put forward at some<br />
length. It may be that some of the rules<br />
have been altered since they were first pro-<br />
mulgated ; that milder methods have been<br />
suggested.<br />
<br />
But the idea underlying the publishers’<br />
action is still the same ; they desired to obtain<br />
80 per cent. of property to which they had no<br />
right, which, under the very wording of the<br />
Act, was declared to be the composer’s<br />
absolutely.<br />
<br />
But there is something more bitter behind.<br />
<br />
The management of the company was to<br />
be under the control of a board consisting of<br />
six publishers, three composers and three<br />
authors. I understand that composers have<br />
been ready to accept places on_ that<br />
board.<br />
<br />
Under the Act another difficulty has arisen.<br />
It has been pointed out that the composer,<br />
although he had assigned his copyright before<br />
the Act came into force, was still allowed to<br />
maintain the right of mechanical reproduction<br />
in spite of such assignment. It seems, how-<br />
ever, from recent evidence, that composers<br />
consider that the same principle applies to<br />
any contract entered into after the Act has<br />
come into force. This deduction is entirely<br />
false. Any assignment of copyright after<br />
the Act has come into force assigns to the<br />
publishers the rights in mechanical repro-<br />
duction.<br />
<br />
In the agreement printed on a previous<br />
page the publisher has taken advantage of<br />
this and claims 50 per cent. This is kind and<br />
generous, for, as he held the copyright, he<br />
might have taken everything ; but he has also<br />
the power to license or refuse to license the<br />
reproduction. That they should retain this<br />
in their own hands is a matter which some<br />
composers might consider to be of the utmost<br />
importance.<br />
<br />
Is it true, then, that composers are letting<br />
slip their opportunities, and are coming back<br />
to a worse slavery owing to the fact that<br />
copyright now means much more than it<br />
did? If it is true it is the fault of those in the<br />
forefront of the profession, who from their<br />
position could make a firm stand, but refuse to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
do so. It is not the negative side, the faults<br />
of omission, which is making it so hard for<br />
those who are struggling to rise; it is the<br />
positive action and the sins of commission.<br />
While these continue it is much to be feared<br />
that there will be little change in the customary<br />
form of pseudo-agreement on which I have<br />
reluctantly been compelled to comment.<br />
<br />
G. HERBERT THRING.<br />
<br />
—_—_____e —~.— +<br />
<br />
LIBELS, LIBELLERS AND THE<br />
LIBELLED—ALLEGED.<br />
<br />
———+ —<br />
<br />
T least three recent libel actions,<br />
A widely reported and more or less<br />
“ sensational’? in character, have<br />
ended in verdicts for the defendants, for which<br />
reljef those gentlemen are no doubt duly<br />
thankful. They have good reason to be so,<br />
for juries who have awarded undeserved<br />
damages in the past, and judges who also<br />
have been found not without sympathy with<br />
the plaintiffs, have contributed to render the<br />
bringing of actions in respect of alleged libels<br />
not altogether unprofitable. The successes<br />
of his predecessors have, in fact, tended to<br />
give the would-be plaintiff an idea that apart<br />
from the merits of his case, which he is not<br />
likely to underrate, he will start with odds<br />
in his favour. The plaintiff's case may, of<br />
course, be a perfectly just one. The libel or<br />
supposed libel from which authors, composers<br />
and artists, the members of the Society,<br />
are most likely to suffer, is that which is<br />
contained in criticism upon a_ published<br />
work. Criticism that is unfair exists ;<br />
sometimes it may err through negligence<br />
inexcusably, but more or less inadver-<br />
tently ; sometimes it is deliberately intended<br />
to wound or injure. Authors, however, and<br />
the others mentioned, although not insensitive<br />
to criticism, as a rule know how to take<br />
their knocks philosophically ; they have too<br />
much good sense to air their wrongs in litiga-<br />
tion, and criticism that is neither fair nor<br />
reasonable is tolerated and condoned because<br />
it is not worth while to take notice of it.<br />
This, however, has nothing to do with the<br />
actions for libel to which reference has been<br />
made, which have ended in verdicts for defen-<br />
dants who have had to watch big bills of<br />
costs being piled up, a considerable proportion<br />
of which in any event must be paid by them.<br />
Actions of this kind interest authors rather<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
273<br />
<br />
as potential writers of libels than as victims<br />
of defamation. They cause reflections as to<br />
the ease with which law suits may be launched,<br />
and unhappy writers compelled to spend their<br />
money in self-defence.<br />
<br />
Alleged libellers who call for sympathy as<br />
such are of two kinds, if they may be classified<br />
roughly—those who, writing honestly and<br />
from a sense of duty, criticise deliberately and<br />
unfavourably the acts or writings of others,<br />
which either invite or challenge criticism ; and<br />
those who write without any idea that an article<br />
not aimed at any such mark may wound<br />
the feclings of a hyper-sensitive individual.<br />
There is also the class of persons involved by<br />
law in the blame where any supposed libel is<br />
published, as publishers and even as printers ;<br />
these are more or less connected with the<br />
latter group. In the class of those who<br />
deliberately criticise and have to take their<br />
risks would be included the authors of the<br />
criticism, which was claimed to_be libellous<br />
by Miss Lind-af-Hageby and Lord Alfred<br />
Douglas in the recent cases referred to, It<br />
is not necessary to recall the details of either<br />
case, except to say that observations which<br />
juries have found not to be such that the<br />
plaintiff deserved damages in respect of them,<br />
were the occasion of two trials of length unusual<br />
in actions of any kind involving far more im-<br />
portant issues,' and that such actions may be<br />
brought at any time in respect of criticism<br />
upon any person’s conduct, which may<br />
eventually be found to be perfectly fair and<br />
reasonable in view of the facts. The Times,<br />
in commenting upon these cases, pointed out<br />
most reasonably that the tendency of such<br />
actions must be to deprive the public of the<br />
benefit of wholesomé criticism in such matters<br />
as are of public interest. Newspapers, con-<br />
ducted with the care with which English<br />
newspapers are conducted, do not, as a rule,<br />
err in the direction of over-candid or searching<br />
criticism, even where the facts demand. it,<br />
and this, no doubt, is largely due to fear of<br />
the law being set in motion, and perhaps<br />
successfully set in motion, owing to some<br />
trifling slip or inaccuracy in an otherwise<br />
correctly revised article. No one desires to<br />
see slap-dash and indiscriminate onslaughts<br />
made upon persons or institutions deserving<br />
censure, but it cannot be for the public good<br />
that criticism should be restricted or kept<br />
out of existence by the fear of consequences<br />
wholly disproportionate to any fortuitous<br />
error which may be discovered in it.<br />
<br />
In the criticism of literature, of music, and<br />
of art, a veiled and gentle reticence may be<br />
<br />
<br />
274<br />
<br />
<br />
<br />
more agreeable to the feelings of individuals<br />
immediately affected, but» can hardly be<br />
beneficial to the public taste, stimulating to<br />
authors, or conducing to the general good of<br />
literature, art and music. This, however, is<br />
but a small section of the subject-matter upon<br />
which comment is made in newspapers and<br />
in books. For example, many persons are<br />
actively engaged in making money at the<br />
expense of the rest of their fellow men by means<br />
which vary in the degree of honesty employed.<br />
The methods of company promoters, of quack<br />
medicine vendors, of exploiters of new religions<br />
and other movements affecting the pockets or<br />
the health, bodily or otherwise, of their fellow<br />
men demand and deserve criticism in the<br />
public interest. A variety of causes contribute<br />
to their either escaping it or only obtaining it<br />
toned down to a point which renders it useless<br />
in the public interest, and it is submitted that<br />
not the least of those causes is the condition<br />
of the law with regard to libel, and the feeling<br />
that the courts are far more likely to reward<br />
the plaintiff beyond his deserts than to<br />
safeguard the defendant against oppression.<br />
As The Times observed in the article referred<br />
to even an unsuccessful action has been known<br />
to give a thoroughly profitable advertisement<br />
to the plaintiff.<br />
<br />
The other type of libel is that which arises<br />
more or less accidentally, and generally in<br />
fiction, through some foolish person fitting<br />
upon his own head a cap which may properly<br />
become him but which the unhappy defendant<br />
never intended for the personal misuse of an<br />
individual. Sometimes the fortuitous adop-<br />
tion of a name makes the supposed picture<br />
more complete by suggesting that of the<br />
injured person. If this is the case, or if other-<br />
wise one or two circumstances combine to<br />
make the likeness assured, the unhappy<br />
defendant runs a poor chance of being believed.<br />
Everyone must remember cases of this kind,<br />
in which juries have awarded damages although<br />
the defendant, an honourable man, has never<br />
swerved from his original statement that he<br />
wrote nothing which he intended to refer to<br />
the plaintiff, of whom (according to his evi-<br />
dence) he may never have heard. Cases of<br />
this kind supply some of the trivial but<br />
irritating libel actions which The Times<br />
suggests might be brought in the county court.<br />
No doubt, originally, the idea was that the<br />
possibility of a county court action for libel<br />
or slander would involve the multiplying of<br />
petty suits of this kind. That is still the chief<br />
argument against such an innovation. The<br />
<br />
Times compares petty libel actions to those<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
brought to recover small tradesmen’s bills,<br />
but the parallel is not a close one. The<br />
tradesman is not claiming an unascertained<br />
sum as damages for a supposed wrong. Still,<br />
if the change could be tried as an experiment<br />
it would be interesting, and perhaps persons<br />
obviously (even to themselves) likely to re-<br />
cover small damages only, would ‘abandon<br />
the attempt to do so if they felt that it would<br />
be imprudent to launch a High Court action.<br />
There is less publicity and less fame attaching<br />
to success in the county court. Perhaps, also,<br />
libel actions would be better tried, if it could<br />
so be provided by statute, without juries, by<br />
judges sitting alone. On the other hand,<br />
reference has been made above to sympathetic<br />
judges, and on the whole it must be said that<br />
judges have in the past shown in libel actions<br />
some leaning towards the side of the plaintiff.<br />
It used to be said at the bar of one or two<br />
occupants of the bench that they had often<br />
had to submit to criticism in the press without<br />
the opportunity to reply, and that they were<br />
taking it out of libellers whenever they got the<br />
chance. Perhaps the recent cases to which<br />
reference has been made show that a more<br />
impartial spirit now pervades the judicial<br />
bench.<br />
<br />
ANTONIO FOGAZZARO.<br />
<br />
1<br />
<br />
IFE on earth, if taken as the sum total<br />
of all experiences and of all sensations of<br />
which we are conscious, holds much that<br />
<br />
is of the flesh and much that is of the spirit ;<br />
life everlasting, if we could conceive it in its<br />
entirety, would hold more of the spirit than of<br />
the flesh—so it is with love sacred and profane.<br />
As exponents of these different aspects of<br />
life and love in modern Italian literature, two<br />
eminent writers stand out prominently:<br />
Antonio Fogazzaro, who believes in the<br />
spiritualisation of love capable of carrying<br />
man into regions of everlasting glory beyond<br />
earthly life, and Gabriele d’ Annunzio, who<br />
stands for the materialisation of love and the<br />
gratification of desire through possession ; the<br />
first appeals to the spirit, the second to the<br />
senses. I will endeavour to followtheir thoughts<br />
in their quest after love and ts ine a without<br />
attempting to discuss their methods of reaching<br />
the ideal. Each reader knows whether he is<br />
spiritually or materialistically inclined: if<br />
he loves spiritually let him read one by one<br />
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<br />
THE AUTHOR.<br />
<br />
the books of Fogazzaro, of which there are<br />
translations into English; if sensually, he will<br />
find food for thought in the works of Gabriele<br />
@’ Annunzio, which I will deal with in a coming<br />
issue of The Author.<br />
<br />
Antonio Fogazzaro was born in Vicenza on<br />
March 25, 1842, he wrote some verses between<br />
1863—1872, but his first book, ‘* Miranda,”’<br />
did not appear till 1874. Then came:<br />
“ Valsolda”’? (1876), ‘‘ Malombra”’ (1881),<br />
“ Daniele Cortis ” (1885), ‘Il mistero di un<br />
Poeta”’ (1888), ‘* Piccolo mondo antico”<br />
(1896), ‘‘ Piccolo mondo moderno” (1901),<br />
“T] Santo” (1905), and “ Leila »» (1910).<br />
He died a few months after the publication<br />
of this book. He also went in for philosophical<br />
dissertations (1891—1898), which have since<br />
been collected.<br />
<br />
Fogazzaro understood life as a harmony of<br />
which music was the language; he said of it<br />
that it was a generator of vague shadows, of<br />
sentiments of joy, sorrow, desire, dismay, pity,<br />
all without definite causes, and also of superb<br />
daring and an impulsive courage to achieve<br />
the impossible. He said that the best music<br />
also suggested confused images to the imagina-<br />
tion, signifying turbidly a narration, dialogue<br />
or drama, incomprehensible in its magnitude,<br />
because the language in which it is expressed<br />
is unknown to us, and unlike any language with<br />
which we are familiar, a language far removed<br />
from daily speech, but gifted with the sound<br />
of human passions, many of which are even<br />
correctly ordered, in proper sequence, following<br />
the methods of the highest reasoning in the<br />
world.<br />
<br />
Fogazzaro’s first book, “* Miranda ’’ (1874),<br />
initiates one in his belief with regard to love,<br />
a belief which he held to the last, and which<br />
gives a special “stamp ” to all his works.<br />
He shows love as a light, a sentiment capable<br />
of lifting man to spiritual perfection through<br />
self-denial and renunciation.<br />
<br />
Some of his earlier critics condemned him<br />
for dwelling too much on lofty passions and<br />
glorified love, instead of on the love of ordinary<br />
mortals in everyday life. This may be so, but<br />
one must not overlook the fact that he held<br />
the belief that physical attraction was an<br />
instinct outside man’s will, whilst the intel-<br />
lectual power of love could be cultivated into<br />
a thing of moral beauty, which was more<br />
lasting than mere mortal life, and more<br />
powerful than instinct.<br />
<br />
In “ Miranda” the heroine is a simple girl<br />
brought up amongst the flowers of the fields.<br />
There is no hypocrisy, no study or fictitious<br />
innocence in her purity; she is pure, simply<br />
<br />
<br />
<br />
275<br />
<br />
because she has never come in contact with<br />
vice, and when the man she loves discloses<br />
its existence through his materialistic and<br />
pleasure-seeking tendency, she is horrified, and<br />
her whole being rebels against it. But she<br />
cannot give up the man she loves, even though<br />
she thinks him unworthy. She is of the women<br />
who love once and for ever, but with a profound<br />
religious sentiment which holds feminine<br />
chastity supreme, and forbids her from falling<br />
in with his views. So she offers her life to the<br />
Almighty as a sacrifice, so that the man she<br />
loves may be redeemed.<br />
<br />
Her object is reached. He is redeemed through<br />
the force of moral love which, emanating from<br />
the human heart, is capable of regenerating<br />
the world. Throughout all Fogazzaro’s works<br />
the mission of love is that of conversion and<br />
redemption; human love thus becomes a<br />
path leading to divine love. This idea of<br />
the necessity for renunciation came to<br />
Fogazzaro through his conception of the<br />
immortality of the soul. He believed that<br />
the human body had evolved from a lower<br />
species, and that the soul of man, also evolved.<br />
from a rudimental, primordial soul, to a soul<br />
of transcendental beauty. He compares the<br />
birth of a soul to the striking of the hour ina<br />
clock; the hour is not complete until the<br />
clock strikes ; so at a given moment, when man<br />
reached a spiritual state capable of expression,<br />
when his hour was about to strike, with an<br />
infinitesimal change, God created in him an<br />
immortal soul which was not his before.<br />
Through this soul he can get in touch with<br />
the Supreme Being, his intellect guided by the<br />
Divine Spark making him capable of con-<br />
ceiving an abstract idea, and love lifted from<br />
a physical passion to a spiritual power.<br />
Because he believed utterly in the communion<br />
of souls, by some he was looked upon as an<br />
ascetic; because he fought all forms of<br />
limitation, and aspired to a free church for<br />
free men, with free souls capable of out-<br />
standing earthly passions, desires and sins, he<br />
was condemned by the Church as irreligious.<br />
Because in the “ Mystery of a Poet’ he<br />
declared that he saw “in every soul some<br />
reflection of an unknown light,” he was<br />
accused with dabbling in the occult and<br />
mysterious.<br />
<br />
In reality he had a pure conscience, a pure<br />
aim, and only pure art inspired him. He was<br />
rightly termed “ the Chevalier of the Spirit,”<br />
who believed in the ultimate apotheosis of all<br />
created things to a final perfect state of love,<br />
grace and beauty.<br />
<br />
Whoever reads his books may agree or<br />
276 THE AUTHOR.<br />
<br />
disagree with his theories and_ principles,<br />
may find his men too perfect, and his women<br />
too frail, but whoever believes in the soul’s<br />
immortality will take fresh heart, and acquire<br />
a stronger faith in the ascension of man to<br />
perfection by Fogazzaro’s exposition of a<br />
superhuman love, which we may not have<br />
met in our lives, but for the existence of which<br />
at some time we have surely longed.<br />
<br />
E. S. Romero-Topesco.<br />
<br />
RICHARDSON’S LAW OF COPYRIGHT.*<br />
<br />
—— ++<br />
<br />
R. RICHARDSON marshals his com-<br />
ments and explanations relating to<br />
the Law of Copyright and _ the<br />
<br />
changes effected in it by the Act of 1911<br />
in a form different from that commonly<br />
adopted in legal text-books dealing with<br />
statute law. He gives as his reasons for<br />
abandoning the obvious and usual method of<br />
dealing with a branch of the law that has been<br />
codified, by commentary upon the Codifying<br />
Act, that in the first place the Copyright<br />
Act, 1911, does not lend itself easily to commen-<br />
tary. By this presumably he means that to<br />
quote sections or parts of sections of the new<br />
Act and to append to them notes explaining<br />
them and comparing their provisions with<br />
the law as it stood before they came into<br />
force or as it stands with regard to matters<br />
not affected by the new Act, is a method<br />
which he has tried and has found difficult to<br />
employ satisfactorily.<br />
<br />
In the second place, he considers that to<br />
adopt the method indicated would have<br />
involved unnecessary length, and he has<br />
preferred the task of summarising the new<br />
Act briefly where he deals with it in his notes.<br />
He further adds that it is difficult in dealing<br />
with the law of copyright to work in the old<br />
law while commenting upon the new. He,<br />
therefore, relegates the text of the Act of 1911<br />
to his first appendix, where he sets it out<br />
verbatim and commences with a short outline<br />
of the history of copyright, chiefly literary<br />
<br />
<br />
<br />
* “The Law of Copyright,’ by J. B. Richardson, M.A.,<br />
LL.B. (Cantab.), of the Middle Temple and the North-<br />
Eastern Circuit, Barrister-at-Law, late holder of a student-<br />
ship awarded by the Council of Legal Education. Jordan<br />
& Sons, Limited, London, 1913. Pp.390. Price, 6s. net.<br />
<br />
copyright, explaining its position before July”<br />
1912, and summarising the principle changes<br />
which came into being on the first day of<br />
that month. Thence he proceeds to discuss.<br />
the general system now established, and<br />
lastly he treats in detail the various branches of<br />
copyright law as distinguished by the subject-<br />
matter of the right conferred. In subsequent<br />
chapters Colonial copyright is considered,<br />
and the international system arising out of the<br />
Berlin Convention and the Act of 1911.<br />
Mr. Richardson’s notes are clear and _ brief,<br />
and the form in which he has thus presented<br />
them to his readers is well adapted for the<br />
purposes of those who desire to obtain rapidly<br />
a bird’s-eye view of the law, past and present,<br />
affecting a particular point of copyright law.<br />
They would, no doubt, be convenient also to<br />
anyone desiring to study the law of copyright<br />
for the purpose of passing an examination<br />
in it. It is, however, a matter for individual<br />
opinion, how far the method followed has had<br />
as its result a text-book useful for the purpose<br />
of reference to a lawyer in practice, and how<br />
far it may be safe for an author to depart in<br />
such matters from precedents which have<br />
been tried and generally accepted.<br />
<br />
The answer to the question is not one easy for<br />
a reviewer to supply authoritatively, and must<br />
be answered rather by the barrister or solicitor<br />
who, when he has consulted a book a few times<br />
for professional purposes, will not have great<br />
difficulty in making up his mind as to whether<br />
he can find his way about in it easily, and<br />
put himself upon the track of that which he<br />
seeks to discover. At all events, Mr. Richard-<br />
son’s work contains a good deal of useful<br />
information within a moderate compass. We<br />
note that he condemns as a very doubtful<br />
experiment the system of royalties introduced<br />
in section 8, and the liberty given to republish<br />
without leave of the owner of the copyright<br />
twenty-five years after the author’s death,<br />
an experiment tried with a view to the con-<br />
ciliation of those who objected to a lengthened<br />
term of copyright, which certainly will not<br />
have the merit of simplifying the conditions<br />
of book publishing. ;<br />
<br />
He also condemns the limitations of the<br />
subject-matter of copyright laid down in<br />
section 1, sub-section 1, of the Act, but does<br />
not suggest that it prescribes a narrower area<br />
of protection than prevails in other countries,<br />
an aspect of the situation which presumably<br />
was taken into consideration when the section<br />
was framed. The rules made under the<br />
new Act will be found with other necessary_or<br />
useful information in an appendix.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 277<br />
CORRESPONDENCE.<br />
<br />
Oe<br />
<br />
AN AMERICAN “ WRITER'S YEAR<br />
BOOK.’”*<br />
<br />
—<br />
<br />
1,001 addresses of places where manu-<br />
scripts can be sold, or any other<br />
} pumber,is not —. nor does this particular<br />
ti much matter. It must be presumed that a<br />
| title of this sort makes an appeal to some<br />
or it would not have been chosen ; yet<br />
pad that to others it may not seem quite<br />
bon ton. The work is intended as a guide<br />
essentially for writers on the other side of the<br />
‘Atlantic, and the greater number of its pages<br />
are justly devoted to periodicals published in<br />
the United States. We are able to judge of<br />
the value of its information respecting such<br />
publications only by inference. In the case<br />
‘of the journals with which we are acquainted<br />
the information is correct and the advice a<br />
. The chapter devoted to “ English<br />
Magazines that ty American MSS.” is dis-<br />
ey = done. The general hints given in<br />
preface are also admirable. There can<br />
be no doubt that the classification of the<br />
various periodicals into chapters (** Advertising<br />
ogg [ oo Journals,” and so<br />
h) has its advantages; but it has dis-<br />
Advantages also; as it is not always an casy<br />
‘Matter to find any particular journal that is<br />
seg We _. that the work would be<br />
Much improved by an index. The work<br />
eontains a chapter dedicated to ‘‘ Publishers<br />
Books,” in which “ the endeavour has been<br />
have this a list of publishers of standing.”<br />
yang that this chapter may be of value<br />
ne ish authors, independently of other<br />
‘Mivice respecting openings on the other side<br />
the Atlantic which they will find in the work.<br />
gre that English work is not very likely<br />
accepted appears, however, to be fairly<br />
penn preferences expressed for “* Ameri-<br />
th, i. New England Stories,” aud so<br />
ong “Fraternal Publications ”’<br />
<br />
What they may be we do not know) the Red<br />
. en's Official Journal “ do [sic] not use matter<br />
t than that we dig up or is furnished by<br />
co. from members of the order.”<br />
‘ournal, e official announcement of the<br />
for which the editor of ‘ 1,001<br />
<br />
: a Manuscripts must not be held<br />
<br />
W voor ad there are really in this work<br />
<br />
<br />
<br />
<br />
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<br />
<br />
<br />
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<br />
<br />
<br />
<br />
<br />
<br />
. “100<br />
+ Ba; 1 Places to Sell Manuscripts.”<br />
<br />
i Ninth edition.<br />
itor Company, Ridgewood, New Jersey. 1913.<br />
<br />
AUTHOR AND AGENT.<br />
<br />
Dear Sir,—In the last month I have had<br />
three separate firms of agents ‘‘ butting in”<br />
to my business. They come to me with<br />
proposals of remarkable magnificence from<br />
Messrs. A. and Messrs. B., and so forth. Why<br />
Messrs. A. and Messrs. B., and so forth, do not<br />
communicate directly with me, I cannot under-<br />
stand. Whatever I am prepared to sell to<br />
Messrs. A., B., and so on, for £100 I shall<br />
obviously want £110 for, if they insist upon the<br />
intervention of Messrs. Agency, Clause & Co.<br />
I know of no way of stopping this increasing<br />
nuisance of agents, except by proclaiming<br />
clearly that, like all saucibhs authors, I do not<br />
employ agents except for specific jobs. There<br />
is, | believe, a growing tendency on the part of<br />
agents to go to firms of publishers and represent<br />
themselves with no authority at all as acting<br />
on an author’s behalf. I am not lawyer<br />
enough to determine how far that is illegal, but,<br />
at any rate, it is one that needs to be violently<br />
discouraged at the present time.<br />
<br />
Very sincerely Yours,<br />
H. G. WELLs.<br />
<br />
UNREVIEWED Books.<br />
<br />
Dear Srr,—lI have been much interested in<br />
the article and letters regarding “ Unreviewed<br />
Books ” that have appeared in your columns.<br />
If for one moment your correspondents would<br />
place themselves in the position of the dis-<br />
tressed literary editor, they would refrain from<br />
suggesting such impossible alternatives to the<br />
present system as (a) the sending of stamps<br />
for the return of books that have not been<br />
reviewed, or (b) that the editors should write<br />
to publishers stating what books they can<br />
notice.<br />
<br />
To take the first of these two suggestions.<br />
Last year there were nearly 13,000 books<br />
published, of which the principal papers<br />
received in all probably not less than 10,000,<br />
Imagine the additional Jabour involved in<br />
sorting out ten thousand lots of stamps!<br />
Then what is to become of the stamps sent<br />
with those books that are reviewed ? If they<br />
are to be returned also, there would be the<br />
writing of 10,000 envelopes or labels.<br />
<br />
The other suggestion that editors should<br />
write and state what books they can review 18<br />
<br />
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<br />
278<br />
<br />
ve impracticable. Suppose an editor<br />
oe aanon ae a mabiishee's list “* Golden<br />
Agates,” a novel by James Blank, and he has<br />
never heard of James Blank, how in the name<br />
of all that is inspired can he tell whether or no<br />
he be prepared to give space to reviewing the<br />
book? The lot of the literary editor is suffi-<br />
ciently difficult without our adding to the<br />
burden of his responsibilities.<br />
<br />
Authors and publishers must be sportsmen<br />
and optimists, and if they be men of the<br />
literary world also they will appreciate that<br />
everybody connected with books is keenly on<br />
the look out for that which is good. If only<br />
a small percentage of the copies sent out for<br />
review produces notices, then the book does<br />
not appear to the literary editors to be a work<br />
likely to interest their readers. An editor is<br />
in every sense of the word the servant of the<br />
public. He must fill his columns with attractive<br />
matter. He can guide his readers to some<br />
extent ; but on the whole he has to consider<br />
what the public wants. I know many literary<br />
editors, and that in the triple capacity of<br />
author, reviewer and publisher, and I have a<br />
profound admiration for their ability and fair-<br />
ness.<br />
<br />
One point that seems to have been over-<br />
looked is that all the books sent in are acknow-<br />
ledged under the heading of ‘“ Books Re-<br />
ceived.” If your correspondents will remember<br />
that there are some thirteen thousand books<br />
yearly endeavouring to storm the slopes of<br />
Parnassus, they will realise that of necessity<br />
there must be a list of slain and wounded.<br />
<br />
If a book fail to get a place do not let us<br />
regard it as wasted; but rather that as an<br />
‘also ran ” it has helped to make the pace for<br />
the others. This requires a Spartan philosophy<br />
with erhaps some admixture of humour ; but<br />
it will prove very comforting.<br />
<br />
I am, Sir,<br />
Your obedient Servant,<br />
HERBERT JENKINS,<br />
<br />
+<br />
<br />
CONCERNING “ Cart ATHLETICS,”<br />
<br />
IN a recent number J é :<br />
<br />
: of the New York Times<br />
se Supplement Mr. Grant Richards<br />
sere “at — - the methods employed by<br />
<br />
4 ‘ American ishers -<br />
trast a te sae publishers, and con<br />
odious features of the English Jjte ,<br />
is the fiction that has paid to Sop bl<br />
<br />
The first question js; i}<br />
<br />
that “ one of the most<br />
market<br />
t published.”<br />
pays to<br />
<br />
Tho be<br />
<br />
THE AUTHOR.<br />
<br />
published—and why? And the second : What<br />
publishers accept payment Webes<br />
why ?<br />
<br />
Answer (to the first question): Who<br />
to be published, and why ?<br />
of this paper, has paid. Paid twice.<br />
to an American publisher and once<br />
English one for publishing Justice's novels,<br />
Justice wrote as a free lance for twenty vears—<br />
for money. Yet, until Mr. Wells enlightened<br />
his fellow-craftsmen in the May Author<br />
Justice had supposed the unknown novelist<br />
always paid to publish because 80 informed<br />
Justice’s publishers. In each case, too, wit<br />
the exception of the publishers’ obligato<br />
announcements of fortheoming productions,<br />
Justice was inveigled into “ doing the adver.<br />
tising ” because * decent publishers don’t like<br />
descending to the tricks of the trade.”<br />
also consented to the 13 as 12 clause, to six<br />
‘“author’s copies ”—and bought in, “at the<br />
lowest possible author's rates,” copies to<br />
bestow upon “friends” who couk n't—or<br />
wouldn't buy. For having the first novel<br />
published, in America, Justice was asked to<br />
pay, and paid, $330. For publishing the<br />
second novel, in London, Justice paid £98,<br />
Answer to the second question : What pub-<br />
lishers accept payment for publishing? The<br />
names of aforesaid publishers are at the disposi-<br />
tion of any serious literary worker requiring<br />
useful information for self-protection, from<br />
Justice, through the Authors’ Society.<br />
<br />
In answer to why the publishers exact<br />
money from novices? Well—ask the pub-<br />
lishers !<br />
<br />
Dear Fettow-Autnors,—Can’t we be-<br />
ginners in our beloved profession hence-<br />
forward, to defeat the “ shark ” publisher,<br />
establish a league to be known as the Wells<br />
League that has for its ideal agreement the<br />
one Mr. Wells advises, and for its actual one<br />
something just as near it as feasible ?<br />
<br />
Mr. Wells writes: ** The ideal thing for the<br />
author to do is to fix up a standing agreement<br />
on the lines I have given above with a big<br />
solvent firm—and think no more of these<br />
things.”’<br />
<br />
Did Mr. Wells “think no more of these<br />
things” in the days before he, on his. own<br />
terms, advertised the publishers—gratis?<br />
<br />
Won’t Mr. Wells tell us somet hing of -<br />
“green and salad” experiences with Pho<br />
lishers ? We can’t write as he does. ;<br />
can? But Napoleon was no less Na —<br />
St. Helena than at Corsica, was he? at Wate<br />
than at Austerlitz. Jou<br />
<br />
to publish, andi<br />
<br />
Justice, the writer}<br />
Onee }<br />
to anf<br />
<br />
Justice &<br />
<br />
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| 530 | https://historysoa.com/items/show/530 | The Author, Vol. 23 Issue 10 (July 1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+10+%28July+1913%29"><em>The Author</em>, Vol. 23 Issue 10 (July 1913)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-07-01-The-Author-23-10 | | | | | 279–312 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913-07-01">1913-07-01</a> | | | | | | | 10 | | | 19130701 | Che BMutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
VoL. X XIII.—No. 10.<br />
<br />
JULY 1, 1913.<br />
<br />
[PRICE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
874 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
————__—__+____—__-<br />
<br />
NOTICES.<br />
<br />
+<br />
<br />
oh OR the opinions expressed in papers that<br />
<br />
are signed or initialled the authors alone<br />
<br />
are responsible. None of the papers or<br />
<br />
paragraphs must be taken as expressing the<br />
<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
Tur Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
ARTICLES AND CONTRIBUTIONS.<br />
<br />
Tur Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 1, Cen-<br />
tral Buildings, Tothill Street, Westminster,<br />
S.W., and should reach the Editor not later<br />
than the 21st of each month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
On and after June 13 Messrs. Matthews’<br />
Advertising Service, Staple Inn Buildings,<br />
High Holborn, W.C., will act as agents for<br />
advertisements for “The Author.” All<br />
communications respecting advertisements<br />
after that date should be addressed to them.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
—_____+——« ——<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
—+—~<— +<br />
<br />
4 ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
<br />
#9<br />
<br />
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<br />
<br />
282<br />
<br />
<br />
<br />
length, given way on both points, and the<br />
accounts had been duly vouched in accordance<br />
with the Society’s desire. The report of the<br />
Society’s accountant had been received.<br />
<br />
A question of infringement of copyright,<br />
which the Society had previously been unable<br />
to take up, was again brought before the com-<br />
mittee, as fresh evidence was now at the dis-<br />
posal of the complainant. The solicitor was<br />
instructed to inquire into the new evidence and<br />
to report to the next meeting. The solicitor<br />
reported on another case in the High Court,<br />
which will, most probably, be settled before<br />
this record appears, and that in another action<br />
the debt and costs had been paid.<br />
<br />
The next dispute referred to the proper<br />
rendering of accounts. Owing to the errors<br />
that had occurred, the committee decided to<br />
place in an accountant, when all the items<br />
would be properly vouched. The solicitors<br />
then reported on a claim by one of the members<br />
against a publishing firm, and stated that they<br />
had issued a writ, but that it was possible the<br />
firm would be unable to pay, in which case it<br />
might be necessary to take some further steps.<br />
A question of infringement of dramatic copy-<br />
right the solicitors hoped to be able to settle,<br />
as they had been in communication with<br />
the defendants’ solicitors with this in view.<br />
Another claim for infringement of dramatic<br />
copyright was before the committee, and the<br />
solicitors were able to report that they were in<br />
negotiation with the defendant and hoped to<br />
be able to settle the matter satisfactorily. A<br />
claim for a member for money for work done<br />
under a contract was next considered, and the<br />
committee decided to go forward with it.<br />
A dispute on the interpretation of a contract,<br />
on which the solicitors had been advising, was<br />
fully gone into, and the solicitors explained<br />
what they considered to be the legal aspect of<br />
the case. It was decided by the committee<br />
that the solicitors should write and report to<br />
the member concerned, with a view to deciding<br />
as to the course it might be necessary to take.<br />
<br />
The secretary then detailed a complaint<br />
raised by one of the members in regard to the<br />
publication of advertisements by publishers in<br />
the 6d. editions of authors’ novels. The com-<br />
mittee gave a careful consideration to the issue,<br />
and instructed the secretary to write to the<br />
member.<br />
<br />
The committee decided to take up a case of<br />
infringement of the dramatic rights of one of<br />
the members if it was not possible to come to<br />
an amicable arrangement.<br />
<br />
In two complaints by members of the Society<br />
against certain agents for malconduct, one of the<br />
<br />
THE AUTHOR.<br />
<br />
members agreed to make further inquiries and<br />
report to the next meeting. The committee<br />
considered the issues were of serious import-<br />
ance. It was decided to take two cases up in<br />
France, one being for infringement of copy-<br />
right and the other a claim for accounts<br />
undelivered. A case of gross infringement in<br />
America was considered, and the secretary was<br />
instructed to write to ascertain what action<br />
could be taken. Finally, the secretary laid<br />
before the committee an article dealing with a<br />
publisher’s agreement, and received instruc-<br />
tions to print the article in The Author.<br />
<br />
The question of cinematography was fully<br />
discussed, and it was suggested it might be<br />
desirable to appoint a sub-committee. On the<br />
report of the secretary, however, it was<br />
decided to leave the matter in the hands of the<br />
Dramatic Sub-Committee.<br />
<br />
Mr. Theodore Holland was elected a member<br />
of the Composers’ Sub-Committee, at the<br />
suggestion of that committee.<br />
<br />
The secretary reported the action he had<br />
taken in regard to international copyright, at<br />
an interview with certain important members<br />
of the Publishers’ Association, with a view to<br />
joint action being taken, if necessary. He<br />
reported also, in the same connection, that<br />
considerable difficulty had arisen in Holland<br />
owing to the fact that the Dutch had only<br />
recently joined the International Copyright<br />
Convention. It was decided to obtain a legal<br />
opinion from a Dutch lawyer on certain<br />
important points affecting dramatic produc-<br />
tions in that country.<br />
<br />
It was decided to rent a room for the regis-<br />
tration of scenarios, at a cost of £2 2s. per<br />
annum, as the secretary explained that the<br />
register was increasing beyond the limits of<br />
the room at the Society’s disposal.<br />
<br />
The committee decided to print in The<br />
Author from time to time the names and<br />
addresses of the dramatic agents appointed by<br />
the Society, for the guidance of members who<br />
might desire agents to act on their behalf,<br />
<br />
The secretary reported that, since February,<br />
the following had joined the Society as life<br />
members :—Gerald S. Dunn, Miles Franklin,<br />
E. Thompson Seton, Paul Hasluck, The Rev.<br />
W. Temple, Harold Cross.<br />
<br />
ee<br />
AUTHORS AND EDITORS.<br />
<br />
{cae adjourned meeting of the Committee<br />
of Management and Editors was held<br />
<br />
at Central Buildings, Tothill Street, on<br />
Thursday, June 19. The following resolution,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
which had been embodied and sent round in a<br />
circular, was accepted by the editors whose<br />
names are printed below.<br />
<br />
Resolution.<br />
<br />
‘<The authors and artists whose articles,<br />
stories, or drawings may have been accepted,<br />
shall be paid for those accepted articles,<br />
stories, or drawings, at the next official pay-<br />
day after the publication, or within six<br />
months from the date of acceptance of such<br />
articles, stories, or drawings, whichever is<br />
the shorter period.”<br />
<br />
In favour.<br />
<br />
J. T. Herbert Bailey, The Connoisseur.<br />
Vivian Carter, The Byestander.<br />
<br />
F. Chalmers Dixon, English Review.<br />
<br />
L. J. Maxse, National Review.<br />
*G. W. Prothero, Quarterly Review.<br />
<br />
Harold Cox, Edinburgh Review.<br />
<br />
C. E. S. Chambers, Chambers’ Journal.<br />
<br />
F. H. Fisher, Literary W orld.<br />
<br />
Chas. Hyatt-Woolfe, Science Siftings.<br />
<br />
G. Binney Dibblee, The Field ; The Queen.<br />
<br />
* There was a reservation by the Editor of The Quarterly<br />
Review that the word “ shall” should be altered to “ should.”<br />
<br />
After this resolution had been put forward,<br />
it was proposed—owing to the fact that many<br />
editors, while approving the spirit of the<br />
resolution, objected to the letter, and that no<br />
voice was raised in opposition to the principle<br />
of obtaining a more uniform and businesslike<br />
practice—to discuss, either by circular or by<br />
means of an adjourned meeting later in the<br />
year, the following :—<br />
<br />
“We consider that it should be under-<br />
stood by all authors and artists whose con-<br />
tributions have been accepted, that they<br />
shall be entitled to make requisition for pay-<br />
ment at any period six months after such<br />
acceptance, and that such requisition shall<br />
not be considered in any way contrary to<br />
established precedent.”<br />
<br />
It is hoped by the Committee that it will be<br />
possible to get a still larger number of editors<br />
to consent to this more elastic resolution,<br />
which will give great relief to contributors.<br />
Many editors are quite willing to pay within a<br />
reasonable time if they are asked, but they<br />
fail to understand the author’s point of view.<br />
It is not so much natural modesty, as a fear—<br />
in many cases, we regret to say, well-founded—<br />
that any step they may take to disturb the<br />
equanimity of the editor will result in their<br />
future contributions being set aside.<br />
<br />
<br />
<br />
283<br />
<br />
Another point was put forward, which the<br />
committee hope to deal with in the autumn,<br />
namely, the possibility of arranging between<br />
authors and editors some form of conditional<br />
acceptance in those cases where editors feel<br />
they could not give an immediate and uncon-<br />
ditional decision. ;<br />
<br />
The committee beg to tender their very<br />
grateful thanks to those editors who have so<br />
courteously responded, not only for the interest<br />
they have shown in the issues, but also for the<br />
willingness expressed by them to arrive at a<br />
uniform and businesslike arrangement with<br />
the contributors to magazines.<br />
<br />
DRAMATIC SUB-COMMITTEE.<br />
<br />
THE June meeting of the Dramatic Sub-<br />
Committee was held at the offices of the<br />
Society of Authors on Friday, the 20th of that<br />
month, at 3 o’clock.<br />
<br />
Following the signing of the minutes of the<br />
previous meeting, a discussion took place as to<br />
the collection of fees on amateur performances.<br />
Mr. Cyril Hogg, of Messrs. Samuel French, Ltd.,<br />
was kind enough to attend and confer with the<br />
sub-committee on the subject.<br />
<br />
The next matter—one of considerable im-<br />
portance—was a dispute between certain<br />
members of the Society and their agents. The<br />
full details of the case were placed before the<br />
sub-committee and discussed, and a recom-<br />
mendation was passed to the Committee of<br />
Management that the facts of the case should<br />
be put forward in The Author for the protection<br />
of other members.<br />
<br />
The delegates appointed to meet the West<br />
End managers reported what had occurred at<br />
the meeting, and the secretary laid before the<br />
sub-committee the draft of the Managerial<br />
Treaty, with the notes he had made when the<br />
clauses were being discussed. It was decided<br />
to reconsider the matter at the next meeting of<br />
the sub-committee, which was fixed for Friday,<br />
July 11.<br />
<br />
The secretary reported that the model agree-<br />
ment, which the sub-committee had instructed<br />
him to draft, was not, as yet, in its completed<br />
form, and it was decided that this matter<br />
should also be adjourned to the next meeting.<br />
<br />
On the question of foreign agents one or two<br />
letters were laid before the sub-committee, and<br />
the secretary received instructions to write for<br />
further information as to the issues and the<br />
terms.<br />
<br />
<br />
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284<br />
<br />
<br />
<br />
Composers’ Sus-CoMMITTEE.<br />
<br />
THE Composers’ Sub-Committee met on<br />
Saturday, June 14, at 11 o’clock, at the offices<br />
of the Society, 1 Central Buildings, Tothill<br />
Street, Westminster, S.W.<br />
<br />
After the minutes of the previous meeting<br />
had been read, the answers to the circular<br />
sent round to composers were considered.<br />
These answers were classified and catalogued,<br />
and the Committee were very pleased to note<br />
that the answers received were almost unani-<br />
mous. It was proposed to make a full state-<br />
ment in the October issue of The Author,<br />
and also to call a conference of composers<br />
some time in the Autumn to determine what<br />
course should be taken to draw members of<br />
the profession closer together. It was agreed<br />
that a regular circular should be sent out<br />
to as large a number of composers as possible<br />
with a full list of agenda.<br />
<br />
A discussion then arose concerning the<br />
appointment of an agent in Germany for the<br />
collection of mechanical instrument fees in<br />
that country, and it was decided to accept the<br />
terms of the Anstalt fur Mechanisch Musi-<br />
kalische Rechte, known in Germany under the<br />
short title of ‘‘ the Ammre.”’<br />
<br />
—— 1<br />
<br />
Cases,<br />
<br />
THE number of cases from month to month<br />
has varied but little recently. During the<br />
month of June seventeen cases have come into<br />
the hands of the secretary. Of these four refer<br />
to disputes on agreements. It is pleasing to<br />
think that they can very often be settled by the<br />
informal arbitration of the Society. Out of the<br />
four three have already been settled, but one<br />
has only recently come to the office.<br />
<br />
Four cases of infringement of copyright have<br />
occurred, and two of these have been settled,<br />
while two are still in course of negotiation, one<br />
lying in the U.S.A.<br />
<br />
Three claims for money have come before<br />
the secretary; of these, one is eoncluded, one<br />
has had to be placed in the hands of the<br />
Society’s solicitors, and most probably the third<br />
will also have to go into the lawyers’ hands, as<br />
the party has refused to answer any of the<br />
Society’s letters.<br />
<br />
In three claims for money and accounts, one<br />
has been settled, but the other two are in an<br />
unsatisfactory position as no answer has been<br />
forthcoming ; these will also, most probably,<br />
have to be placed into the solicitors’ hands.<br />
Two claims for the return of MSS. are still<br />
<br />
THE AUTHOR.<br />
<br />
open. The last case was one for the delivery<br />
of accounts. The accounts have been delivered<br />
and the matter settled.<br />
<br />
It will be seen, therefore, that out of the<br />
seventeen cases eight have already been<br />
settled.<br />
<br />
This is very satisfactory. The remainder<br />
will no doubt be settled during the coming<br />
month.<br />
<br />
Of the cases open from the preceding months,<br />
there are three, two for money and accounts,<br />
and one referring to a negotiation for transla-<br />
tion rights. They are all in foreign countries,<br />
two lying in France and one in the U.S.A.<br />
Most probably one of the cases in France will<br />
have to be handed over to our lawyers in<br />
Paris, as no answer has been received to the<br />
letters of demand. The matter is at present<br />
waiting for an answer from the author.<br />
<br />
It may be chronicled incidentally here,<br />
though the solicitors’ cases are not generally<br />
included under this head, that during the last<br />
month the Society has been successful in the<br />
case of Corelli and Gray and Pett Ridge and<br />
the English Illustrated.<br />
<br />
Elections.<br />
<br />
Ballantyne, J. W.,M.D. 19, Rothesay Ter-<br />
race, Edinburgh.<br />
Dye House, Thurs-<br />
ley, Godalming.<br />
5, Suffolk Place, Pall<br />
<br />
Mall, S.W.<br />
c/o Cecil Broderick,<br />
<br />
Barlow, Hilaré<br />
Brandon, J ocelyn<br />
<br />
Broderick, Mrs. Mary .<br />
<br />
Esq., 63, Queen<br />
Victoria Street,<br />
E.C.<br />
<br />
Bruce, Miss Mary Grant Lyceum Club, 128,<br />
Piccadilly, W.<br />
5, Sheen Gate Gar-<br />
<br />
dens, East Sheen,<br />
<br />
Buckle, Henry<br />
<br />
S.W.<br />
Bullard, Arthur . cio The Macmillan<br />
Co., 64, Fifth<br />
<br />
Avenue, New York<br />
City, U.S.A:<br />
<br />
Burckhardt, Mrs. Bel Ai, Tillington,<br />
(“ Frances Burke- Stafford.<br />
Hart”)<br />
Cragg, Edward Henry . Billingboro’, Fock-<br />
ingham, Lincoln:<br />
shire.<br />
<br />
Crawford, Mrs. Maynard 113, Constable Road,<br />
(‘* Amy G. Baker ’’) Ipswich.<br />
Doyle, Miss Ruby Mackay Street, Dun-<br />
gog, N.S.W.<br />
<br />
<br />
<br />
<br />
Heydemann,<br />
<br />
Johnson,<br />
<br />
Lineham,<br />
<br />
Mrs.<br />
<br />
<br />
<br />
Dunbar, Lady of Moch-<br />
rum.<br />
Getty, Miss Alice<br />
<br />
Harris, William<br />
<br />
Charles<br />
H., Ph.D.<br />
<br />
Hill, Roland<br />
<br />
Hobhouse, L. T. .<br />
<br />
Arthur<br />
Tysilio.<br />
<br />
Andrew<br />
Wood, M.A.<br />
<br />
Lodge, Arthur<br />
<br />
7 Low, Miss Ivy<br />
<br />
Macgowan, John<br />
<br />
Marshall, Miss Cicily<br />
<br />
Maxwell, Richard<br />
<br />
Drummond, M.D.<br />
<br />
Monsell, G. R.<br />
<br />
Moore, Paymaster John<br />
Gc, HN... (Retd.)<br />
(‘‘ M. Areno ’’).<br />
Mulliner, May<br />
<br />
Alee. Dobbin<br />
(‘‘ Page, Gertrude”’) .<br />
<br />
* Norma Karl” .<br />
<br />
Pearce, Charles E. :<br />
<br />
Piazzani Romolo<br />
<br />
Redmayne, P. Y.<br />
<br />
Scott, Mrs. Dawson<br />
<br />
Sneyd-Kynnersley, E.<br />
M.<br />
Spearing, H. G.<br />
<br />
Spence, Lewis<br />
<br />
Stockley, Mrs. Cynthia<br />
(“* Cynthia Stockley ’’)<br />
<br />
THE AUTHOR.<br />
<br />
Earnbank, Bridge of<br />
Earn, N.B.<br />
<br />
75, Av. des Champs<br />
Elysées, Paris.<br />
<br />
*“Combe Blythe,”<br />
73, Chambercombe<br />
Road, Ilfracombe.<br />
<br />
165, Seymour Place,<br />
W.<br />
<br />
Author's Club, 2,<br />
Whitehall Court,<br />
S.W.<br />
<br />
7, Broadlands Road,<br />
Highgate.<br />
<br />
Llys Llewelyn, Con-<br />
way, N. Wales.<br />
62, Stanmore Road,<br />
<br />
Birmingham.<br />
<br />
257, Maidstone Road,<br />
<br />
Rochester.<br />
<br />
Needham<br />
Suffolk.<br />
<br />
Castlerigg<br />
Keswick.<br />
<br />
41, Wimpole Street,<br />
W.<br />
<br />
9, Foulis<br />
Onslow<br />
S.W.<br />
<br />
‘* Brooms,”’<br />
ing.<br />
<br />
Market,<br />
<br />
Manor,<br />
<br />
Terrace,<br />
Square,<br />
<br />
Worth-<br />
<br />
Park Gates Club,<br />
Hyde Park Corner,<br />
S.W.<br />
<br />
Capital and Counties<br />
Bank, Newent,<br />
Glos.<br />
<br />
83, Merton Avenue,<br />
Chiswick, W.<br />
<br />
Ryton Hall, Shifnal.<br />
<br />
Harden, King Street,<br />
Southall.<br />
<br />
5, Hornsey Lane<br />
Gardens, High-<br />
gate, N.<br />
<br />
6, Sylvan<br />
Edinburgh.<br />
<br />
Lyceum Club, W.<br />
<br />
Place,<br />
<br />
-Inpian ARCHITECTURE.<br />
<br />
<br />
<br />
285<br />
<br />
Symons, Major F. Gos-<br />
MOB. R.A M-C.<br />
<br />
Thomas, Mrs. Fanny S.<br />
<br />
A., Fort Roaner,<br />
port.<br />
<br />
clo Messrs. Brown,<br />
Shipley & Co., 122,<br />
Pall Mall, S.W.<br />
<br />
Prestwick, Witley,<br />
Surrey.<br />
<br />
** Shillay,”’ Exeter.<br />
<br />
22, Redcross Street,<br />
Rochdale.<br />
<br />
84, Lexham Gardens,<br />
W.<br />
<br />
10, Clifford’s<br />
W.C.<br />
<br />
6, Mortlake Road,<br />
Kew.<br />
<br />
Bank Chambers, 111,<br />
New OxfordStreet,<br />
W.C.<br />
<br />
Webster, Mrs. Arthur .<br />
<br />
Wheatley, E. Pearse<br />
Wild, Alfred G.<br />
<br />
Wilde, A. D.<br />
Williams, Robert Inn,<br />
<br />
Wills, J. T.<br />
<br />
Wimperis, Arthur<br />
<br />
it<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list, and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
ARCHAIOLOGY.<br />
<br />
Tue Hawara Portrotto. Paintings of the Roman Age.<br />
Found by W. M. Frrypers Petrie (British School of<br />
Archeology in Egypt and Egyptian Research Account,<br />
Nineteenth Year, 1913). 124 x 10.<br />
<br />
ARCHITECTURE.<br />
<br />
Its Psychology, Structure and<br />
History from the First Muhamadan Invasion to the<br />
Present Day. By E. B. Haverty. 260 pp. Murray.<br />
30s. n.<br />
<br />
ART.<br />
<br />
VisvAKARMA. Examples of Indian Architecture, Sculp-<br />
ture, Painting, Handicraft. Chosen by A. W. Cooma-<br />
RASwAMy, D.Sc. Part IV. 11 x 8}. Luzac. 2s. 6d.<br />
<br />
Srort rn Art. An Iconography of Sport during Four<br />
Hundred Years from the Beginning of the Fifteenth to<br />
the End of the Eighteenth Centuries. By W. A.<br />
Bane Gronman. 13 x 10. 422 pp. Ballantyne.<br />
£2 2s. n.<br />
<br />
THE RENAISSANCE AND Its MAKeERs.<br />
and §S. L. Brnsusan. 94 x 63.<br />
10s. 6d. n.<br />
<br />
By J. W. Symon<br />
456 pp. Jack.<br />
<br />
BIOGRAPHY.<br />
<br />
Tan Lirr or Joun Bricut. By Grorce MAcauLay<br />
TREVELYAN. 9 x 53. 480 pp. Constable. 15s. n.<br />
Oscar Wipe. A Critical Study. By A. Ransome.<br />
(C heap Edition.) 7 x 4}. 234 pp. Methuen, Is. n,<br />
<br />
<br />
<br />
<br />
286<br />
<br />
<br />
<br />
Tue Earty Lire or Motrxe. A Lecture delivered before<br />
the University of Oxford, May 10th, 1913. By Sprnour<br />
Witxinson, Chichele Professor of Military History.<br />
9 x 6. 28 pp. Oxford: Clarendon Press. London :<br />
Frowde & Milford. Is. n.<br />
<br />
“Potty Pzacnum.” Being the Story of Lavinia Fenton<br />
(Duchess of Bolton) and “The Beggar's Opera.” By<br />
C. E. Prarce. 9 x 5}. 382 pp. Stanley Paul. 16s. n.<br />
<br />
“J”: A Memoir or Jonn Wits CLARK. By A. E.<br />
Suiptey. 9 x 5}. 362 pp. Smith Elder. 10s. 6d. n.<br />
<br />
Mapame Royatz, Daveurer or Louis XVI., anp Marre<br />
<br />
AntorneTTs. HzR YourH AND Marriage. From the<br />
French of Ernest Daudet. By Mrs. Ropotpu STawELL.<br />
9 x 6. 264 pp. Heinemann. 10s. n.<br />
BOOKS OF REFERENCE.<br />
French Purases. By Gorpon Davyson. 54 x 32°<br />
134 pp. Nutt. Is.n.<br />
CLASSICAL.<br />
<br />
Tue Ruxsus or Evrreepss. Translated into English<br />
Rhyming Verse with Explanatory Notes. By GiLBErt<br />
<br />
Murray, LL.D., D.Litt. 7h x 5. 67 pp. Allen.<br />
28. n.<br />
DRAMA.<br />
Cyprus (According to Dinon 460 B.C.). A Fabulous<br />
<br />
Tragedy in Prologue and Four Acts. By J. Marriorr<br />
Hopexiys. 73x 5. 90 pp. John Long. Qs. 6d. n,<br />
<br />
EDUCATIONAL.<br />
<br />
THE StupDENT’s ELEMENTARY CoMMERCIAL BOOK-KEEPING.<br />
Seventeenth Edition. By Arrnur FIELDHOUSE.<br />
74 x 43. 358 pp. Simpkin. 2s.<br />
<br />
THe STUDENT'S ComMPLETE ComMERCIAL BOOK-KEEPING.<br />
AccounTING AND Banxina. Eighteenth Edition. By<br />
ARTHUR FIELDHOUSE. 7} x 43. 902 pp. Simpkin.<br />
4s.<br />
<br />
Tue StrupEent’s Business MretTnops or ComMMERCTAL<br />
PRACTICE AND CORRESPONDENCE. Sixth Edition. By<br />
ArtHuR FrevpHousE. 7} x 43. 372 pp. Simpkin<br />
2s. 6d.<br />
<br />
Key To Tur StupEnt’s ApvANcED (Part II.) CommERcraL<br />
Boox-Kerrinc, Accounting AND Banxkine. Third<br />
<br />
Edition. By Artuur Fre.pHousr and Epwin WIson.<br />
82 x 53. 487 pp. Simpkin. 16s.<br />
FICTION.<br />
Barry anp A Stnner. By Joun Barnett. 73 x 5}.<br />
307 pp. Smith Elder. 6s.<br />
THe Litrte Maister. By R. H. Forster. 7} x 5.<br />
<br />
320 pp. John Long 6s,<br />
<br />
Tue Witt Hanp anv THE Brack. By Bertram Mrr-<br />
ForD. (Cheap Reprint.) 64 x 4}. John Long. 7d. n.<br />
<br />
A GarpEN or Srices. By A. Kerra Fraser. Hodder<br />
& Stoughton.<br />
<br />
Tue WILDERNESS Lovers. By E. R. Punsuon. 72 x 5.<br />
308 pp. Hodder & Stoughton. 6s.<br />
<br />
Tue Story or Mary Dunne. By M. E. Francis (Mrs.<br />
Francis Blundell). 7} x 5. 312 pp. Murray. 6s.<br />
Waite tHe Music Lasts. By JutiaA Macponaxp.<br />
<br />
7% x 5. 320 pp. Holden & Hardingham. 6s.<br />
THE ParRapise or Foots, By Derek VANE. 74 X 5.<br />
320 pp. Everett. 6s.<br />
Ducks anp Drakzs.<br />
7% x 5. 320 pp.<br />
<br />
By Marie Connor Leicuton.<br />
Ward Lock. 6s.<br />
<br />
THe Human Boy. By Eprmn Puuuports. 64 x 4}.<br />
183 pp. Methuen. 7d. n.<br />
<br />
A Durr with Cuorus. By A. Conan Doytz. 256 pp.<br />
Hodder & Stoughton. 7d. n.<br />
<br />
THE AUTHOR.<br />
<br />
Tae Norruern Iron.<br />
Everett. 7d. n.<br />
Tae Unworrtny Pacr. By Dorornna Grrarp (Madame<br />
<br />
Longard de Longgarde). 73 x 5. 312 pp. Stanley<br />
Paul. 6s.<br />
<br />
THE TRANSFORMATION oF TimorHy.<br />
367 pp. Mills & Boon. 6s.<br />
THe Forpineron Twos. By E. Newton Bunaey.<br />
<br />
By G. A. Brrmincuam. 255 pp-<br />
<br />
By T. Cops. 72 x 5.<br />
<br />
7% X 43. 320 pp. Lynwood. 6s.<br />
A Goppgss or Stonz. By R. W. Wricut Henperson.<br />
7% x 5. 312 pp. Methuen. 6s.<br />
<br />
Tue Fire Wrrniy. By Parrrcra WENTWORTH.<br />
275 pp. Melrose. 6s.<br />
AvERNo. By B. Mrrrorp.<br />
<br />
Lock. 6s.<br />
<br />
WINE OF THE LzEES. By J. A. Srevarr.<br />
347 pp. Hodder & Stoughton. 1s. n.<br />
<br />
Tar Emprror’s CanpLestioks, By Baroness Orczy.<br />
288 pp.; Brau Brocape. 307 pp. By Baroness<br />
Orczy; Opp Crarr. By W. W. Jacozs. 248 pp.<br />
Hodder & Stoughton. 1s.<br />
<br />
THE GaRDEN or REsuRRECTION.<br />
<br />
12 Xx 8.<br />
7% x 5. 311 pp. Ward<br />
7k x 44.<br />
<br />
By E. Temrie Tuours-<br />
<br />
TON. 74 x 5. 367 pp. (New and Cheaper Edition.)<br />
Chapman & Hall. 2s. n.<br />
<br />
DorornEa. A Story of the Pure in Heart. By Maarten<br />
MaarTens. 573 pp. Constable. 3s. 6d.<br />
<br />
THE Goop Comrapn. By Una L. Smperrap. 367 pp-<br />
Constable. 3s. 6d.<br />
<br />
THe Outcast oF THE Famity.<br />
63 x 44. 353 pp.;<br />
CHARLES GARVIOR.<br />
Stoughton. 7d.<br />
<br />
Lema aAnp Her Lover. By Max Prmperton.<br />
310 pp. Ward Lock. 6s.<br />
<br />
THE WINNING OF GWENORA. By Eprra C. Kenyon.<br />
73 X 5. 320 pp. Holden & Hardingham. 6s.<br />
<br />
Darropi’s Love Arrairs. By Lovisr M. STacrooLe<br />
<br />
By Cuaries GaARvVICE.<br />
Her Hearts Desire. By<br />
63 x 44. 384 pp. Hodder &<br />
<br />
12 x 0.<br />
<br />
Kenny. 74 x 5. 320 pp. Holden & Hardingham.<br />
6s.<br />
<br />
BupsLe anp SquEaK. By Watrer Emanvgn. 7} x 5.<br />
224 pp. Hutchinson. Is. n.<br />
<br />
Tue Nicut Nursz. Fourth Revised Edition. By the<br />
Author of “THe Sureron’s Log.” 74x 5. 311 pp.<br />
<br />
Chapman & Hall. 6s.<br />
<br />
HISTORY.<br />
<br />
Mexico, THE LAND or Unrest. Being chiefly an account<br />
of what produced the Outbreak in 1910. Together with<br />
the Story of the Revolution down to this day. By H.<br />
BaERLEIN. 9 X 6. 461 pp. Herbert & Daniel. 16s. n.<br />
<br />
SELEcT STATUTES AND OTHER CONSTITUTIONAL DocUMENTS<br />
It.ustRative oF THE Reiens or ELizaBETH AND<br />
James I. Edited by G. W. Prornero, Litt.D.<br />
72 x 5}. 490 pp. Fourth Edition. Oxford: Claren-<br />
don Press; London: Frowde & Milford. 10s. 6d. n.<br />
<br />
LITERARY.<br />
<br />
Mysticism in EncuisH Lirrrature. By Carorre F, E.<br />
Spurcron. 6} x 43. 168 pp. (Cambridge Manuals<br />
of Science and Literature.) Cambridge University<br />
Press. Ils. n.<br />
<br />
MISCELLANEOUS.<br />
<br />
Tur LecrurE YEAR Book. Vol. I., 1913—14. Edited<br />
by Bast Stewart. 11} x 83. 56 pp. Heath, Cran-<br />
ton and Ouseley. 3s. 6d. n.<br />
<br />
NatuRrE’s MysTEeRIES ; or How TaHErosopHy ILLUMINATES<br />
Tuem. By A. P. Srynerr. 7 x 43. 60 pp. The<br />
<br />
Theosophical Publishing Society. 6d. n.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
MUSIC.<br />
<br />
CuamBer Music. A Treatise for Students. By T. F.<br />
Dunumu. 83 x 53. 311 pp. Macmillan and Stainer<br />
& Bell. 10s. 6d. n.<br />
<br />
NATURAL HISTORY.<br />
Tae Boptey Heap Natura History. By E. D. Cumine.<br />
Illustrated by F. A. SepHerp. Vol. I., British Birds,<br />
Passeres. 6} x 5}. 120 pp. Lane. 2s. n.<br />
<br />
POETRY.<br />
THe Woorne or A Goppzss. A Tale Re-told, with some<br />
Poetic and Mythological Licence. By B. Burrorp<br />
Rawiines. 64 x 4. 45 pp. Isaac Pitman. 2s. 6d. n.<br />
Sones From Letyster. By W. M. Lurts. 7} x 5.<br />
114 pp. Smith Elder & Co. 2s. 6d. n.<br />
THe Wes oF Lirs. By Morean Dovetas.<br />
75 pp. Edinburgh: William J. Hay.<br />
<br />
REPRINTS.<br />
<br />
Tue Vision or Prers tHe Prowman. An English Poem<br />
of the Fourteenth Century. Translated into Modern<br />
Prose, with an Introduction by Karn M. Warren,<br />
Lecturer in English Language and Literature at West-<br />
field College (University of London). 74 x 5. 168 pp.<br />
Arnold. 2s. 6d. n.<br />
<br />
SOCIOLOGY.<br />
<br />
Tse FurtHer Evotution or Man. A Study from<br />
Observed Phenomena. By W. Hatt Catvert, M.D.<br />
7k x 5. 324 pp. Fifield. 5s. n.<br />
<br />
TECHNOLOGY.<br />
<br />
Printing. A Practical Treatise on the Art of Typography<br />
By C. T. Jacozpr. (Fifth Edition Revised.) 7 x 4%.<br />
409 pp. Bell. 7s. 6d..<br />
<br />
THEOLOGY.<br />
<br />
Tue Fourrotp Gospret. By E. A. Aspporr. 9 x 54.<br />
178 pp. Cambridge University Press. 2s. 6d. n.<br />
<br />
TOPOGRAPHY.<br />
<br />
A Hanpzsook or Lancasnrre Prace-Names.<br />
SzpuTon. 8} x 54.<br />
<br />
74 x 5k.<br />
ls. 6d. n.<br />
<br />
By J.<br />
256 pp. Liverpool: Young. 6s.<br />
<br />
TRAVEL.<br />
<br />
THrovueH Frxuanp In Carts. By Mrs. Atec TwrEepiE.<br />
64 x 43. 476 pp. Nelson. ls. n.<br />
<br />
‘Tue Surczon’s Loa. By J. Jounston ABRAHAM. Seventh<br />
and Cheaper Edition. 7} x 5. 302 pp. Chapman &<br />
Hall. 2s. 6d. n.<br />
<br />
<br />
<br />
= 5<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
<br />
<br />
R. G. M. TREVELYAN’S “Life of<br />
John Bright,” is published by Messrs.<br />
Constable & Co. in one volume, price<br />
<br />
15s. net.<br />
<br />
“University and Historical Addresses,” a<br />
collection of lectures delivered in the United<br />
States by the Rt. Hon. James Bryce, will<br />
Bey be produced by Messrs. Macmillan<br />
<br />
0.<br />
<br />
The “ Collected Works ”’ of the late Francis<br />
Thompson have appeared in three volumes,<br />
two of poetry and one of prose, with some notes<br />
<br />
<br />
<br />
287<br />
<br />
by his literary executor, Mr. Wilfrid Meynell.<br />
The volumes are obtainable singly or in sets,<br />
6s. net each. Messrs. Burns and Oates are the<br />
publishers.<br />
<br />
Mr. B. T. Batsford has issued the first six<br />
volumes of a new series, small in size but<br />
ambitious in scope. They are entitled, collec-<br />
tively, ‘‘ The Fellowship Books,” and aim at<br />
reviving “‘ the elemental things whence springs<br />
all that makes life worth living, the factors<br />
that increase our common enjoyment of nature,<br />
poetry, and art.” The general editor is Mrs.<br />
Arthur Stratton, and the opening contributions<br />
to the series are: ‘‘ Friendship,” by Clifford<br />
Bax; ‘‘ The Joy of the Theatre,”’ by Gilbert<br />
Cannan; ‘‘ Divine Discontent,” by James<br />
Guthrie ; “‘ The Quest of the Ideal,’ by Grace<br />
Rhys; Springtime,’ by C. J. Tait; and<br />
‘“The Country,” by Edward Thomas.<br />
<br />
In “The Philosophy of Faith” (Messrs.<br />
Longmans, Green & Co., 3s. 6d. net), Mr.<br />
Bertram Brewster defends belief against the<br />
rationalists and scientists, discussing such<br />
conceptions as Truth, Virtue, Freedom, Beauty<br />
ete., up to the Highest Good. To him the<br />
inevitability of the new birth, or entry of the<br />
divine life into the soul, is ‘‘ the true hope of<br />
man : the only hope remaining to him, possibly<br />
in the long run.”<br />
<br />
Miss Ethel Colburn Mayne is bringing out in<br />
the autumn, through Messrs. Chatto & Windus,<br />
a book on the female characters in Browning’s<br />
works.<br />
<br />
‘* The English Poems of John Milton,’ from<br />
the edition of the Very Rey. H. C. Beeching,<br />
D.D., has been published by the Oxford Uni-<br />
versity Press in the World’s Classics Pocket<br />
Edition, 1s. net.<br />
<br />
Miss Kate M. Warren’s translation into<br />
modern prose of ‘‘ The Vision of Piers Plow-<br />
man,’’ with an introduction from her pen, has<br />
been republished by Mr. Edward Arnold. The<br />
text has been entirely revised since the two<br />
earlier editions of 1895 and 1899, and the<br />
annotations have also been revised and added<br />
to.<br />
<br />
Mr. W. Pett Ridge’s collection of short<br />
stories, “‘ Mixed Grill,’ has been issued by<br />
Messrs. Hodder & Stoughton at 38s. 6d.<br />
<br />
Miss M. P. Willcocks is publishing her new<br />
novel, “‘ The Power Behind,” in England with<br />
Messrs. Hutchinson, and in America with the<br />
Maemillan Co. By a curious chance, the first<br />
two titles selected, ‘‘ Fortune’s Fool” and<br />
“The Mouse Trap,’’ were found to have been<br />
already used. The book is said to be in many<br />
ways a return to the style of ‘“‘ The Wingless<br />
Victory.”<br />
<br />
<br />
<br />
<br />
288<br />
<br />
Mrs. Francis Channon’s new book, ‘ Miss<br />
King’s Profession,” will be published by<br />
Messrs. Mills & Boon early this month. It<br />
deals with the early experiences of a young<br />
author.<br />
<br />
Messrs. John Long, Ltd., will shortly publish<br />
a new novel entitled ‘‘ His American Wife,”’<br />
by George Henry Jessop, author of “ Judge<br />
Lynch,” ete. The subject of this story is a<br />
serious misunderstanding between husband<br />
and wife, arising out of the question how much<br />
of his time a public man can afford to devote<br />
to his wife.<br />
<br />
The same publishers have brought out, at<br />
the price of 3s. 6d., ‘‘ Wanderings and Wooings<br />
East of Suez,” a novel descriptive of a tour<br />
round the world, by Miss Ethel Boverton Red-<br />
wood.<br />
<br />
Messrs. Holden and Hardingham are the<br />
publishers of two new novels—* The Winning<br />
of Gwenora,”’ by Miss Edith C. Kenyon, author<br />
of “ The Wooing of Mifanwy ”; and ‘“‘ While<br />
the Music Lasts,” by Miss Julia MacDonald.<br />
<br />
Another historical romance from the pen of<br />
Miss May Wynne is announced by Messrs.<br />
Stanley Paul & Co. The scene is laid at the<br />
time of the French Revolution, during the<br />
siege of Carpentras by the followers of an<br />
Irishman named Patri, who band themselves<br />
together as the “‘ Brave Brigands ”—a _nick-<br />
name which gives the story its title.<br />
<br />
The same firm announces a new story by<br />
Miss Dolf Wyllarde, to be published during the<br />
holiday season. The book deals with the<br />
problem of a wife’s duty to her husband when<br />
he is serving his country in climates which<br />
would be disastrous to her health and to that<br />
of her baby. The title of the story is “ Youth<br />
Will be Served.”<br />
<br />
Miss Arabella Kenealy’s “‘ The Irresistible<br />
Mrs. Ferrers,’’ will be re-issued by Messrs.<br />
Stanley Paul & Co., its original publishers, in<br />
their 2s. net library. They announce also a<br />
2s. edition of “The Unholy Estate,” by<br />
Mr. Douglas Sladen, whose latest novel,<br />
“The Curse of the Nile,” is now in its fourth<br />
edition.<br />
<br />
Immediately after her husband’s death<br />
fifteen years ago, Mrs. Alec-Tweedie went off<br />
to Finland and wrote a book, “ Through Fin-<br />
land in Carts,” which was her first professional<br />
venture. She has now brought this thoroughly<br />
up to date, adding a new political appendix on<br />
present-day events in Finland and the position<br />
of women there both in and out of polities.<br />
Messrs. Thomas Nelson & Co. publish the new<br />
edition at 1s. ‘‘ Thirteen Years of a Busy<br />
Woman’s Life,” by the same author, which<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
appeared in October last, is now going into ¢o)u<br />
fifth edition.<br />
<br />
A fifth (revised) edition has just appeared of bow<br />
“Printing: a Treatise on the Art of Typo qyt<br />
graphy,” by Mr. Chas. T. Jacobi, of thea %&<br />
Chiswick Press. It is published by Messrs, G@) =<br />
Bell & Sons, at 7s. 6d.<br />
<br />
Mr. Humphrey Jordan, author of “ Theil?”<br />
Joyous Wayfarer,” has published a newoa<br />
romance, ‘‘ Patchwork Comedy.” In this, asi .4i<br />
in its predecessor, there are many vivid scenes, 91><br />
which take place in France, where the author ii<br />
lived the life of a student for several years, and as ~<br />
where he has spent much of his time wandering)!<br />
about with a knapsack. Mr. Jordan also.<br />
occupied the position of schoolmaster in Franee 37<br />
and has been a lecturer in a provincial French.<br />
university. Messrs. Putnams publish ‘“‘ Pateh- dois’<br />
work Comedy” here, and American and ins<br />
Australian editions have also appeared.<br />
<br />
The author who writes under the name of 5 »!<br />
“Sursum Corda” has published, through fue<br />
Messrs. McCorquodale & Co., a pamphlet sic<br />
entitled ‘‘ Broken Empires of the Past : Shall [ed@<br />
Britain Join Them?” being six lectures 917<br />
primarily intended for village use, for which bir<br />
lantern pictures can be supplied. The price of 0 ©<br />
the pamphlet is 6d. (7d. post free).<br />
<br />
“A Trip on a Trader, or Holidays Afloat ? © 46:<br />
is the title of a book, by Mr. Herbert W. Smith, Asis<br />
shortly to be published by Messrs. Madgwick, Jor<br />
Houlston & Co. The narrative opens with a 4 4<br />
schoolboy’s departure from Liverpool on board 91<br />
a Spanish cargo-boat, and ends with his return 171<br />
to London on an English steamer, having 96<br />
visited Carril, Ferrol, Vigo, Corunna, Cadiz,<br />
Lisbon, Malaga and Gibraltar. Many _ inei-<br />
dents enliven the journey, and the places #9»<br />
called at are fully described.<br />
<br />
Mr. F. Walcott Stoddard’s ‘‘ Tramps through #<br />
Tyrol” has recently appeared in a second §<br />
edition. The author is now engaged in writing =<br />
a book on Sweden.<br />
<br />
A volume of poems, “‘ The Web of Life,” by 44<br />
Morgan Douglas, has been published by the ©!<br />
firm of William J. Hay, John Knox’s Houses, ©?<br />
Edinburgh.<br />
<br />
An article by Mr. Gilbert Coleridge on 10<br />
London beggars appeared in the June ©<br />
number of the Cornhill. Its title is ‘“* The<br />
Little Brother of the Pavement.”<br />
<br />
We have received from the Authentic Infor-<br />
mation Agency, of Chancery Lane, the first 1<br />
number of a ‘‘ Weekly Index of Publications”<br />
(other than works of fiction), which the agency<br />
is issuing for the use of its clients. It is not 4?<br />
critical, but aims at clearly indicating the scope<br />
and contents of each work mentioned. Sub- -¢<br />
<br />
<br />
<br />
<br />
<br />
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THE AUTHOR. 289<br />
<br />
jects and authors are classified alphabetically<br />
at the end. The price is 2d. a number, or 5s. a<br />
year, post free.<br />
<br />
" Mr. J. Arthur Hill has an article in The<br />
World’s Work for June, entitled “ The Truth<br />
about Hypnotism.”<br />
<br />
“4 Turkish Woman’s European Impres-<br />
sions,’ with a Preface, is the title of a work<br />
published by Messrs. Seeley, Service & Co. In<br />
this work Miss Jane Ellison has published<br />
letters written to her, providing an insight into<br />
the mind of the Eastern woman. The letters<br />
express the feelings of the woman of the Kast,<br />
in her secluded environment, and confronted<br />
with all those paradoxes called civilisation.<br />
They show how one of these women, wearying<br />
of the restraints imposed upon her, drifted into<br />
alien cities, only to realise that the life of<br />
London and Paris was unsuitable for one<br />
brought up as she had been.<br />
<br />
Mr. Morgan Douglas has issued through<br />
William J. Hay, of Edinburgh, a volume of<br />
lyrics and poems. The title of the volume is<br />
* The Web of Life,” and it contains thirty-five<br />
lyries and short poems.<br />
<br />
Mrs. Florence L. Barclay’s publishers, G. P.<br />
Putnam’s Sons, will publish in September a<br />
new long six-shilling novel by Mrs. Barclay,<br />
entitled ‘“‘ The Broken Halo.”<br />
<br />
We are glad to notice the attendances of<br />
Mr. Hall Caine, with other authors, at the<br />
dinner of the Associated Booksellers of Great<br />
Britain and Ireland, held last month. The<br />
dinner was held too late to enable us to deal<br />
with the various interesting questions covered<br />
by Mr. Hall Caine in his speech, proposing the<br />
toast of the Booksellers’ Association. Among<br />
the topics he mentioned, we notice the question<br />
of “the cheap reprint,” ‘the relations between<br />
authors and booksellers,” and the conditions<br />
of the bookselling trade generally. We notice<br />
that his speech has stirred Mr. Murray to write<br />
in reply, but Mr. Hall Caine has decidedly the<br />
best of the argument.<br />
<br />
DRAMATIC.<br />
<br />
Sir Arthur Pinero’s ‘“‘The Second Mrs.<br />
Tanqueray ” has been revived at the St.<br />
James’s Theatre, with Sir George Alexander<br />
and Mrs. Patrick Campbell in their original<br />
parts. Mr. Bernard Shaw’s ‘‘ Androcles and<br />
the Lion ”’ is announced for production at this<br />
theatre on September 2.<br />
<br />
At the Apollo Theatre, on June 17, “ The<br />
Perfect Cure,’ a new three-act comedy by Mr.<br />
Stanley Houghton, was produced by Mr.<br />
charles Hawtrey.<br />
<br />
Mr. C. Haddon Chambers has adapted the<br />
novel “ Tante ” for the stage, and is in negotia-<br />
tion for a London production. The American<br />
rights have been secured by Mr. Frohmann.<br />
<br />
Mr. Justin Huntly McCarthy’s “ If I were<br />
King ” was revived at the Coronet Theatre on<br />
June 23.<br />
<br />
On June 8 and 9, Miss Ella Erskine gave at<br />
Cosmopolis, 201, High Holborn, two special<br />
performances of an entirely new version of<br />
*¢ Adrienne Lecouvreur,” freely adapted from<br />
the French by Mr. Cecil Howard-Turner. Miss<br />
Erskine herself undertook the title rdle.<br />
<br />
A new play by Mrs. Florence Eaton, author<br />
of “ The Triumph,” was recently produced at<br />
the Abbey Theatre, Dublin, under the title of<br />
“ Playing with Fire.”<br />
<br />
Mr. Herman Scheffauer’s play, “ The New<br />
Shylock,”’ has been accepted for publication<br />
and production in Germany—perhaps the first<br />
instance of the acceptance of an English or<br />
American playwright’s work in Germany prior<br />
to its production in his own country. The<br />
translation has been made by Herr L. Leon-<br />
hard, Mr. John Galsworthy’s translator.<br />
<br />
Mrs. Irene Osgood’s drama, ‘‘ Une Aventure<br />
du Capitaine Lebrun,” has been published in<br />
book form in Paris.<br />
<br />
MUSICAL.<br />
<br />
Mr. Frazer Gange sang at the Bechstein<br />
Hall on June 9, “‘ From a Distance” (Heimweh),<br />
words from the Japanese, music by Mr. G.<br />
Jerrard Wilkinson. The song has been pub-<br />
lished by Messrs. Stainer & Bell.<br />
<br />
<br />
<br />
><br />
<br />
PARIS NOTES.<br />
<br />
<9<br />
<br />
< A MARCHANDE de Petits Pains pour les<br />
1, Canards,’’is the title of René Boylesve’s<br />
latest book. It is a collection of short<br />
<br />
stories, each one of which is a masterpiece of<br />
psychological study. The woman who gets her<br />
living by selling bread for the ducks in the Bois<br />
de Boulogne is as simple and naive as Anatole<br />
France’s Crainquebille. She and her family<br />
are provincials, and their ideas as to the utility<br />
and all-powerfulness of members of Parliament<br />
are most amusing. The story of ‘* Mesdames<br />
Desblauze,”’is told with great skill and delicacy.<br />
The author is a past master in these provincial<br />
stories. He gives us a picture of Poitiers and<br />
of some of its inhabitants. We see the immense<br />
importance of the most trifling events, we hear<br />
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<br />
290<br />
<br />
the gossip of the town, and we have an example<br />
of the simple heroism of two women who<br />
sacrifice their material well-being to their<br />
religious principles. It is one of the many<br />
hundreds of humble romances lived every day,<br />
romances which would pass unnoticed by all<br />
novelists not gifted with the rare observation<br />
and psychological insight of René Boylesve.<br />
The story entitled “ Les Quinqueton,”’ is one<br />
of the longest in the volume, another of the<br />
delightful provincial pictures, with the values,<br />
colouring, and atmosphere peculiar to this<br />
artist.<br />
<br />
Jean Bertheroy is singularly fortunate in<br />
giving us the atmosphere and local colour<br />
needed in_her old-world books. In “ Les<br />
Tablettes d’Erinna d’Agrigente,” we go back<br />
to the Sicily of the second century. Erinna is<br />
married to Isée and they have two children, a<br />
boy and a girl. Sicily is under the Roman<br />
yoke, and Erinna, in her diary, or tablettes,<br />
gives us an account of the daily life of herself<br />
and her household. The plot of the story is<br />
remarkably like that of “‘ The Guarded Flame,”<br />
with the exception that, in this case, the hus-<br />
band’s forbearance is no doubt actuated by the<br />
consciousness of his own delinquencies. Erinna<br />
has married a man nearly old enough to be her<br />
father. They are, nevertheless, very happy in<br />
a peaceful, quiet way. The young wife’s<br />
troubles begin when her husband engages a<br />
Roman steward. The great charm of the book<br />
is in the simplicity of its style. Erinna takes<br />
us back to the days of Marcus Aurelius. She<br />
shows us Sicily and the life of its people. She<br />
tells us of the beliefs and the various rites and<br />
ceremonies of her compatriots. There is a<br />
poetry in the everyday life of the little family<br />
which is most touching. The story is a modern<br />
one transplanted into the old world and made<br />
more picturesque by its setting.<br />
<br />
“Témoins de Jours Passés,’” by Etienne<br />
Lamy, is the second volume of this series. The<br />
book is divided into three parts. In the first,<br />
the author gives us a study of Nicolas Bergasse,<br />
un Négateur de la Souveraineté populaire.<br />
Nicolas Bergasse was an advocate, and a<br />
member of the Paris Parliament, who lived<br />
through the stormy period between 1750 and<br />
1832. The second part of the book is devoted<br />
to the psychology of a man with revolutionary<br />
ideas, ‘‘ Le Conventionnel, André Dumont,”<br />
and the third to “La Renaissance de l’Etat<br />
Bulgare.”” The last study appeared first in<br />
Le Correspondant, so that some of the events<br />
foretold have now become accomplished facts.<br />
Many interesting historical facts are to be<br />
arnt from this chapter.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
“* L’Autre Miracle,”’ by Aimée Blech, is a<br />
clever psychological study. The story turns<br />
on the difficulties which ‘arise in a marriage<br />
between a woman who is staunch to her<br />
religion and a man who is an idealist, but<br />
who professes no religion at all. It is an<br />
essentially modern novel, showing us various<br />
types of so-called religious people. Amon<br />
the types chosen, we have an absolutely sin-<br />
cere Protestant, a Catholic, and a Theosophist.<br />
We then have certain professedly extreme<br />
Catholics, whose religion is in name only. As<br />
we so frequently see in real life, it is the man<br />
with no religious creed, whose life appears to<br />
be the finest and whose principles and ideas<br />
are carried out in every detail of his every-day<br />
life, whilst the lives of many of the so-called<br />
religious people are absolutely contemptible.<br />
From this book, we have a clear idea of the<br />
aims and doctrine of Theosophy. We see its<br />
wide outlook when one of its disciples explains<br />
to the rigid Catholic the unity of religions. The<br />
story itself is well told, and all the characters<br />
are living.<br />
<br />
The theatres are beginning to close for the<br />
summer. The Odéon, the Gymnase, the<br />
Bouffes Parisiens, the Comédie Royale, the<br />
Capucines and the ThéAtre des Arts have all<br />
closed their doors already. A play entitled,<br />
“Vouloir,” by M. Gustave Guiches, is extremely<br />
modern and curious. The theme which the<br />
author has chosen is that of will-power, but<br />
the doctor who preaches it is not able to<br />
practise it when his own inclinations are con-<br />
cerned. The Théatre Réjane is now giving<br />
““Le Divorce de Mlle. Beulemans,”? and the<br />
Renaissance, ‘‘ Le Minaret.”’<br />
<br />
At the Salle Villiers we have had three<br />
excellent performances by Mr. Cecil J. Sharp’s<br />
English Folk Dance Society. The picturesque<br />
Morris and Sword Dances were quite a<br />
revelation to the French public, and the<br />
audience each time was most appreciative and<br />
enthusiastic. These performances, in Paris,<br />
were organised by Mr. Philip Carr, and on all<br />
sides we hear regrets that the Society is not<br />
staying longer. The dancing was perfect and<br />
the folk-songs charming. It was a revelation,<br />
not only to the French public, but to the<br />
English and American colonies in Paris, so<br />
that Mr. Sharp’s Society may count on an<br />
enthusiastic reception on its next visit to Paris.<br />
M. Tiersot, the well-known Librarian of the<br />
Conservatoire, introduced the English Company<br />
to the French public, and Yvette Guilbert gave<br />
the members a cordial welcome for their second<br />
matinée.<br />
<br />
M. Camille de Sainte-Croix, the Director of<br />
<br />
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<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the French Shakespeare Company, is most<br />
- anxious to have an outdoor representation of<br />
the dances, during his season in the Saint-<br />
Cloud woods. M. de Sainte-Croix is inde-<br />
fatigable, and promises us a series of Shake-<br />
speare plays from June to October or November<br />
on Sundays and Thursdays. It is also sug-<br />
gested that the French Shakespeare Company<br />
should give a series of performances in England<br />
during the season. It would be interesting to<br />
see the same play given in English and F rench,<br />
on consecutive nights.<br />
Axtys HALLARD.<br />
<br />
<br />
<br />
‘La Marchande de Petits Pains pour les Canards,’<br />
(Calmann- Lévy.)<br />
<br />
“Les Tablettes<br />
Lévy.)<br />
<br />
« Pémoins de Jours Passés.” (Calinann-Lévy.)<br />
<br />
“TAutre Miracle.” (Perrin.)<br />
<br />
@’Erinna d’Agrigente.” (Calmann-<br />
t<br />
<br />
——_____. + —__—_<br />
<br />
A SAD AGREEMENT.<br />
<br />
—+- +<br />
<br />
HE attention of the members of the<br />
Society of Authors may well be called<br />
to the following agreement :—<br />
<br />
Memoraxpum or AGREEMENT thade this sixth day of<br />
March, 1911, between —— (hereinafter termed the author)<br />
of the one part, and Joun Lanz, of the Bodley Head,<br />
London (hereinafter termed the Publisher) of the other<br />
part. Whereby it is mutually agreed between the parties<br />
hereto, for themselves and their respective executors,<br />
administrators and assigns (or successors as the case may<br />
be) as follows :—<br />
<br />
1. The Publisher shall at his own risk and expense, and<br />
with due diligence, produce and publish the work at present<br />
intituled by and use his best endeavours to sell<br />
the same.<br />
<br />
2. The Author guarantees to the Publisher that the said<br />
work is in no way whatever a violation of any existing<br />
copyright, and that it contains nothing of a libellous or<br />
scandalous character, and that he will indemnify the<br />
Publisher from all suits, claims and proceedings, damages<br />
and costs which may be made, taken, or incurred by or<br />
against him on the ground that the work is an infringement<br />
of copyright, or contains anything libellous or scandalous.<br />
<br />
3. ‘The Publisher shall during the legal term of copyright<br />
have the exclusive right of producing and publishing the<br />
work in the United Kingdom, the Colonies, India and in<br />
the United States of America. The Publisher shall have<br />
the entire control of the publication and sale and terms of<br />
sale of the book, and the Author shall not during the<br />
continuance of this Agreement (without the consent of the<br />
Publisher) publish or allow to be published any abridge-<br />
ment, portion, translation, or dramatized version of the<br />
work.<br />
<br />
4. The Publisher agrees to pay the Author the following<br />
royalties, that is to say :—<br />
<br />
(a) A royalty of ten per cent. (10%) on the published<br />
price of all copies sold (13 being reckoned as 12) of the<br />
British and American Edition jointly beyond 2,000<br />
copies.<br />
<br />
(b) In the event of the Publisher disposing of copies<br />
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<br />
291<br />
<br />
or editions at a reduced rate for sale in the Colonies, or<br />
<br />
elsewhere, or a8 remainders, a royalty of ten per cent.<br />
<br />
of the amount realised by such sale.<br />
<br />
(c) In the event of the Publisher realising profits<br />
from the sale of serial, Continental or other rights, or<br />
from claims for infringement of copyright, a royalty of<br />
fifty per cent. of the net amount of such profits remaining<br />
after deducting all expenses relating thereto.<br />
<br />
(d) No royalties shall be paid on any copies given<br />
away for review or other purposes.<br />
<br />
(e) The Author shall be entitled to six gratuitous<br />
copies, and any further copies required at trade price.<br />
<br />
(f) In the event of the Publisher deciding to re-issue<br />
this work in a cheaper form, the royalties payable to<br />
the Author upon such copies shall be the same as upon<br />
the English and American editions as hereinbefore<br />
stated, provided such do not exceed ten per cent. of<br />
the published price, which shall be the maximum, upon<br />
all copies sold (13 being reckoned as 12).<br />
<br />
5. The Author agrees to revise the first, and if necessary<br />
to edit and revise every subsequent edition of the work,<br />
and from time to time to supply any new matter that may<br />
be needful to keep the work up to date.<br />
<br />
6. The Author agrees that all costs of Author’s correc-<br />
tions and alterations in the proof sheets exceeding 20 per<br />
cent. of the cost of the composition shall be paid for by<br />
him.<br />
<br />
7. In the event of the Author neglecting to revise an<br />
edition after due notice shall have been given to him, or<br />
in the event of the Author being unable to do so by reason<br />
of death, or otherwise, the expense of revising and prepar-<br />
ing each sueh future edition for press shall be borne by<br />
the Author, and shall be deducted from the royalties<br />
payable to him.<br />
<br />
8. During the continuance of this agreement, the copy-<br />
right of the work shall be vested in the Author, who may<br />
be registered as the proprietor thereof accordingly.<br />
<br />
9. The Publisher shall make up the account annually<br />
to December the thirty-first and deliver the same to the<br />
Author within three months thereafter, and pay the balance<br />
due to the Author on the same date.<br />
<br />
10. If the Publisher shall at the end of three years from<br />
the date of publication, or at any time thereafter, give<br />
notice to the Author that, in his opinion, the demand for<br />
the work has ceased, or if the Publisher shall for six<br />
months after the work is out of print, decline, or, after due<br />
notice, neglect to publish a new edition, then and in either<br />
of such cases this Agreement shall terminate, and, on the<br />
determination of this Agreement in the above or any other<br />
manner, the right to print and publish the work shall<br />
revert to the Author, and the Author, if not then regis-<br />
tered, shall be entitled to be registered as the proprietor<br />
thereof, and to purchase from the Publisher forthwith<br />
the plates and moulds and blocks or plates of illustrations ,<br />
(if any) produced specially for the work, at half-cost of<br />
production and whatever copies the Publisher may have<br />
on hand at cost of production, and if the Author does not<br />
within three months purchase and pay for the said plates<br />
or moulds, blocks or plates of illustrations, and copies, the<br />
Publisher may at any time hereafter dispose of such plates<br />
or moulds, blocks or plates of illustrations and copies, or<br />
melt the plates, paying to the Author in lieu of royalties ten<br />
per cent. of the net proceeds of such sale, unless the<br />
Publisher can prove from his books that the publication<br />
has resulted in a loss to him, in which case he shall be<br />
liable for no such payment.<br />
<br />
11. If any difference shall arise between the Author and<br />
the Publisher touching the meaning of this Agreement, or<br />
the rights or liabilities of the parties thereunder, the same<br />
shall be referred to the arbitration of two persons (one to<br />
be named by each party) or their umpire, in accordance<br />
with the provisions of the Arbitration Act, 1889.<br />
<br />
<br />
<br />
<br />
292<br />
<br />
12. The term ‘“ Publisher ”’ throughout this Agreement<br />
shall be deemed to include the person or persons or Com-<br />
pany for the time being carrying on the business of the<br />
said John Lane, under as well its present as any future<br />
style, and the benefit of this Agreement shall be trans-<br />
missible accordingly.<br />
<br />
13. The Author agrees to give the Publisher the offe<br />
of his next three books on the following terms :— :<br />
<br />
(a) On the British edition of his first book a royalty<br />
of ten per cent. (10%) on the published price of<br />
the first fifteen hundred (1,500) copies sold, and<br />
once per cent. (15%) on all subsequent copies<br />
sold.<br />
<br />
(b) On the British edition of his second book a<br />
royalty of twelve-and-a-half per cent. (124%) on<br />
the published price of the first fifteen hundred<br />
(1,500) copies sold, and fifteen per cent. (159%) on<br />
all subsequent copies sold.<br />
<br />
(c) On the British edition of his third book a royalty<br />
<br />
of fifteen per cent. (15%) on the published price ©<br />
<br />
of the first two thousand five hundred (2,500)<br />
copies sold and twenty per cent. (20%) on all<br />
subsequent copies sold.<br />
<br />
14. If the Publisher be successful in arranging for any<br />
one or all of the above books (clause 13 (a), (b), (c) ) to be<br />
published in the United States of America, he agrees to<br />
pay to the Author a royalty of ten per cent. (10%) on the<br />
published price of the first five thousand (5,000) copies<br />
sold, and fifteen per cent. (15%) on all subsequent copies<br />
sold in each instance.<br />
<br />
15. It is understood that 13 copies be reckoned as 12<br />
throughout this Agreement in accordance with the custom<br />
of the trade.<br />
<br />
As witness the hands of the parties.<br />
<br />
On the first and second clauses, no special<br />
remark need be made. It must be noted,<br />
however, that the words in clause 1 “ with due<br />
diligence,” as regards the date on which the<br />
book shall be published, do not, with sufficient<br />
accuracy, determine the point. The author’s<br />
interpretation may be very different from the<br />
publisher’s. In the interest of the author, to<br />
whom the date of publication may be of great<br />
importance, the date should be more definitely<br />
fixed by such words as “ on or before the<br />
day of , time to be of the essence of the<br />
contract.”” Clause 2 gives the publisher too<br />
much freedom. The author should have a<br />
certain amount of control over the costs which<br />
may be incurred by the publishers ; but as a<br />
tule in the case of an ordinary novel, it is not<br />
<br />
very likely that a claim for the infringement |<br />
Therefore, |<br />
<br />
of copyright would be brought.<br />
although from the legal point of view it is<br />
reasonable that the author should protect<br />
himself, yet, if he feels certain that his position<br />
is clear, he may sign the clause.<br />
<br />
Of course if he is to pay all costs of any libel<br />
action he will decide if such should be defended,<br />
the terms of any apology, and the conduct of<br />
the case.<br />
<br />
Clause 3 is a very important clause, and in it<br />
the author is giving to the publisher rights far<br />
beyond those the publisher should hold, especi-<br />
<br />
THE AUTHOR.<br />
<br />
ally when it is taken into consideration that<br />
in clause 4 the author is not to be paid a<br />
royalty until after the sale of 2,000 copies of<br />
the British and American editions. The<br />
publisher, in clause 8, should certainly be<br />
limited to publication in book form and to<br />
publication in the English language, and to<br />
publication at a fixed price or prices, and in<br />
fixed format or formats. It is advisable also,<br />
as a general rule, for an author to make an<br />
attempt to secure the American copyright for<br />
himself, but if he neglects or has failed to do this<br />
then the publisher should have the right to<br />
sellin sheets to the United States on proper<br />
terms. The other essential limitations as to<br />
the number of editions that the publisher<br />
should be allowed to publish, and as to the<br />
number of years during which the publisher<br />
should hold his licence have been explained<br />
at length in other numbers of The Author.<br />
<br />
Clause 4 deals with the payment of royalties.<br />
The author is entitled (a) to 10 per cent. after<br />
the number of 2,000 copies of the English and<br />
American editions have been sold. This method<br />
of payment by a deferred royalty is very<br />
dangerous for the author. Indeed, examples<br />
have been brought to the notice of the Society<br />
in which a publisher has printed only the fixed<br />
number of copies 6n which the author is not<br />
entitled to a royalty, and has then broken up<br />
the type so that it was impossible for the author<br />
ever to obtain a return from the sale of his<br />
book. This we are glad to say has not been<br />
the case under the present agreement, as the<br />
publisher produced at the first printing nearly<br />
5,000 copies, and was certainly justified in<br />
doing so by the sales. Yet so far as the<br />
English and American editions are concerned,<br />
the author has not received a penny in<br />
royalties.<br />
<br />
That the author should, after the sale of<br />
2,000 copies of the English and American<br />
editions, only receive 10 per cent. is wholly<br />
unfair. If, in his ignorance or folly, he allows<br />
such a large number to be sold free of royalty,<br />
the publisher will by the time that number has<br />
been reached, not only have got back his<br />
original outlay, but will also have made a<br />
good profit on the money invested. What<br />
stimulus is there to push the book further ?<br />
But if the book does sell further, then the<br />
author should be entitled at the very lowest<br />
to 80 per cent. of the published price on the<br />
next 2,000 copies and a substantial royalty<br />
after 4,000 have been disposed of. One method<br />
by which the author can protect himself, if he<br />
is foolish enough to join in this deferred royalty<br />
system, is to insist on the publisher producing<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
a fixed number of copies considerably in excess<br />
_ of the number on which he is to receive no<br />
return, and to insist also on a clause in the<br />
agreement by which the publisher undertakes<br />
to advertise up to a fixed sum, and to vouch<br />
his advertisements. It is generally with the<br />
pait of wide advertising that the publisher<br />
tempts the author into the deferred royalty<br />
agreement.<br />
<br />
The next paragraph (b) in the same clause is<br />
entirely unsatisfactory. It is a matter of<br />
common knowledge that copies are sold to<br />
the colonies generally in sheets at a reduced<br />
rate, and on these copies, 3d, 4d., or even 5d.<br />
a copy is paid to the author. The sheets<br />
realise about 1s. or perhaps a little less. H<br />
they realise 1s. a sheet then 3d. a copy would<br />
be 25 per cent. If they realise 10d. a<br />
sheet then 3d. a copy would be about<br />
30 per cent., so that when the publisher<br />
offers 10 per cent. on the amount<br />
realised he is offering a very low royalty<br />
indeed; even if the copies are sold cheaply<br />
bound in a special colonial edition, 10 per cent.<br />
is an exceedingly low royalty, but in no<br />
circumstances should the publisher be allowed<br />
to sell ‘elsewhere’? or ‘as remainders ”<br />
without some further limitations. He cer-<br />
tainly should not be allowed to sell the book<br />
as ‘remainders ” within three years from the<br />
date of publication, and the author should<br />
have the option of purchase at remainder<br />
prices.<br />
<br />
The next paragraph (c) is also greatly to the<br />
detriment of the author. The publisher should<br />
have no power to sell the rights mentioned<br />
without reference to the author, and in no<br />
_cireumstances should he be allowed to take as<br />
much as 50 per cent. for work that an agent<br />
would do for 10 per cent. If the author<br />
is willing to employ the publisher as his agent<br />
for the sale of these rights, then the clause<br />
should run somewhat on the following lines :—<br />
“Tf through the agency of the publisher any<br />
' of the minor rights are sold, under an agreement<br />
signed and approved by the author, then, and<br />
in that case the author agrees to pay to the<br />
publisher 10 per cent. as agency charges on<br />
the amount due under the contract as and when<br />
received.” As the author’ should give to the<br />
publisher only the right of publication in<br />
book form, the question of the right of the<br />
publisher to sue for infringement of copyright<br />
will not rise, but the author should have the<br />
power in his own hands to take what action he<br />
thinks fit, though it is not unreasonable,<br />
should he be unwilling to take action, that some<br />
arrangement should be made by which the<br />
<br />
<br />
<br />
293<br />
<br />
publisher could take up the matter himself in<br />
order to protect his rights acquired under the<br />
contract.<br />
<br />
With regard to the next two paragraphs<br />
(d) and (e) a great deal could be written, but<br />
paragraph (f) is much more impoctant. The<br />
publisher of a work in 6s. form should not<br />
necessarily have the right to publish in a cheap<br />
edition at all unless he is a recognised publisher<br />
of booksinthat form. But if he has the right,<br />
then he should be limited in various ways. It<br />
should be clearly stated that he should not be<br />
allowed to publish in cheap edition within<br />
three years from the date of publication of the<br />
original without the sanction of the author.<br />
He should be bound to exercise the option<br />
within a certain time, say, four years in all.<br />
If he has not exercised his option, then his<br />
right of publication in cheap form should<br />
lapse, and should revert to the author. It<br />
is best, however for the author, whenever<br />
it is possible, to reserve the right of cheap<br />
publication, and only grant a licence to publish<br />
at a fixed price. Then again, it is a matter<br />
of great importance that the author should<br />
have a veto on the form in which the cheap<br />
edition will be published, for many authors<br />
dislike the more permanent form of cheap<br />
editions at 1s. or 7d., but are quite willing to<br />
allow their books to be produced at 6d. Again,<br />
some question has arisen about the extent to<br />
which a publisher may advertise in a 6d.<br />
edition. If the author has any special objec-<br />
tion to advertisements, he should guard<br />
against these in the agreement. To sum up<br />
on these two paragraphs, an author should<br />
bind the publisher to exercise his option of<br />
publication of the cheap edition within a<br />
certain time, and further should limit the<br />
publisher as to the form in which, and the<br />
price at which, the cheap edition should be<br />
produced. This is of increasing importance<br />
owing to the popular demand for cheap<br />
editions.<br />
<br />
Clause 5 is merely a case of careless drafting<br />
on the part of the publisher. The clause does<br />
not really refer to a novel, but as it happened<br />
to be in the agreement, the publisher never<br />
thought of taking it out.<br />
<br />
In clause 6 the amount that is allowed for<br />
corrections is not very liberal. Most pub-<br />
lishers will allow 25 per cent. of the cost of<br />
composition, and some publishers even more.<br />
<br />
Clause 7, again, like clause 5, has practically<br />
no reference to a novel.<br />
<br />
Clause 8 is superfluous and ill-informed.<br />
If the author only gives the publisher the<br />
exclusive right of printing and publishing<br />
<br />
<br />
<br />
<br />
294<br />
<br />
<br />
<br />
in certain countries, he is not thereby<br />
transferring the copyright, so that no special<br />
clause is necessary to point this out, and under<br />
the Copyright Act of 1911, all registration has<br />
been done away with.<br />
<br />
Clause 9 is unsatisfactory. A publisher<br />
ought to render accounts biennially, at any<br />
rate during the first two or three years from<br />
the date of the agreement while the book is<br />
selling freely.<br />
<br />
Clause 10, although it is a clause which has<br />
been approved by the Publishers’ Association,<br />
is drafted very indefinitely, and anything that<br />
tends to indefiniteness in a legal document is<br />
to be regretted. This remark refers to the<br />
words ‘‘if the publishers shall for six months<br />
after the work is out of print, decline, or, after<br />
due notice, neglect to publish a new edition.”<br />
To begin with six months is much too long,<br />
for if the publisher thinks there is any<br />
money to be made, he will not want to delay<br />
publication for as long as six months, whereas,<br />
if the author wants to reissue the book,<br />
he ought to get control long before six months<br />
have expired. While the term set out does<br />
not benefit the publisher, it is of considerable<br />
inconvenience to the author. Then the words<br />
“decline or after due notice neglect ” might<br />
lead to much difficulty, for the publisher might<br />
not directly decline to republish and might<br />
keep the author dragging on for a considerable<br />
period beyond six months ; and in thesame way<br />
he might not directly neglect to republish, or<br />
if he did it might be very difficult for the author<br />
<br />
to ascertain whether he had been neglectful. It /<br />
<br />
would be much better, therefore, to have a<br />
clause somewhat on the following lines :—<br />
“If after three months’ notice in writing, the<br />
publisher has not put on the market a new<br />
edition of at least 500 copies (Note, this number<br />
to show his bona fides), then the agreement<br />
shall be terminated and all rights therein shall<br />
return to author.” Here it is quite clear that<br />
at a certain fixed date, that is, three months<br />
after the notice has been given, the author<br />
regains command if the book has not been put<br />
on the market. Registration being no longer<br />
necessary, the words following in the same<br />
clause again show the unfamiliarity of the<br />
publisher with copyright law.<br />
<br />
Clause 11 is for a great many reasons very<br />
objectionable from the author’s point of<br />
view. If the publisher breaks his agreement<br />
and the matter is referred to arbitration, the<br />
publisher escapes from the publicity which is<br />
essential as a warning to other authors ;<br />
besides arbitration, especially in matters where<br />
points of law are concerned and not points of<br />
<br />
THE AUTHOR.<br />
<br />
fact, is as a rule unsatisfactory, and often very<br />
expensive.<br />
<br />
Every publishing agreement should be<br />
personal to the publisher, and it is a mistake,<br />
therefore, to allow such a clause as clause 12<br />
to be inserted. Many authors might have no<br />
objection to their books being produced by the<br />
publisher with whom they sign an agreement,<br />
but in case of his death or bankruptcy, they<br />
might strongly object to the agreement being<br />
taken over by another publisher.<br />
<br />
It is necessary to say very little about<br />
clause 13. It is always objectionable for an<br />
author to bind himself to a publisher for more<br />
than one book, and it is more than objectionable<br />
that he should bind himself to a publisher for<br />
more than one book on fixed and inadequate<br />
terms. The publisher’s response is, “* Oh, but<br />
I can spend so much more on your first book<br />
in advertising, if I know that I shall reap the<br />
benefit by getting the publication of the second<br />
and third books.’? Note also that a similar<br />
remark may be put forward to induce the<br />
author to sign for a deferred royalty. The<br />
author should say, ‘‘ Will you undertake, in<br />
your agreement, to advertise my first and<br />
subsequent books to the extent of £ and<br />
to vouch these advertisements, should I think<br />
it necessary?” The publisher would in most<br />
cases refuse to do so. There is nothing left<br />
if the author accepts the position of this<br />
agreement but to trust in the good faith of<br />
the publisher.<br />
<br />
It has already been pointed out when dis-<br />
cussing the first sub-heading of clause 4, that<br />
if a publisher pays no royalty on the first<br />
2,000 copies, there is a risk lest he should<br />
make no endeavour to push the sales beyond<br />
that point. The same danger arises here. A<br />
publisher, knowing that he has the next three<br />
or four books of the author, may not trouble to<br />
push the sales of the first book beyond such an<br />
amount as will bring him the return of his<br />
original outlay and a good percentage on his<br />
money. This is so much easier, where the<br />
publisher, as in the present case, pays no<br />
royalty on the first 2,000 copies sold. If any<br />
of the next three books prove a success the<br />
terms put forward are wholly inadequate. Any<br />
publisher, if a book is a success and runs into<br />
thousands of copies, would be willing to pay an<br />
<br />
author 25 per cent. from the beginning, with a<br />
<br />
considerable advance. Therefore, clause 18,<br />
even in ordinary circumstances gives all the<br />
advantage to the publisher, but if any of the<br />
books are a success he might make a con-<br />
siderable profit with but little return to the<br />
author. One more point: the date of pub-<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
lication for the future works is not fixed.<br />
Now this is of vital importance to an author<br />
who is entering into other contracts for serial<br />
issue. Even if the date the publisher<br />
arbitrarily sets down for publication does not<br />
interfere with other contracts, it may for<br />
other reasons be wholly disadvantageous to<br />
the author.<br />
<br />
In clause 14 the terms which the publisher<br />
proposes for the American copyright are very<br />
<br />
unsatisfactory. It is much better for an<br />
<br />
author to have a separate agreement for<br />
publication of his American edition with an<br />
American publisher, than to allow the matter<br />
to lie in the hands of one publisher only. It<br />
has often been pointed out in The Author that<br />
a book published successfully in America will<br />
bring in to the author, even at a lower percen-<br />
tage, probably a much larger figure than it<br />
will bring in in England, because the circulation<br />
is likely to be so much larger.<br />
<br />
Now what has been the result of this<br />
agreement in actual practice? It would<br />
appear that the pubisher has sold some<br />
3,600 copies in different countries and at<br />
different prices. As far as England and<br />
America are concerned, the sales are some<br />
800 short of the number required to pro-<br />
duce a royalty. Out of the sales in other<br />
countries the author has made some £10 10s.<br />
Allowing that the publisher has advertised the<br />
book to a reasonable extent, he has made<br />
most probably 50 per cent. to 60 per cent. on<br />
his outlay.<br />
<br />
——__———__+—>—_+_____<br />
<br />
THE COMMERCIAL SIDE OF MUSIC.<br />
ACCOUNT CLAUSE.<br />
<br />
——— +<br />
<br />
1% the June number of The Author an<br />
article was published giving an account<br />
of the commercial side of music produc-<br />
<br />
tion, and a copy of the document that music<br />
<br />
publishers are in the habit of asking composers<br />
to sign was printed as a warning.<br />
<br />
The article explained that the document was<br />
not really an agreement in the ordinary sense<br />
of the word, as the composer assigned all of<br />
what he stood possessed and the publisher<br />
undertook practically to do nothing.<br />
<br />
Amongst the omissions. from the document<br />
was an ordinary clause for the delivery of<br />
accounts. This omission, even from the pub-<br />
lisher’s point of view, was foolish, because if<br />
the dates and seasons for accounting are not<br />
settled the composer would have the right to<br />
<br />
<br />
<br />
295<br />
<br />
claim a rendering at any reasonable time.<br />
But the very omission shows the off-hand<br />
manner in which the publishers treat those<br />
on whose brains they grow rich and prosper.<br />
<br />
When the attention of the Composers’ Sub-<br />
Committee was called to the omission, they<br />
instructed the secretary to write a circular<br />
letter to publishers pointing out that for their<br />
own sake as well as for the sake of the com-<br />
posers, it would be a good thing if some<br />
uniform arrangement could be come to.<br />
<br />
Accordingly the following letter was drafted<br />
and despatched to twenty-one well-known<br />
publishers :—<br />
<br />
Dear Sirs,—It appears that in many documents for the<br />
publication of their works which composers have been<br />
asked to sign, although they retain a continuing interes}<br />
by way of royalty, no formal account clause is inserted<br />
indicating when the accounts are to be rendered. As you<br />
may be aware it is the invariable custom of publishers of<br />
books to insert an account clause into their agreements.<br />
The Composers’ Sub-Committee of the above Society,<br />
therefore, have asked me to approach you in regard to this<br />
matter. They consider it would affect a great saving of<br />
the publishers’ time, and facilitate the business dealings of<br />
composers and publishers, if it were possible to come to<br />
some uniform arrangement by which publishers would<br />
undertake to render accounts at fixed dates. At present,<br />
no account clause being inserted, the composer is entitled<br />
to demand accounts from the publisher at any time, and as<br />
often as he likes, within reason; this position is clearly<br />
quite unsatisfactory.<br />
<br />
The Composers’ Sub-Committee suggest, therefore, that<br />
accounts should be rendered twice annually, made up to the<br />
31st December and the 30th June, the accounts being<br />
rendered and the sum being paid within one month from<br />
these dates.<br />
<br />
If this suggestion meets with your approval, I should be<br />
much indebted to you if you would write me a letter to that<br />
effect, stating at the same time that you are willing to<br />
insert this clause in your agreements.<br />
<br />
The names of the publishers falling in with this sugges-<br />
tion, which is an eminently practicable one, will be pub-<br />
lished in The Author for the benefit of composers who are<br />
seeking to place their works.<br />
<br />
IT remain,<br />
Yours faithfully,<br />
<br />
From this list the following neglected to send<br />
an answer. The names are printed in alphabe-<br />
tical order so that there can be no claim to<br />
preference in discourtesy.<br />
<br />
Messrs. Chappell & Co., Ltd.<br />
Elkin & Co., Ltd.<br />
Keith, Prowse & Co.<br />
Metzler & Co.<br />
Reynolds & Co.<br />
Ricordi & Co.<br />
<br />
,», Schott & Co.<br />
<br />
As the circular was sent out in the hope of<br />
making regular an acknowledged irregularity,<br />
and of simplifying and adjusting the relations<br />
<br />
9°<br />
<br />
9°<br />
<br />
99<br />
<br />
99<br />
<br />
29<br />
<br />
<br />
<br />
<br />
296<br />
<br />
<br />
<br />
between author and publisher, there was every<br />
reason why the publishers should have<br />
welcomed the chance of meeting the composers<br />
in a fair way.<br />
<br />
It is pleasing, however, to state that twelve<br />
publishers, that is, the majority, did reply.<br />
<br />
Messrs. Novello & Co.’s reply was charac-<br />
teristic, and, as such, may be quoted in full :—<br />
<br />
“DEAR Srr,—We beg to acknowledge the receipt of your<br />
letter of the 22nd inst.<br />
<br />
“We are, Yours faithfully,<br />
‘““NOVELLO & Co.”<br />
<br />
Messrs. Boosey & Co. beg to say that their<br />
relations with their composers are of a most<br />
amicable kind, and they see no reason whatever<br />
to make any alterations in their agreements.<br />
<br />
It is pleasant to think of those most amicable<br />
arrangements, but after all, rumours of dissatis-<br />
faction have been vibrating the air. As far<br />
as the latter part of the letter is concerned the<br />
circular asked for no alteration, but made a<br />
reasonable business proposal.<br />
<br />
The answers from the remaining publishers<br />
gave the information invited. It is satisfac-<br />
tory to composers to have the list of those<br />
whose agreements do contain the necessary<br />
account clauses; though it is not necessarily<br />
a logical deduction that because a publisher<br />
has not answered the circular, he is therefore<br />
lax in rendering his accounts.<br />
<br />
Messrs. Ascherberg, H opwood & Co. state<br />
that their accounts are made up half-yearly,<br />
on June 30 and December 31, and that these<br />
dates are mentioned in their agreements.<br />
<br />
Messrs. Augener state that it is provided in<br />
their copyright forms that “ royalties will be<br />
paid when the next succeeding edition is<br />
printed.” In answer to a further question as<br />
to the size of an edition they were kind<br />
enough to state “ that as a rule, according to<br />
their experience, they figure on printing a<br />
six months’ supply for a first edition and a<br />
one year’s supply for the following editions.”<br />
While the information that has been given<br />
is of undoubted importance to composers,<br />
still the method cannot be commended, and<br />
the very answer shows how necessary the<br />
action of the sub-committee has been.<br />
<br />
Messrs. Cary & Co. make up their royalty<br />
accounts January 1 and July 1, and discharge<br />
the same about two months later.<br />
<br />
Messrs. John Church & Co. reply that they<br />
have such a clause as the one indicated, i.e.,<br />
half-yearly accounts, in their agreements with<br />
composers.<br />
<br />
Messrs. Curwen & Sons make up their<br />
accounts annually to May 81, and these are<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
rendered and paid within three months. This<br />
is stated in the agreement.<br />
<br />
Messrs. J. B. Cramer & Co., Litd., express<br />
their sympathy with the object the Society<br />
has in view. They have a clause in their<br />
agreements for half-yearly settlements.<br />
<br />
Messrs. Enoch & Son make half-yearly<br />
settlements to the end of June and December,<br />
but do not find it possible in every case to pay<br />
within one month.<br />
<br />
Messrs. B. Fieldman & Co. make a practice<br />
of paying royalties half-yearly, and do their<br />
utmost to make same up and settle in January<br />
and July.<br />
<br />
Messrs. Francis, Day and Hunter<br />
accounts and statements twice annually to<br />
June 30 and December 31, and render the<br />
statements and pay the amounts due within<br />
two months of the said dates,<br />
<br />
Messrs. Hawkes & Son state that two<br />
members of the Composers’ Sub-Committee<br />
for whom they publish are perfectly satisfied<br />
with their methods ‘ which, in point of fact,<br />
are a little more strictly business-like than that<br />
form requested by you.”<br />
<br />
It is to be regretted that this firm has not<br />
given information as to these methods.<br />
<br />
Messrs. Weekes & Co. enclosed a form of<br />
their agreement. (This is not the place to<br />
comment on the wording of the document.)<br />
Composers are referred to the June number<br />
dealing with transfer of copyright.) We desire<br />
‘to express our thanks to Messrs. Weekes for<br />
their courtesy. The document states that a<br />
proper statement of account is rendered in the<br />
months of January and J uly.<br />
<br />
Messrs. J. Williams, Ltd., make settlements<br />
for all royalties due to composers and authors<br />
every six months (March and September).<br />
<br />
To sum up: Nine publishers have not<br />
answered the circular. They may include an<br />
account clause in their agreements or they<br />
may not. In some cases it is known that<br />
they donot. Of the twelve who have answered<br />
two give no information on the point, but ten<br />
have put forward full particulars, and out of<br />
these ten, nine render semi-annual and one<br />
annual accounts. The circular has been fully<br />
justified by the result and the answers will be<br />
of value to those composers who are negotiating<br />
for the production of their works. The sub-<br />
committee have to thank those publishers<br />
who have so readily and fully replied.<br />
<br />
prepare<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
DRAMATISATION OF A NOVEL.<br />
<br />
<br />
<br />
INFRINGEMENT OF COPYRIGHT.<br />
<br />
Corelli v. Gray.<br />
<br />
N this action Miss Marie Corelli, the well-<br />
| known authoress, claimed damages and<br />
an injunction against Mr. George Gray<br />
to prevent him from performing a sketch<br />
entitled ‘“‘The People’s King,’’ which had<br />
been presented at certain variety theatres, on<br />
the ground that it was an infringement of the<br />
plaintiff's copyright in her novel, called<br />
“¢ Temporal Power.”<br />
<br />
The novel was written in 1902, and under the<br />
new Copyright Act the plaintiff's copyright<br />
includes the right of dramatisation. The<br />
defendant did not question the plaintiff's<br />
copyright in the novel, but alleged that the<br />
play was an adaptation or condensed version<br />
of an earlier play called ‘‘ In the King’s Name,”<br />
which he had written wholly independently of<br />
the novel and some eight years before the novel<br />
was published.<br />
<br />
There were numerous resemblances between<br />
the novel and the play in respect of the<br />
characters, situations, and dialogue ; and the<br />
defendant admitted _ similarities, but he<br />
described them as chance coincidences or<br />
“stock situations.” As an example of the<br />
similarities, it may be mentioned that in the<br />
novel a prince marries a princess for State<br />
reasons, and she tells him that she will do her<br />
duty to him and to the State, but that she<br />
cannot love him. The prince, after becoming<br />
king, joins a group of revolutionaries under<br />
the name of Pasquin Leroy. In the play, a<br />
prince marries a princess for State reasons, and<br />
she tells him that she will honour and obey<br />
him, but that she cannot love him. The<br />
prince joins a group of revolutionaries under<br />
the name of Leo Lerois. Again, in the novel<br />
the revolutionaries draw lots as to who shall<br />
kill the prime minister and the king, and<br />
before drawing lots they swear that whoever<br />
draws the signal to take a life proved unworthy<br />
shall be regarded by them as a sacred person.<br />
Leroy draws the king. He makes a speech,<br />
and then announces that he is ready to obey<br />
and that he is the king. In the play the<br />
revolutionaries draw lots as to who shall kill<br />
the two chief ministers and the king, and<br />
before drawing lots they swear that the life<br />
of whoever draws the sign of having to kill<br />
the king shall be held sacred. Lerois draws<br />
the king. He makes a speech and_then<br />
announces that he is ready to obey and that<br />
he is the king.<br />
<br />
<br />
<br />
297<br />
<br />
Other similarities were so substantial that<br />
it was obvious that the two compositions must<br />
have been taken from a common source, OT<br />
that one was copied from the other. The<br />
defendant, however, did not suggest any<br />
definite common source for the two works,<br />
other than the general common stock of<br />
ideas; and he expressly disclaimed in the<br />
course of the case the hypothesis that the novel<br />
was based upon his play, although he stated<br />
that he did not know what had happened to<br />
a second copy of ‘In the King’s Name”<br />
which he had lost at an early period in “‘a<br />
Flect Street hostelry.”” The defendant called<br />
witnesses to whom his earlier play had been<br />
read or submitted, but their recollection of the<br />
incidents in the play were necessarily extremely<br />
vague and they could remember little more<br />
than that it contained a floral scene, which<br />
had been one of the main reasons for the non-<br />
acceptance of the play, owing to the expense<br />
which it involved.<br />
<br />
Mr. Justice Sargant, in delivering judgment,<br />
commented upon the defendant’s evidence,<br />
which he regarded as unsatisfactory. * The<br />
defendant’s story,” his lordship said, ‘‘ falls<br />
very short of such a clear, consistent, and<br />
convincing narrative as would have been<br />
required to cast doubt on the very strong<br />
inference, amounting in my view to a practical<br />
certainty, which is to be deduced from the<br />
similarities in the two works ; and I am<br />
convinced that the defendant’s sketch has not<br />
been written independently of the plaintiff's<br />
novel.” His lordship granted the injunction<br />
and ordered an account of the profits to be<br />
taken and that the defendant should deliver<br />
up the copies of the play, which infringed the<br />
plaintiff's copyright, and pay the plaintiff’s<br />
costs.<br />
<br />
The issue in the case was a question of fact,<br />
but the judge made some observations on the<br />
law which may be quoted. “In the first<br />
place,” his lordship said, “it is fairly clear<br />
that under the new Act no absolute monopoly<br />
is given to authors analogous to that which<br />
is conferred on inventors of patents—that is<br />
to say, if it could be shown as a matter of<br />
fact that two precisely similar works were<br />
produced wholly independently of one another,<br />
I do not think that the author of the work<br />
that was published first would be entitled to<br />
restrain the publication by the other author<br />
of that author’s independent and original<br />
work. The right appears to be merely a<br />
negative right to prevent the appropriation of<br />
the labours of an author by another. The<br />
second observation is this, that the onus 0<br />
<br />
<br />
<br />
<br />
298<br />
<br />
establishing appropriation, of course, rests<br />
upon the plaintiff.”<br />
Haroutp Harpy.<br />
<br />
Oo<br />
<br />
RIDGE v. THE “ENGLISH ILLUSTRATED<br />
MAGAZINE” (LIMITED).<br />
<br />
<br />
<br />
R. W. PETT RIDGE, on the 12th in-<br />
oe stant, obtained a verdict and sub-<br />
stantial damages (£150) against the<br />
“English Illustrated Magazine,” Ltd., for pub-<br />
lishing under the name of “ W. Pett Ridge ”’ in<br />
their magazine a short story called ‘‘ The Man<br />
who had a Conscience,” which was not the<br />
work of its reputed author.<br />
<br />
This story bears no comparison to the<br />
genuine work of Mr. Pett Ridge, although<br />
obviously intended to imitate it, and, being<br />
very inferior, was necessarily injurious to the<br />
plaintiff's reputation as a writer,<br />
<br />
On this head Mr. Jerome K. Jerome, who<br />
gave evidence on behalf of Mr. Pett Ridge, was<br />
emphatic. He explained to the jury that, if he<br />
were still a magazine editor planning out for<br />
the future, he should, after reading ‘“‘ The Man<br />
who had a Conscience,’”? have dismissed any<br />
idea of applying to Mr. Pett Ridge for contri-<br />
butions. The one conclusion to be arrived at<br />
by reading the story was that Mr. Pett Ridge<br />
had had an illness or something which had left<br />
him unfit for further work.<br />
<br />
How the tale came to be published was<br />
graphically detailed by the temporary acting<br />
editor of the defendant company’s magazine.<br />
The manuscript was received by post, signed<br />
“'W. Pett Ridge,” and giving an address in<br />
Bournemouth, but without any covering letter.<br />
The defendant’s witnesses readily admitted<br />
that the story was not up to Mr. Pett Ridge’s<br />
level of excellence, and, in consequence, they<br />
offered, and the writer accepted, as his remu-<br />
neration, a sum of two guineas for eighteen<br />
columns !<br />
<br />
As long ago as August last the writer of the<br />
story (whose name was not Pett Ridge or any-<br />
thing like it) wrote to the editor of the defen-<br />
dant company’s magazine advising him that<br />
“The Man who had a Conscience ” was not the<br />
work of William Pett Ridge; yet, notwith-<br />
standing this disclaimer, the editor, apparently<br />
acting under instructions, failed to apologise,<br />
or make any reparation in respect of the<br />
publication of the story.<br />
<br />
The plaintiff consultéd the Society of Authors<br />
and, as a consequence, this action was brought.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
The grounds upon which the plaintiff’s claim<br />
was based were that he had been libelled in his<br />
profession as a writer and that the defendant<br />
company had passed off on the public as the<br />
work of an author of reputation the feeble<br />
attempt of an obscure penman.<br />
<br />
The Judge (Darling, J.) ruled that in law, on<br />
proof of both or either of these allegations, the<br />
plaintiff was entitled to a verdict, and, after an<br />
absence of twenty minutes, the jury returned<br />
a verdict for the plaintiff with £150 damages.<br />
<br />
The allegation of libel was interesting and<br />
novel.<br />
<br />
Obviously to call Mr. Pett Ridge “ a com-<br />
monplace scribbler ”’ was a libel, but the prin-<br />
ciple was extended in this case, it being held<br />
by the Judge that, if the jury came to the con-<br />
clusion that the natural consequence of anyone<br />
reading “The Man who had a Conscience ”<br />
would be that the reader would put the writex<br />
down as a mere commonplace scribbler, then<br />
equally a libel had been published against<br />
Mr. Pett Ridge.<br />
<br />
——_1—»—.<br />
<br />
MAGAZINE CONTENTS.<br />
en UE<br />
<br />
British Review.<br />
<br />
The Origin and Significance of Profanity. By A. E.<br />
Beath.<br />
Herr Nikisch and “ The Ring.” By Sir Home Gordon<br />
Hart.<br />
CoNTEMPORARY.<br />
<br />
Glimpses of Thomas Carlyle. By Percy Fitzgerald.<br />
<br />
ENGLIsH.<br />
Writing Novels. By Arnold Bennett.<br />
Our “ atenphaly * Hymnal. By Professor W. H. D.<br />
Rouse.<br />
<br />
The Correspondence of Nietzsche with Brandes.<br />
<br />
FortTNIGHTLY.<br />
<br />
Lord Cromer on Disraeli. By Wilfrid Ward.<br />
<br />
Realistic Drama (11). By W. L. Courtney.<br />
<br />
Mr. Masefield’s Poetry. By Gilbert Thomas.<br />
<br />
The Death of Satire.” By Herman Scheffauer.<br />
<br />
The Chinese Drama, Yesterday and To-day.<br />
Corbe tt-Smith.<br />
<br />
By A.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS.<br />
<br />
ee<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT.}<br />
<br />
Front Page nse aes £4 0 0<br />
Other Pages % ve we 8 O°<br />
Half of a Page .., = 2 00a<br />
Quarter of a Page - O18 6<br />
Eighth of a Page tes es ase « 0 7 0<br />
Single Column Advertisements perinch 0 6 0:<br />
<br />
Reduction of 20 per cent. made for a Series of Siz and of 25 per cent. for<br />
Twelve Insertions,<br />
<br />
All letters respecting Advertisements should be addressed to.<br />
Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High<br />
Holborn, W.C.<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
ot<br />
<br />
1, VERY member has a right toask for and to receive<br />
EK advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
8. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
<br />
the independence of the writer, the dramatist, the composer<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of thesafe. The Society now offers :<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are Tecommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
7. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members,<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
———_1— 2 —___—_<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
+<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I, Selling it Outright.<br />
This is sometimes satisfactory, ¢f a proper price can be<br />
<br />
<br />
<br />
299<br />
<br />
obtained. But the transaction should be managed by a<br />
<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(3.) Not to allow a special charge for “office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
Sa Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor ! ;<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in The Author.<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production,<br />
<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author.<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
tothe author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
—_———_+——_e____——_-<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
+ —<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2, It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
<br />
<br />
<br />
300<br />
<br />
<br />
<br />
(b.) Sale of performing right or of a licence te<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum in advance of percentages, A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(¢.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (ie., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect, The<br />
other safeguards set out under heading (.) apply<br />
also in this case,<br />
<br />
4. Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in anyevent, It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved,<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important,<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration,<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced,<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning,<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication,<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
<br />
<br />
+.<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
—1—~<br />
<br />
Ne eee typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary ora qualified assis-<br />
tant. One copy will be stamped and returned to the author<br />
and the other filed in the register of the Society. Copies<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
<br />
<br />
THE AUTHOR,<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
<br />
++<br />
<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage’ on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author's rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
<br />
Society.<br />
————_-—>—<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
ITTLE can be added to the warnings given for the<br />
iL assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above,<br />
<br />
————_+—~@—-<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society's<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble,<br />
<br />
——————_1— >.<br />
THE READING BRANCH.<br />
<br />
++<br />
<br />
EMBERS will greatly assist the Society in this<br />
<br />
Vi branch of its work by informing young writer:<br />
<br />
of its existence. Their MSS. can be read and<br />
<br />
treated as a composition is treated by a coach. The term<br />
<br />
MSS. includes not only works of fiction, but Poetry<br />
<br />
and dramatic works, and when it is possible, under<br />
<br />
special arrangement, technical and scientific works. The<br />
<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
—_————+—<br />
<br />
REMITTANCES.<br />
—_—<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery Lane, or be sent by registered<br />
letter only,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
COLLECTION BUREAU.<br />
<br />
—_+—<<br />
<br />
ag due to authors, composers and dramatists.<br />
1. Under contracts for the publication of their<br />
works.<br />
<br />
9. Under contracts for the performance of their works<br />
and amateur fees.<br />
<br />
3. Under the Compulsory Licence Clauses of the Copy-<br />
right Act, i.e., Clause 3, governing compulsory licences for<br />
books, and Clause 19, referring to mechanical instrument<br />
records.<br />
<br />
The Bureau is divided into three departments :—<br />
<br />
1. Literary.<br />
2. Dramatic.<br />
3. Musical.<br />
<br />
The Society does not desire to make a profit from the<br />
collection of fees, but will charge a commission to cover<br />
expenses. If, owing to the amonnt passing through the<br />
office, the expenses are more than covered, the Committee<br />
of Management will discuss the possibility of reducing the<br />
commission.<br />
<br />
For full particulars of the terms of collection, application<br />
must be made to the Collection Bureau of the Society.<br />
<br />
AGENTS.<br />
<br />
A. REYDING.<br />
WALTER C. JORDAN.<br />
<br />
Amsterdam<br />
New York<br />
<br />
The Bureau is in no sense a literary or dramatic<br />
agency for the placing of books or plays.<br />
<br />
GENERAL NOTES.<br />
<br />
——<br />
<br />
Mempers of the Society are reminded that<br />
The Author does not appear in August or<br />
September. The next issue will be published<br />
on October 1st.<br />
<br />
Str JAMES BARRIE, BART.<br />
<br />
We must congratulate Sir James Barrie<br />
on the honour conferred upon him on the<br />
King’s birthday, an honour justly deserved.<br />
<br />
Sir James represents both sides of the<br />
profession, the literary and the dramatic.<br />
His ‘‘ Margaret Ogilvie ” on the one side and<br />
“Peter Pan” on the other have already<br />
shown that they can stand the test of time.<br />
We do not desire to criticise his position either<br />
as a writer of books or as a writer of plays,<br />
this has been done by abler hands, and the<br />
title that has been offered and accepted is the<br />
best criticism ; but if there is a point which is<br />
especially evident in all his work it is his<br />
sincerity, and sincerity is the nearest answer<br />
to that great unanswered question ‘‘ What is<br />
Truth?” The record of his books and of his<br />
plays is a long and honourable one.<br />
<br />
In this connection we should be glad to<br />
<br />
<br />
<br />
301<br />
<br />
ask one question : Did he write that delight-<br />
fully amusing article “ The Battle of Rupert<br />
Square” ? and, if so, where is it possible to<br />
obtain a copy? Perhaps Sir James will<br />
himself reply.<br />
<br />
Tue Eruics oF ADVERTISING.<br />
<br />
WE print on another page of this issue, on the<br />
instructions of the Committee of Management,<br />
an article that appeared in the March, 1911,<br />
issue of The Author, entitled ‘On the Ethics<br />
of Advertising.”<br />
<br />
The attention of members is again drawn to<br />
the issues as, from information recently laid<br />
before the Society, it seems that there has been<br />
no abatement of the annoyance referred to,<br />
namely, that publishers, uncontrolled in their<br />
contracts as to the manner of reproduction<br />
have reproduced these cheap editions of novels,<br />
not only with advertisements at the beginning<br />
and at the end, but opposite the final pages<br />
of the literary matter.<br />
<br />
The question really resolves itself into one of<br />
contract, and we should like to repeat the<br />
advice that has been given to so many mem-<br />
bers of the Society with regard to cheap<br />
editions. First, that no author should allow<br />
the publisher to produce his novel in a cheap<br />
edition unless he is a recognised reproducer of<br />
cheap editions; the reason being that pub-<br />
lishers who are not accustomed to reproduction<br />
in this form cannot give the same price that<br />
those publishers can give who make cheap<br />
editions part of their regular business.<br />
Secondly, if the publisher is given the right of<br />
reproduction in cheap form, then he should not<br />
be allowed to use that right, without the<br />
sanction of the author, within three years from<br />
the date of publication of the original, and if<br />
he has not exercised his option within four<br />
years from the date of publication of the<br />
original, then the right should return to the<br />
author, who should have the right of placing<br />
the cheap edition elsewhere. This statement<br />
is made, of course, on the understanding that<br />
the author desires and is willing that the book<br />
should be produced at all in a cheap edition.<br />
It pays some authors much better never to<br />
have their books produced in this form at all.<br />
<br />
Then, if the publisher exercises his option,<br />
he should be bound as to the price at which,<br />
and the form in which, the cheap edition is to<br />
be put on the market. These points are all of<br />
vital importance, because the 6d. paper edition<br />
is usually read and thrown away, but the 7d.<br />
cloth-bound edition is usually placed on the<br />
<br />
<br />
<br />
<br />
302<br />
<br />
<br />
<br />
shelves and read again, or lent to other readers.<br />
It will be seen, therefore, that it is more satis-<br />
factory for the author to have the book in the<br />
6d. paper edition, which is destroyed when<br />
read, than it is to have it in a cloth-bound<br />
edition with the probability of the work<br />
being passed from one reader to another.<br />
<br />
Now we come to the important point con-<br />
tained in ‘‘ the Ethics of Advertising.”” When<br />
the form of the cheap edition is settled by a<br />
clause in the agreement, it must at the same<br />
time be settled whether the publisher is to be<br />
allowed to advertise in the cheap edition, and<br />
whether he is to be allowed to let his adver-<br />
tisements run opposite the literary matter.<br />
<br />
Those who desire to uphold the dignity of<br />
literature will prefer no doubt that no adver-<br />
tisements should appear ; those, however, who<br />
take the financial standpoint might allow<br />
advertisements to appear ; but while the former<br />
might have to forego some of his royalties,<br />
the latter would see that his royalties were<br />
increased, as the cost of production is decreased<br />
through the insertion of advertisements.<br />
<br />
The practical issue, therefore, of the whole<br />
discussion is that the only method by which<br />
the author may protect himself is by the neces-<br />
sary clauses being inserted in his agreements.<br />
Kither the publisher must be forbidden to<br />
advertise, or he must be allowed to; but<br />
whether it is the one or the other, the point<br />
must be settled in the agreement, and the<br />
royalties must be fixed accordingly.<br />
<br />
Dramatic Prracy In THE U.S.A.<br />
<br />
Mr. Water Jorpan, the dramatic agent<br />
of the Society in New York, has forwarded a<br />
cutting from the New York Review, containing<br />
details of the conviction of Mr. Byers.<br />
<br />
His conviction was the result of a crusade of<br />
the International Association of Theatrical<br />
Reproducing Managers. Byers pirated under<br />
the name of the Chicago Manuscript Company,<br />
and kept a force of stenographers for copying<br />
MSS. of plays, which he supplied to all those<br />
who sought them. Practically any New York<br />
“hit” could be bought for $5. Byers in<br />
his catalogue quoted for most New York<br />
“hits” at that figure, but cautioned his<br />
purchasers that there might be occasions<br />
when it would be wiser to change the title of<br />
the play.<br />
<br />
The conviction of Byers, it is hoped, will<br />
practically stop any future piracy of a similar<br />
kind. The Society of Authors had one or<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
two cases of a similar kind in England, but<br />
although this form of piracy did exist, it was<br />
not of such a universal character as in Chicago,<br />
<br />
THE CONGRESS OF THE Hacur.<br />
<br />
THE International Literary and Artistic<br />
Association will this year hold its 33rd Congress<br />
at the Hague from the 16th to the 19th of<br />
July. Further information can be obtained<br />
from M. A. Taillefer, 215 bis, Boulevard Saint-<br />
Germain, Paris. Tickets for the Congress<br />
cost members of the Association twenty<br />
frances, members of their families accompanying<br />
them ten franes, and those who are not<br />
members of the Association forty franes.<br />
The meetings will take place at the Hotel<br />
d’Orange, Scheveningen. The following sub-<br />
jects are included in the programme. Annual<br />
report on literary and_ artistic copyright.<br />
An examination of the reservations made by<br />
various States in their adhesion to the Con-<br />
vention of Berne, revised at Berlin. Conditions<br />
of reproduction of objects of art exhibited in<br />
museums and exhibitions. The author’s in-<br />
alienable right. Protection of national monu-<br />
ments. After the conclusion of the Congress<br />
of the Hague the Association proposes to hold<br />
one or two meetings at Ghent, respecting which<br />
notice will be given.<br />
<br />
—+~»—<br />
ANY CRAFTSMAN.<br />
<br />
——+-—~<> + —_<br />
(From the Atheneum.)<br />
<br />
AM ground down too hard by poverty :<br />
I This that I do I would’ do well; and<br />
take<br />
Time to the task; this that I make would<br />
make<br />
Not all unworthy, lest the dead men see—<br />
Those great forerunners who have left to me<br />
Their high tradition. I would keep awake<br />
My honour—for my own and all men’s sake,<br />
And let the work before the wages be.<br />
<br />
“So be it then,” doth this hard age reply,<br />
“You know the cost! ” Ah, yea, the<br />
craftsman knows :<br />
Some things well done—but poverty thereby ;<br />
One hour of joy—and many an hour of woes<br />
When he can scarce draw solace from the sky,<br />
And seeth sorrow even in the rose.<br />
<br />
FREDERICK NIVEN.<br />
<br />
<br />
<br />
<br />
<br />
<br />
'<br />
2<br />
<br />
<br />
<br />
THE AUTHOR.<br />
ALFRED AUSTIN.<br />
<br />
—<br />
<br />
O* June 2 the Poet Laureate died at the<br />
<br />
age of seventy-eight. The Society<br />
<br />
must regret the loss of one who, since<br />
1889, supported its aims and objects with<br />
practical sympathy.<br />
<br />
He was on the Council of the Society, but<br />
resigned from that body on his appointment<br />
as Poet Laureate. What his reason may have<br />
been it is now impossible to know. It may be<br />
he considered that it would be contrary to<br />
precedent for the Laureate to hold any position<br />
on the Council but that of President. The<br />
presidency, as all members know, after the<br />
death of Lord Tennyson, had been conferred<br />
on Mr. George Meredith. Accordingly, with<br />
regret, the committee accepted his resignation,<br />
but he still continued as a private member his<br />
support of the Society’s aims up to the day of<br />
his death.<br />
<br />
He published many volumes both of verse<br />
and prose; his most forcible method of<br />
expression coming from his keen love of the<br />
beauties of the country and country life.<br />
<br />
He was a man of warm affection for the<br />
fellow-members of his profession, as those will<br />
remember who have heard him speak among<br />
and to his brother authors.<br />
<br />
He felt very keenly—indeed, it may be said<br />
he was over-sensitive—the criticisms that were<br />
made concerning his poetry and his appoint-<br />
ment; but as he had been a critic himself, he<br />
could hardly have expected to escape unscathed.<br />
<br />
It is sad to see the goodly number of those<br />
who made their names in the Victorian era<br />
grow less and less, and it is sad to see the early<br />
members of the Society, who gave it their<br />
support in the days of storm and stress, grow<br />
fewer and fewer.<br />
<br />
a<br />
<br />
LORD AVEBURY.<br />
<br />
<br />
<br />
E mourn in Lord Avebury one of the<br />
oldest members of the Society of<br />
Authors, for he had been a member of<br />
<br />
our body nearly since its foundation. He was<br />
among our most loyal supporters, serving as<br />
chairman of the Nobel Committee, and sitting<br />
on the council for some twenty years. Lord<br />
Avebury’s death, in his seventy-ninth year,<br />
was not altogether unexpected ; it occurred,<br />
as a sequel to a severe attack of influenza, on<br />
May 28, just as the June issue of The Author<br />
<br />
303<br />
<br />
was in the press—hence the belated character<br />
of this notice.<br />
<br />
Lord Avebury was born in 1834, and went<br />
straight from Eton into his father’s bank, but<br />
although he mastered all the details of the<br />
banking business, and became indeed . an<br />
authority in financial circles, he found time to<br />
develop both his great proclivities for natural<br />
history and his strong sense of the duty that<br />
lies upon prominent citizens to discharge public<br />
services. It is mainly to his scientific work, of<br />
course, that we owed his co-operation at the<br />
Society of Authors, for as an author he is<br />
chiefly known by his entomological researches.<br />
His observations, in particular, upon bees and<br />
ants were recognised as veritable contributions<br />
to our knowledge, and it was more especially<br />
for these that he was elected a Fellow of the<br />
Royal Society. He was a really great entomo-<br />
logist, but his scientific versatility and erudi-<br />
tion were also displayed by his writings on<br />
ethnological and _ geological subjects. His<br />
earliest work, ‘‘ Prehistoric Times,’ must have<br />
proved the introduction to systematised<br />
archeology for many readers in the ’thirties and<br />
"forties, while the books entitled respectively<br />
“The Scenery of England ” and ‘« The Scenery<br />
of Switzerland ’’ were founded on a curiously<br />
intimate knowledge of geological rules and<br />
phenomena. Outside a purely — scientific<br />
audience Lord Avebury gained the appreciation<br />
of a large public by his books ‘‘ The Pleasures<br />
of Life,” ‘“ The Use of Life,” ‘‘ The Beauties.<br />
of Nature,” and a little volume called ‘‘ The<br />
Hundred Best Books”; all these works<br />
received the reward of an enormous circulation,<br />
and promoted a public appreciation of their<br />
subjects which was both gratifying and<br />
lucrative for the author. Lord Avebury was<br />
President of the British Association in 1881.<br />
<br />
As a man of affairs Lord Avebury occupied<br />
throughout a long life a conspicuous position.<br />
He succeeded to the Lubbock baronetcy when<br />
about thirty years of age, and shortly after-<br />
wards entered Parliament as Liberal member<br />
for Maidstone; but in 1880 he became mem-<br />
ber for the University of London, whose Vice-<br />
Chancellor he had been previously, and retained<br />
the seat for twenty years, being made a peer<br />
in 1900. :<br />
<br />
In Parliament he was a recognised authority<br />
upon. all educational questions, while he was<br />
responsible for two Acts, that under which<br />
statutory bank holidays were appointed, and<br />
that regulating hours in shops, which have<br />
incaleulably increased the happiness of com-<br />
mercial and industrial workers. As a banker<br />
he was secretary of the London Bankers’<br />
<br />
<br />
<br />
<br />
304<br />
<br />
Association for a quarter of a century, Presi-<br />
dent of the Association of Bankers, and the<br />
first President of the Institute of Bankers,<br />
while he was also at different times President<br />
of the London Chamber of Commerce and the<br />
London County Couneil.<br />
<br />
This is a brief note upon a very full and<br />
important career, but already many biographies<br />
have made the life of Sir John Lubbock (to give<br />
him the familiar style) well known to our<br />
readers. The Society have lost in him an<br />
influential friend, and this is what we wish<br />
regretfully to record.<br />
<br />
mg eS<br />
<br />
UNITED STATES NOTES.<br />
<br />
—+~@+—__<br />
<br />
HERE has been a good deal of groaning<br />
recently over the growth of the “ 50-<br />
cent reprint” in this country—groan-<br />
<br />
ing which, of course, finds an echo in Great<br />
Britain, where a similar problem has to be<br />
faced. The full case against the reprint was<br />
eloquently stated, at the recent annual con-<br />
vention of the American Booksellers’ Associa-<br />
tion in New York, by Mr. Christopher Grauer,<br />
of Buffalo, one of the executive committee of<br />
the Association. Mr Grauer naturally spoke<br />
from the bookseller’s point of view—which is<br />
only one of four, since there are also to be<br />
considered the author, the reading public, and<br />
the publisher. It would searcely be in place,<br />
and it certainly would require more space than<br />
I have at my disposal, if I were to attempt to<br />
go fully into the question here. But I may<br />
mention that what Mr. Grauer thought<br />
desirable, was that a time-limit of three years<br />
from original publication should be established,<br />
within which no cheap re-issue of a book should<br />
be allowed, while the 25-cent reprint was to be<br />
fought tooth and nail. To those who are<br />
accustomed, as you are in Britain, to the 1s.,<br />
7d., and 6d. editions, the latter statement may<br />
sound strange; but in the States the regular<br />
25-cent line of novels has yet to be established,<br />
though the 50-cent books occupy a more<br />
important place every year.<br />
<br />
Optimists deny that the reprint has really a<br />
bad effect on the new book, and claim that,<br />
with certain writers at least, the sale of the<br />
50-cent work actually stimulates the demand<br />
for new works when they appear. Which<br />
argument, alas! does not comfort those<br />
authors who have not yet succeeded in getting<br />
into a cheap edition, however it may satisfy<br />
the writer of even one “ best-seller,”<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
Since last I wrote, by the way, the full list<br />
of best-sellers for last year has appeared, com-<br />
piled from the lists in the Publishers? W eekly.<br />
From this the strong position of native fiction-<br />
writers in the States is evident, the top six<br />
places being occupied by “The Harvester ”<br />
(Stratten-Porter): “ The Street Called Straight ”<br />
(King); “ Their Yesterdays” and “ The Win-<br />
ning of Barbara Worth ” (Wright); ‘ The<br />
Melting of Molly ” (Daviess) and ** A Hoosier<br />
Chronicle ” (Nicholson). In non-fiction, how-<br />
ever, foreign competition is severely felt, for<br />
the first six are ‘‘ The Promised Land ” (Autin),<br />
“The Montessori Method ” (Montessori),<br />
“South America” (Bryce), “A New Con-<br />
science and an Ancient Evil ” (Addams),<br />
“ Three Plays ” (Brieux), and “ Your United<br />
States ” (Bennett).<br />
<br />
Coming now to the works of to-day, we find<br />
the usual plethora of novels, from which it is<br />
very difficult to make a selection. Here,<br />
however, are some of the leaders: the late<br />
Vaughan Kester’s “John o’ Jamestown ” ;<br />
Reginald Wright Kauffman’s “ Running<br />
Sands’; Upton Sinelair’s “ Sylvia’; Ellen<br />
Glasgow’s “ Virginia ” ; Thomas Nelson Page’s<br />
“The Land of the Spirit’; Willa Sibert<br />
Cather’s ‘‘O Pioneers ! *”; Randall Parish’s<br />
‘ The Air Pilot ” ; Eleanor Kelly’s “ Toya the<br />
Unlike’; P. Vv. Mighels’s ‘‘ Hearts of Grace ” ;<br />
John Luther Long’s “ War”; Louis Tracy’s<br />
“One Wonderful Night’; Owen Johnson’s<br />
* The Sixty-First Second ” ; Cyrus Townsend<br />
Brady’s ‘“‘ The Fetters of Freedom”; Justus<br />
Miles Forman’s “ The Opening Door ”’ ; Irving<br />
Bacheller’s ‘‘ The Turning of Grigsby ” ; Zane<br />
Grey’s “The Desert Girl *”; Winston Chur-<br />
chill’s “‘ The Inside of the Cup”; Joseph C.<br />
Lincoln’s “‘ Mr. Pratt’s Patients’; Nathaniel<br />
Fowler’s “The Knockers’ Club ” ; John A.<br />
Moroso’s ‘‘ The Quarry ”; Elizabeth Dejeans’s<br />
“The House of Thane ”’ ; J. R. Scott’s “‘ The<br />
Unforgiving Offender ”; Will Levington Com-<br />
fort’s ‘“‘ The Road of Living Men ’”’; George<br />
Randolph Chester’s “ Wallingford in his<br />
Prime”; Henry Russell Miller’s “ The Ambi-<br />
tion of Mark Truitt”; Harold Macgrath’s<br />
“ Parrot & Co.”; Charles Sherman's @ The<br />
Upper Crust ” ; Grace Lutz’s “ Lo Michael ! ” ;<br />
Nina Wilcox Putnam’s “ The Impossible Boy ”<br />
and E. D. Biggers’ “‘ Seven Keys to Baldpate.”<br />
<br />
In biography, “‘ Mark Twain and the Happy<br />
Island ’’—which is Bermuda—may be put first,<br />
the author being Elizabeth Wallace. “ La<br />
Follette’s Autobiography ” is by the well-<br />
known Senator. George L. Clark’s “ Silas<br />
Dean ” deals with a Connecticut leader in the<br />
Revolution. ‘‘ The Life and Letters of Genera]<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
George G. Meade ” is edited by the General’s<br />
son, who bears the same name. * Pickett and<br />
His Men” is history rather than biography,<br />
and comes out appropriately in the fiftieth<br />
anniversary year of the battle of Gettysburg.<br />
The author is Mrs. La Salle Pickett, widow of<br />
the General. Another Gettysburg book is by<br />
Elsie Singmaster, and is entitled “* Gettysburg :<br />
Stories of the Red Harvest and the Aftermath.”<br />
“A Naval History of the American Revolu-<br />
tion,” by G. W. Allen, goes further back, while<br />
the Rev. H. W. Jones’ ‘“‘ Battle of Santiago 2<br />
brings us almost to modern days: The<br />
Philippine Problem,’ one of the results of<br />
Santiago, is dealt with by F. C. Chamberlain.<br />
<br />
There are a fairly large number of books<br />
which may be classed as sociological :<br />
“ Crowds,”’ by Gerald Stanley Lee; “ Starving<br />
America,’” by A. W. McCann; ‘‘ The Immi-<br />
grant Invasion,” by Julian Warne; “ Syndica-<br />
lism, Industrial Unionism, and Socialism,” by<br />
John Spargo; “ American Syndicalism,” by<br />
J. G. Brooks; “A Short History of the<br />
American Negro,” by B. G. Brawley ; and<br />
‘Woman's Share in Social Culture,” by Anna<br />
Garlin Spencer. Professor Max Farrand writes<br />
of “The Framing of the Constitution of the<br />
United States,” and Professor C. A. Beard of<br />
“An Economic Interpretation ”’ of that Con-<br />
stitution. Another Professor, Ernest Freund,<br />
treats of “The Police Power” in America.<br />
“<The Electoral College,” by J. Walker Hol-<br />
combe, may also be mentioned here.<br />
<br />
Whether James G. Haneker’s “ The Pathos<br />
of Distance ” should be counted with philosophy<br />
or with the essays is doubtful. Under the<br />
latter heading comes “‘ The American Spirit,”<br />
by O. S. Strauss, and it may perhaps be<br />
stretched to include Dr. Lyman Abbott’s<br />
“‘ Letters to Unknown Friends,”’ most of them<br />
reprinted from the Outlook. But certainly the<br />
most brilliant example of the essay is Professor<br />
George Santayana’s “ Winds of Doctrine,” a<br />
work which cannot but fascinate many who<br />
wholly disapprove of the views expressed.<br />
<br />
George Palmer Putnam, in his ‘‘ Southland<br />
of North America,” writes of the Central<br />
American States. In ‘Alaska: an Empire<br />
in the Making,” J. J. Underwood goes to the<br />
Far North-west, and ‘ Hawaii, Past and<br />
Present ” is described by an American born<br />
and educated in that part of the world. “ Zone<br />
Policeman 88,” by H. A. Frank, relates to the<br />
Panama Canal. ‘Our Neighbours the<br />
Japanese,” is by J. K. Goodrich ; and Adelaide<br />
Mack has added another to the appreciations<br />
of ‘‘ Magnetic Paris.”<br />
<br />
Three Nature books are :<br />
<br />
“Our Vanishing<br />
<br />
<br />
<br />
<br />
<br />
305<br />
<br />
Wild Life,” by W. T. Hornaday ; ‘* In Beaver<br />
World,” by Enos A. Mills ; and ‘‘ Seeing Nature<br />
First,” by C. M. Weed. ‘<br />
<br />
The poets seem to be going through a period<br />
of inactivity, but Max Eastman has not only<br />
produced “ A Child of the Amazons, and Other<br />
Poems,” but also a work on “ The Enjoyment<br />
of Poetry.”<br />
<br />
The obituary list is happily not very large<br />
since last these notes appeared. At the end of<br />
March, Joseph Newton Hallock, editor of<br />
Christian Work and author of many religious<br />
books, died at Brooklyn. On April 27, Dr.<br />
Andrew Sloan Draper, State Commissioner of<br />
Education, ex-President of Illinois University,<br />
and author of ‘“‘ American Education,’ etc.,<br />
succumbed to heart disease. On May 11,<br />
Francis Fisher Browne, editor of The Dial, died<br />
in a Californian sanatorium, after a long<br />
illness, aged seventy. His best-known work,<br />
outside The Dial, was his “ Everyday Life of<br />
Abraham Lincoln.”’ He wrote verse himself,<br />
and made also several collections from English<br />
and American poets. In the notice of his<br />
death in The Dial itself it is pointed out that he<br />
conceived, projected, and for nearly a third of<br />
a century conducted that journal. John<br />
Sergeant Wise, who was a barrister as well as a<br />
writer, and had formerly been a soldier, died<br />
on May 12. Among his books were ‘‘ Recol-<br />
lections of Thirteen Presidents.” In mid-May<br />
the deaths occurred of John Hays Gardiner,<br />
ex-Professor at Harvard, and author of ‘‘ The<br />
Bible as English Literature,” “ Forms of Prose<br />
Literature,” etc.; and of William Henry<br />
Larrabee, a writer on popular science and at<br />
one time editor of The Methodist.<br />
<br />
Purp WALSH.<br />
<br />
eae<br />
<br />
ON THE ETHICS OF ADVERTISING.<br />
<br />
++<br />
<br />
NE of the members of the committee of<br />
<br />
() the Society proposing the health of the<br />
<br />
publishers at a dinner, declared that it<br />
<br />
gave him great satisfaction to do so, as<br />
<br />
publishers were the most modest of mankind,<br />
<br />
for, he always understood they never advertised<br />
—at least authors told him so.<br />
<br />
There are cases, however, in which<br />
publishers do advertise, but in the wrong<br />
quarters, and in an objectionable manner.<br />
<br />
Complaints have come to the Society that<br />
publishers advertise by inserting their own<br />
catalogues of books at the end of 6s. novels<br />
or at the end of other books. This to some<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
306<br />
<br />
<br />
<br />
authors has been exceedingly annoying, but<br />
the form of agreement between the author and<br />
the publisher has precluded the former from<br />
taking any action. Indeed, in a case of this<br />
kind, it may be a little pedantic to object.<br />
When, however, the publisher not only adver-<br />
tises his own wares at the end of the book, but<br />
canvasses for advertisements from soap and<br />
pill manufacturers, as often happens in the case<br />
<br />
of cheap editions, then there is nothing<br />
pedantic in the author’s objections. As the<br />
<br />
issue of a cheap edition is seldom less than<br />
20,000 copies, there is no doubt that the<br />
publisher takes this course in order to keep<br />
down the cost of production and to enable<br />
him to put some extra profits into his own<br />
pockets.<br />
<br />
The question of advertisements of the<br />
publisher’s own books may for the time be<br />
set aside, for though, in ‘the eyes of some<br />
authors, they may spoil the appearance of the<br />
issue, whether cheap or expensive, they are,<br />
at any rate, advertisements of books. But<br />
to other advertisements two objections might<br />
be raised—first, the ideal, secondly, the<br />
practical.<br />
<br />
From the author’s point of view it might<br />
be rightly argued, first, that the advertise-<br />
ments of pills, soaps, toilet powders, ete.,<br />
might damage and perhaps destroy the<br />
dignity of the work that is being put on the<br />
market ; secondly—the practical point—that<br />
if it is the intention of the publisher to obtain<br />
a large number of advertisements to fill up<br />
the beginning and the end of the book, he<br />
will thereby obtain considerable sums of<br />
money, and that the author should be entitled,<br />
therefore, to a larger payment on the cheap<br />
issue as a fair reward for his larger popularity.<br />
<br />
There is, however, a more disastrous method<br />
of advertising which has been adopted by some<br />
publishers in producing cheap editions, namely,<br />
the introduction of advertisements on pages<br />
facing the literary matter of the book. The<br />
same arguments put forward against the<br />
ordinary advertisements would hold good here<br />
also, but with trebly increased force ; first,<br />
that this method of advertising destroys<br />
entirely the dignity of the production; and<br />
secondly—the practical—that as a larger fee<br />
can be obtained for advertisements facing<br />
matter than for ordinary advertisements at the<br />
end of the book, therefore a still larger pay-<br />
ment should be made to the author.<br />
<br />
Whatever view is taken, the ideal or the<br />
practical, it seems quite clear that, under the<br />
clause which is not uncommon in publishers’<br />
agreements affecting the publishers’ control<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
of the style and manner of the production of<br />
the work, the author would have little power<br />
to object. Publishers are, of course, trades-<br />
men, and look upon the production of books<br />
as any tradesman would look upon the produe-<br />
tion and sale of other articles of commerce,<br />
It is natural that they should look in the first<br />
instance to the profits, and, in consequence, it<br />
is not surprising that these methods of adver-<br />
tisement should be employed. Members of the<br />
Society of Authors must be cautioned in the<br />
first place not to let the right of reproduction<br />
in cheap form lie with the publisher who<br />
produces the 6s. book. There should always<br />
be a separate contract for the right of repro-<br />
duction in cheap form, as it is often important<br />
for financial reasons that the same publisher<br />
should not have the control of both.<br />
<br />
Secondly, in a Separate contract for the<br />
publication of a book in cheap form, the<br />
author should take particular care to insert a<br />
clause, if he desires to maintain the point of<br />
view of the dignity of literature, that adver-<br />
tisements are not to be inserted, save with his<br />
sanction, and in no circumstances facing the<br />
literary matter. If he desires to deal with the<br />
practical side, he should see that he obtains a<br />
share of the profit which, owing to the popu-<br />
larity of his work, may be derived from the<br />
advertisements. The author should be<br />
especially careful, if he is unable to keep the<br />
reproduction in expensive and cheap form<br />
separate, that these clauses should be included<br />
in the one agreement which deals with both<br />
issues.<br />
<br />
THE LETTERS OF AN ORDINARY<br />
AUTHOR.<br />
<br />
ee<br />
Collected and edited by Joun Hasterrte.<br />
<br />
v.<br />
To T. Vibert, Esq.<br />
Martins CorraGeE,<br />
SANTOLLER, Bucks.<br />
<br />
Dear Tommy,—As one who has passed<br />
through that phase of the craft which begins<br />
with hope, continues in suspense, and ends with<br />
an unfavourable decision—to be continued in<br />
your next (venture)—you shall be the first to<br />
hear that some misguided firm has at last<br />
agreed to take my first full-length work, ‘“‘ The<br />
Topmost Bough.” It is true! I have signed<br />
an agreement with Messrs. Aldine and Elzevir,<br />
and the joy of the 6d. revenue stamp still<br />
lingers with me.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Now that I have signed, I wish I had delayed,<br />
and asked you to look through the document<br />
for me. I have some knowledge of these<br />
things, a share of the sense called common,<br />
and a full sense of my own value—but, no<br />
novice is fitted to cope unassisted, with the<br />
pure man of business. I hate to bore you<br />
with questions of “‘ shop,” but T must unburden<br />
myself of a few details, and hope you will let<br />
me know if I have “ let myself in”!<br />
<br />
I think it was Carlyle who said something<br />
about cash being an insufficient nexus between<br />
man and man; it seems to me that it is nota<br />
bad one between author and publisher. To<br />
the cash then!<br />
<br />
The royalty they offer me begins with<br />
10 per cent. It does not seem very big, but,<br />
of course, it is on the nominal price of the<br />
novel, and works out at about 17 per cent.<br />
on the price the publisher obtains per copy.<br />
I don’t grumble at that. A first novel is a<br />
speculation, and a greedy author is as bad as<br />
a greedy publisher—worse, for he is supposed<br />
to have some ideals. After 2,000 copies have<br />
been sold, I am to get 15 per cent. I can hear<br />
you saying that the 15 per cent. side of the<br />
affair need not trouble me. I have the same<br />
feeling, but hope buoys me up. I don’t think<br />
I have done wrong in agreeing to these terms<br />
now. Later on, if I get the ear of the public,<br />
I shall hustle for the bigger loaves and fishes.<br />
<br />
Now comes a clause which I swallowed with<br />
reluctance. The MS. has been out so often<br />
that I dare not hold back. This clause seems<br />
to give my_ publishers the marketing of<br />
American rights. Didn’t you tell me once<br />
that American book rights can be negotiated on<br />
one’s own; that it may often pay one better<br />
to market the U.S.A. book rights separately ?<br />
My common sense tells me that you are right.<br />
At the same time, there are occasions when a<br />
publisher can place your novel on the other<br />
side of the ocean more easily than you, the<br />
author, can. A first novel, I imagine, is one<br />
of these cases.<br />
<br />
Another clause commits to my publishers<br />
the Colonial rights. I feel more comfortable<br />
about this. I don’t think the beginner can<br />
do much alone in the Colonies. Publishers<br />
don’t seem to compete very eagerly for the<br />
mere colonial rights of a first novel, do<br />
they ?<br />
<br />
I hesitate rather before telling you that I<br />
have signed away serial rights. I know<br />
you will tell me that serial rights are worth<br />
money, and should never be thrown in for a<br />
50 per cent. consideration. I do know that<br />
the average publisher cannot sell serial rights<br />
<br />
<br />
<br />
307<br />
<br />
for half the prices agents can procure. But<br />
my difficulty will explain much to you. it 1<br />
stand out for all my rights, the publishers will<br />
probably return my MS. I cannot afford to<br />
lose a chance of getting into the novel market.<br />
Let this excuse soften your inflexible soul—<br />
also the fact that ‘“‘ The Topmost Bough”? is<br />
not quite adapted to the serial market. All<br />
books cannot be serialised, though a great<br />
many tales that are now published, in the first<br />
instance, as books, could have been sold profit-<br />
ably to the editors of periodical fiction. I<br />
assure you that I would have tried my novel<br />
with them if I had thought it publishable in<br />
instalments.<br />
<br />
There was one clause which I could not<br />
swallow. The inference I drew from it was<br />
that the average author must be a man with<br />
a big bank account, and a more considerable<br />
store of patience. It suggested that accounts<br />
should be made up half-yearly ; that accounts<br />
should be furnished to me three months later ;<br />
and that payment of the accounts should be<br />
made—well, three months later again! I<br />
have never been able to understand why<br />
accounts should be left to mature in the<br />
publisher’s hands, as if they were pints of<br />
wine and the publisher a bottler. It seems<br />
to me that it would be just as easy for the<br />
accounts to be forwarded when made up.<br />
What do you think ?<br />
<br />
At any rate I had no mind to wait six months<br />
before receiving the shekels. I pointed out,<br />
with some timidity, that I was not the first<br />
cousin of a millionaire. I waited in fear and<br />
trembling for the reply. Thank Heaven!<br />
it was quite amiable. I was not able<br />
to get what I wanted, but managed to<br />
split the difference. My accounts are to be<br />
presented—happy word—within a month of<br />
making up, and paid within another month.<br />
<br />
By the way, I have received a letter from a<br />
dear old uncle, congratulating me, and sug-<br />
gesting that I must interview the reviewers<br />
at once. He enclosed a cheque for £20, and<br />
hoped that I would drive a hard bargain with<br />
them! Dear old soul, how amusing is the<br />
ignorance of the outsider. He believes, as<br />
do others, I hear, that you pay the reviewers<br />
to praise your novels ! Here’s a problem like<br />
that set in the ladies’ papers: “‘ Ought I to<br />
keep the cheque ? ’’ I have solved the problem,<br />
I may say !<br />
<br />
Like a good soul, do let me hear what you<br />
think of the agreement. I have taken up all<br />
available space with it ; only leaving room for<br />
the hope that Mrs. Tommy is in her usual<br />
excellent health, and that the young Tommy<br />
<br />
<br />
<br />
<br />
308<br />
<br />
<br />
<br />
is becoming aware of your temperamental<br />
aversion from sudden howls !<br />
I remain,<br />
Ever yours,<br />
RoBert WYVERN.<br />
<br />
VI.<br />
To T. Vibert, Esq.<br />
Marins Corrace,<br />
SANTOLLER, Bucks.<br />
<br />
Dear Tommy,—I was glad to hear from you.<br />
Your letter was salutary. It has quite<br />
mastered my new born belief that I have in<br />
me the making of a business man.<br />
<br />
Peccavi! I was an ass to give up my serial<br />
and American rights in ‘ The Topmost<br />
Bough ” for a mess of 50 per cent. pottage.<br />
You say that publishers will try a novel with<br />
three or four U.S.A. publishers, and failing<br />
these, will either drop the business, or try to<br />
sell a few hundred sets of sheets, for which<br />
the author will receive a few paltry pounds.<br />
After reflection, I agree to that asa general<br />
principle. But there are a few righteous men<br />
even in the publishing trade—your publisher,<br />
for instance, and Messrs. ,» and also<br />
Messrs. Some day I hope to settle<br />
myself on the lap of these, and then all will<br />
be well. Yet I admit my present fault.<br />
For the future “I will be good.” I shall set<br />
out again, armed with your useful advice.<br />
<br />
Again to work. A new novel calls me.<br />
What about employing a new agent ? What<br />
are your views on agents anyway ?<br />
<br />
Yours affectionately,<br />
Ropert WyYvERN.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
oe<br />
<br />
GABRIELE D’ANNUNZIO.<br />
<br />
t is very difficult to deal with d’Annunzio<br />
as one would with an ordinary writer, for<br />
his works are not meant for the masses,<br />
<br />
and would be gall to the conventional-minded<br />
mediocrity, and poison to the spiritually<br />
inclined. To be really in sympathy with his<br />
views it is necessary to be by hature a d’Annun-<br />
zian, just as to fully appreciate Nietzsche one<br />
must be born a Nietzschian. There is an<br />
innate similarity between these writers, for the<br />
latter said: “ L’homme doit étre élevé pour la<br />
guerre, et la femme pour le délassement du<br />
guerrier (and) la vie est une source de joie,”<br />
and the former insists upon it to such an extent<br />
that, from his earliest works, he asserted that<br />
when boredom had followed joy and pleasure,<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
these were to be recaptured at all costs, even if<br />
they came not naturally, but through artificial<br />
stimulus.<br />
<br />
In Italy d’Annunzio created a style of his<br />
own, known as d’Annunziano, which has<br />
numberless followers amongst the writers of<br />
the younger generation, who call themselves<br />
d’Annunziani in homage to their master ;<br />
nevertheless, a great hostile current rose u<br />
against him. Apparently, it was impossible to<br />
divide the man from his works, and, in con-<br />
demning the former, many have banned the<br />
latter; and thus, the greatest living Italian<br />
writer, having many grievances against his<br />
countrymen, retired to France, a voluntary<br />
exile. After having mortally wounded his<br />
feelings by selling up his home and his treasured<br />
mementos, the Italians offered to get up a<br />
subscription to purchase another house for<br />
him, as a gift and in homage to his genius ;<br />
but he would accept no favour from the people<br />
who had caused him so much anguish, and he<br />
recently declared that he preferred to make his<br />
home himself, when and where he chose.<br />
Though he may have left Italy, and written his<br />
last work, ‘‘ St. Sebastian,” in French, still, his<br />
writings are the essence of Italianism ; he is<br />
the true exponent of the imaginative and the<br />
artistic which is inborn in the Italian nature.<br />
There has been some doubt as to his age, but<br />
he himself said : “‘ I was born in 1864 on board<br />
the brigantine Irene in the waters of the<br />
Adriatic. In Pescara they considered me an<br />
infant prodigy, so strange was my precocity.”<br />
At the age of fifteen he was a full-fledged poet,<br />
and had written four poems, which are charac.<br />
teristic of him: “ Gentle Hour,” “ Joyous<br />
Hour,” ‘‘ Sombre Hour,” ‘Satanic Hour.”<br />
In the first, his mind is perfectly serene, and<br />
he dreams tranquil, peaceful dreams. In the<br />
second, he is gay, he revels in the sky, the sea,<br />
the sunshine, in all that is beautiful and lovable<br />
in nature. In the third, a gloom has come<br />
over his spirit; he has tasted deception—<br />
weariness and boredom follow. When he tries<br />
to analyse the multitudes, he finds them<br />
strange; their ways are not his Ways, and<br />
his heart grows heavy within him. But his<br />
despondency is temporary; joy must be<br />
reached, merriment must return: He longs<br />
for the drunkardness which prostrates the soul<br />
and senses, the inane noise and laughter of<br />
orgies, in which weird loves, kisses, and spark-<br />
ling wine chase away all consciousness of pain.<br />
He longs for madness, and for Satan’s great big<br />
wings of flame, which can carry him away from<br />
humanity, its meanness, its miseries, its same-<br />
ness. And, in the ‘ Satanic Hour,” he calls<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
to Satan: ‘‘ Come near me ; inspire me, I am<br />
your own!”<br />
<br />
“The flesh and the devil have always been<br />
coupled, so there is nothing incongruous in the<br />
appeal of this errant knight of matter to the<br />
power of darkness.<br />
<br />
D’Annunzio is now fifty; from the age of<br />
sixteen he has produced incessantly poems,<br />
novels, dramas, plays. For a quarter of a<br />
century he stood out supreme : “The Immagi-<br />
nifico,” as he was rightly called, which means,<br />
“The Creator of Images”; then his magic<br />
brain seemed to weary. His books are so<br />
numerous they defy description. In quoting<br />
them I will divide them according to their<br />
nature, and the crisis they represent in the<br />
mentality of their author.<br />
<br />
“Prima Vere” (1879), ‘Canto Novo”<br />
(1883), ‘‘ Terra Vergine ”’ (1883), ‘“‘ Il Libro<br />
delle Vergini ” (1884).<br />
<br />
Sensual Crisis—‘ Intermezzo di rime”<br />
(1884), “ San Pantaleone ” (1886), ‘‘ Il Piacere”’<br />
(1889), ‘‘Isotteo e la Chimera” (1890),<br />
“Elegie Romane” (1892), “ Poema Para-<br />
disiaco”’ (1893), “Il Trionfo della Morte”<br />
(1894), ‘‘ Le novelle della Pescara ”” (1902).<br />
<br />
Moral Crisis. —‘* Giovanni Episcopo ”’ (1892),<br />
“TInnocente ” (1892) (The Advent of the Super-<br />
man), ‘ Odi Navali”’ (1893), “ Allegoria dell’<br />
Autunno ” (1895), ‘‘ Le Vergini delle Roccie ”<br />
(1896), “‘ Sogno di un mattino di primavera -<br />
(1897), ‘‘ Sogno di un tramonto di Autunno ”<br />
(1898), ‘« La Citta Morta ” (1898), ** La Gloria ”’<br />
(1899), ‘‘ La Gioconda ” (1899), “ Il Fuoco ”<br />
(1900).<br />
<br />
Victorious Age‘ Francesca da Rimini”<br />
(1902), ‘“‘ Laudi del Ciclo, del Mare, della Terra,<br />
e degli Eroi” (1903-1904), “La Figlia di<br />
Jorio ”’ (1904), “ La Fiaccola sotto al Moggio ”<br />
(1905).<br />
<br />
Decadence.—‘‘ Piu che VAmore’” (1907),<br />
“Ta Nave” (1908), ‘“ Fedra” (1909), then<br />
““ St. Sebastian ”’ (in French).<br />
<br />
Of these Messrs. Heinemann have published<br />
seven translated into English: “ The Flame<br />
of Life” (“Il Fuoco’), “The Dead City ”<br />
(‘‘ La Citta Morta ”’), “‘ Francesca da Rimini,”<br />
** Gioconda,”’ ‘The Child of Pleasure’’ (“ Ul<br />
Piacere”’), ‘The Triumph of Death” (“Il<br />
Trionfo della Morte ’’), “‘ The Virgins of the<br />
Rocks” (‘‘Le Vergini delle Roccie”’), and<br />
<br />
e* L’Innocente ” (“‘ The Intruder ”’) is published<br />
in English by G. H. Richmond, of New York.<br />
<br />
The chief characteristic of d’Annunzio’s<br />
works is his love of beauty, to which he sacri-<br />
fices every other consideration and conception<br />
<br />
oflife. He forces himself to find beauty every-<br />
where by intellectual idealisation ; believing<br />
<br />
<br />
<br />
<br />
<br />
309<br />
<br />
that the whole world of matter is susceptible<br />
to aesthetic ennoblement. Starting from the<br />
principle that nothing holds an absolute value,<br />
and that man is the creator of values, he<br />
advises men to set themselves free, by throwing<br />
down barriers and renewing values.<br />
<br />
One cannot judge d’Annunzio’s characters<br />
from the standpoint of ordinary, everyday<br />
beings ; his heroes and heroines live a life apart,<br />
exceptional, yet natural to themselves; they<br />
are lifelike in their own surroundings, but they<br />
could not live their lives in an ordinary<br />
atmosphere such as we are generally familiar<br />
with.<br />
<br />
There are no mediocrities amongst them, no<br />
failures; their surrender is joyous, their lan-<br />
guage is not made up of common words, but is<br />
high-flown, poetic, magnificent, in keeping<br />
with rhythmical movements, which come<br />
natural to them, with bejewelled, expressive<br />
hands, silken garments, tresses of gold and eyes<br />
of turquoise, or raven locks and eyes of jet.<br />
D’Annunzio in portraying them has _ not<br />
studied his characters from Nature, and then<br />
overdrawn them, or exaggerated their points<br />
incongruously ; he has first conceived them in<br />
his own brain—wonder-creatures of his own,<br />
with passionate, sensitive natures—then he has<br />
given them birth and created his characters of<br />
the stuff of which maybe a super-species might<br />
be made. D’Annunzio declares that whoever<br />
robes himself with sorrow is a slave, and that<br />
pleasure is the best way of understanding<br />
Nature. He does not exalt suffering; he sees<br />
the greatest wisdom embodied in him who, in<br />
spite of all experiences, has much rejoiced. To<br />
create joy, to create with joy instead of pain,<br />
to be only conscious of the joy in life, is to him<br />
a supreme virtue. In “The Triumph of<br />
Death ” there are traces of d’Annunzio’s find-<br />
ing of Nietzsche ; one can see the great natural<br />
affinity of the two master minds, and, in truth,<br />
to realise fully either of them it is necessary to<br />
feel with them, for no mere effort of abstract<br />
reasoning can make them comprehensible or<br />
acceptable. D’Annunzio throws down the<br />
walls of reality, in which human convention<br />
reigns supreme ; he detests repression, routine,<br />
passiveness, and the monotonous greyness of<br />
the roads of least resistance. He idolises<br />
beautiful bodies, whether they are inhabited<br />
by beautiful souls or not ; he idealises life, but<br />
materialises love ; he does not attempt to free<br />
human love of passion; he does not seek<br />
spirituality, nor does he attempt to lift love to<br />
the spheres of the divine. For him Love, like<br />
Beauty, is enough unto itself.<br />
<br />
One is fascinated by d’Annunzio’s art irre-<br />
<br />
<br />
<br />
<br />
310<br />
<br />
sistibly, even though one feels its artificiality ;<br />
even though one knows instinctively that his<br />
works have been created for our pleasure, his<br />
people have been conceived out of pleasure,<br />
and will be consumed by pleasure.<br />
<br />
Exalted, sublime, magnificent pleasure is not<br />
often met with in daily life. Those who<br />
hunger for a vision of it can find it in “I<br />
Fuoco,” “Tl Piacere,” “ L’Innocente,”’ ‘‘ Laudi<br />
del Cielo, del Mare, della Terra e degli Eroi,”’<br />
and in “Il Trionfo della Morte.”<br />
<br />
Whoever wishes to dream a dream of loveli-<br />
ness should read d’Annunzio, and be introduced<br />
to luxurious women, consumed by fire; to<br />
serene, immovable, unfathomable women, with<br />
eyes reflecting infinity ; to shapely, beautiful,<br />
white, jewelled hands; perfectly modelled<br />
human forms ; amber, silk and gold; they<br />
will be dazzled by so much magnificence, and<br />
be intoxicated by the perfume of exotic flowers<br />
and deep-red roses.<br />
<br />
E. S. Romero-Topesco.<br />
<br />
——_—_ ><<br />
<br />
SIR ALFRED LYALL.*<br />
<br />
—+—— +<br />
<br />
HIS book, Sir Mortimer Durand tells us<br />
T in his Preface, was undertaken at the<br />
request of Lady Lyall and the family.<br />
It is a worthy memorial to a very distinguished<br />
man. To give it an adequate notice would<br />
require more space than is at our disposal.<br />
We must, therefore, content ourselves with a<br />
brief indication of the manner of portrait which<br />
the biographer paints of his subject.<br />
<br />
Alfred Comyn Lyall was born on J anuary 4,<br />
1835, and died suddenly of heart-failure on<br />
April 10, 1911, while a guest of Lord and Lady<br />
Tennyson at Farringford. In that long period<br />
he was educated at Eton and Haileybury ;<br />
went out to the Indian North-West Provinces<br />
in his twenty-first year; passed through the<br />
Mutiny, with a narrow escape from death;<br />
rose to be Home Secretary at Calcutta when he<br />
was thirty-seven, and Agent to the Governor-<br />
General in Rajputana next year; at forty-<br />
three became Indian Foreign Secretary, and at<br />
forty-seven Lieutenant-Governor of the North-<br />
West Provinces. At the end of 1887, after a<br />
serious illness, he retired from the country<br />
where he had spent thirty-two years, and<br />
<br />
<br />
<br />
* “Lite of Sir Alfred Comyn Lyall, K.C.B., G.C.LE.,<br />
D.C.L., LL.D,” by Sir Mortimer Durand. Illustrated,<br />
<br />
Edinburgh and London: Wm. Blackwood & Sons<br />
16s. net.<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
t<br />
1<br />
<br />
<br />
<br />
accepted a seat on the Council of India. He |<br />
could have had the Governorship of the Cape |<br />
or New Zealand, but declined both. He would |<br />
have liked the Viceroyalty of India in 1898, but<br />
Lord Elgin was appointed in his stead. In<br />
1903 he retired from public, but by no means |<br />
from active life. To his last moment he was |::)<br />
talking, writing, and working as brilliantly as |<br />
ever. Having spoken of his death, Sir Mor- |.»<br />
timer Durand says: “ His life was a full and || «<br />
varied one . . . as happy as a man’s life ever<br />
is. . . . Among the men I have known there<br />
have been few of such rare<br />
and not one who had the power of inspiring, in |<br />
those who really knew him, a deeper trust and |<br />
affection.”<br />
The last chapter of the book is devoted to |.<br />
Lyall’s literary work, “ by which:he is best |<br />
known in England, and now, perhaps, even in<br />
India.” He produced (apart from his con-<br />
tributions to the leading reviews) five books, in<br />
addition to a small volume of verse; not a<br />
large total for an author, but then he was an<br />
official up to the age of sixty-eight. ‘The<br />
conditions which limited the quantity of Lyall’s<br />
literary work ”—this is Sir Mortimer Durand’s<br />
summing-up—*‘ had an important effect upon<br />
its quality. His writings, whether in verse or<br />
prose, show throughout the hand not of a<br />
<br />
<br />
<br />
qualities andcharm, | 4<br />
<br />
!<br />
<br />
literary man pure and simple, but of a man of<br />
<br />
action with literary tastes.<br />
they lack in some measure the finish, the per-<br />
fection of technique, which as a rule comes only<br />
by long and incessant practice at one craft ;<br />
certainly they are full of knowledge, and<br />
marked by the power of thought, which can be<br />
acquired only by taking a part in the affairs of<br />
the world. Whether the gain outweighs the<br />
loss, or the loss outweighs the gain, may be<br />
disputed. . . . Apart from this question, the<br />
main characteristic of Lyall’s work, both in<br />
verse and prose, is its truthfulness, its careful<br />
regard for the realities of life. . . . His literary<br />
work leaves in the mind of any careful reader a<br />
feeling not only of keen pleasure but of con-<br />
viction and confidence.”<br />
<br />
We could quote much more, but will refrain,<br />
having (we hope) done enough to show that<br />
this biography is one which, by the sympathy<br />
between author and subject, must attract the<br />
intelligent reader, whether he be one to who<br />
the active, or one to whom the literary, side *<br />
a life like Lyall’s appeals. 0<br />
<br />
It may be mentioned that Sir Alfred Lyall<br />
was for many years a member of the Society of<br />
Authors, and on the Society’s Council. “He<br />
took a great interest in the dispute concerning<br />
the action of the “Times” Book Club.<br />
<br />
<br />
<br />
<br />
<br />
oe Lae lees mie ee<br />
<br />
It is possible that :<br />
<br />
see i al<br />
<br />
<br />
<br />
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<br />
<br />
THE AUTHOR. 311<br />
<br />
CORRESPONDENCE.<br />
<br />
—<br />
AUTHOR AND AGENT.<br />
<br />
I.<br />
<br />
sir, So long as my friend Wells is content<br />
to speak for himself about agents I am ready<br />
to listen in respectful silence, but when he<br />
begins to speak for “ all sensible authors,” I<br />
must protest. I maintain that lama sensible<br />
author. If lampoonists and satirists are to be<br />
* telieved, I have a re utation for considerable<br />
husiness acumen. Bluntly, I think this repu-<br />
tation is deserved.<br />
<br />
As one “ sensible author,” I wish to “ pro-<br />
chim clearly” that I should not dream of<br />
employing agents only “for specific jobs.”<br />
On the contrary I am absolutely convinced<br />
that every author of large and varied output<br />
ought to put the whole of his affairs into the<br />
hands of a good agent, and that every such<br />
author who fails to do so loses money by his<br />
omission, I admit that some agents are bad.<br />
Iknow that some are good. A good agent will<br />
do a specific job better than an author, partly<br />
because he knows the markets better, and<br />
partly because he is an expert in the diplomacy<br />
of bargains. But a good agent is sho very<br />
valuable in utilising opportunities as they<br />
arise—opportunitics of whose very existence<br />
the author is ignorant. I reckon that in the<br />
latter activity alone a good agent recoups an<br />
author again and again for the whole of his<br />
commission.<br />
<br />
In my experience it is precisely when agents<br />
are employed only for “‘ specific jobs” that<br />
trouble comes.<br />
<br />
Wells, my senior, once advisea—nay, com-<br />
oo to go to an agent. With my<br />
oe Ididso. He told me to put the<br />
laa of my affairs into the hands of the agent.<br />
— so. I have never regretted it. I have<br />
a had the slightest agency trouble as the<br />
je — following Wells’ advice. I am quite<br />
<br />
t if I had not followed his advice I<br />
<br />
a be very decidedly worse off than I am.<br />
ce pe to Wells is lasting. That<br />
an 0 some thirteen years ago. Experi-<br />
t led Wells to change his views.<br />
Experience has only confirmed me in my<br />
4 formerly his. He may be right; I<br />
ee be wrong. I will not dog tise. But<br />
<br />
Must not speak for ‘‘ all sensible authors.”<br />
<br />
Yours faithfully,<br />
ArNoLD BENNETT.<br />
<br />
fl am obliged to the Editor for a sigh<br />
ght of<br />
A B’s letter in proof. His fault has ever<br />
<br />
modesty, I deplore my forgotten advice.<br />
<br />
His reputation was already made in those days,<br />
his future secure. Without that “(good agent”<br />
he must still have had all his present prosperity<br />
plus ten per cent. How are we to prove these<br />
things? Shall we sit down together and<br />
discuss our translations, our serializations ?<br />
Details in public would be difficult. I must<br />
talk privately to E. A. B. in this connexion.<br />
H. G. W.]<br />
<br />
——_-— > —<br />
<br />
Il.<br />
<br />
Dear Sir,—May I suggest to Mr. H. G.<br />
Wells that whereas there is only one H. G.<br />
Wells there are thousands of mere Smiths<br />
existent in the literary vale of tears who have<br />
good cause to be thankful for the intervention<br />
of Messrs. Agency, Clause & Co.<br />
<br />
As a mere Smith I was guilty of a first<br />
novel. I + a three weary years and many<br />
stamps in the effort to bring various publishers<br />
to see the worth of it as a masterpiece. Out<br />
of ten firms I received one offer to publish<br />
for £50. Fortunately, perhaps, I was not in<br />
the position to pay It, otherwise the lust for<br />
self-gratification might have proved too strong<br />
and I had fallen. Just as I came to realise<br />
what ‘hope deferred” meant, a friend<br />
introduced me to an agent. He accepted my<br />
MS. for negotiation. Within two months he<br />
forwarded me a contract from a big ‘“‘ solvent ”<br />
firm. The publishers took all risks; I<br />
retained all rights. As is usual with the bulk<br />
of first novels I received no pecuniary benefit<br />
from my work—neither did the agent! Yet<br />
he has, to my knowledge, disbursed some<br />
80s. in stamps, etc. on my behalf—without<br />
return! I will say nothing of his many kind-<br />
nesses in other ways. No doubt he hopes to<br />
recoup his outlay in the future; I sincerely<br />
hope he’ll have the i I should<br />
consider 10 per cent. wel earned by the man<br />
who placed me on the first step of a ladder<br />
which reached to the heights of an H. G. Wells<br />
reputation—and income !<br />
<br />
Sincerely yours,<br />
AMERE SMITH.<br />
<br />
——<br />
<br />
BEGINNERS’ AGREEMENTS.<br />
<br />
Dear Sir,—May I say a little more in re ly<br />
to the second letter of “ J ustice ’? in your last<br />
issue? At the risk of seeming obtrusive with<br />
my business particulars I feel that with a very<br />
little trouble to myself I may be of some real<br />
service to the numerous beginner-writers who<br />
are destined to produce, among other matter,<br />
much of the literature of to-morrow. 4<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
312<br />
<br />
Then let me relate that I did not begin with<br />
books—I could not afford the time. I think<br />
that was a very lucky restraint. I had to<br />
live, and so I learnt to write before I thought of a<br />
book. I had already made a little reputation,<br />
when the time came for dealings with a<br />
book publisher. I published three books<br />
almost simultaneously. I got 10 per cent. for<br />
each, and advances of £5 (for a very flimsy<br />
little volume of newspaper articles), £50 (for<br />
a continuous story published at 1s. 6d. that<br />
had already had a success as a serial), and<br />
£20 (for a volume of short stories), respectively.<br />
(The short story volume only was published<br />
through an agent.) These are, I think, very<br />
fair beginner’s terms. A _ beginner should<br />
always demand a cheque on account of<br />
royalties as a guarantee of good faith, and a<br />
royalty of 10 per cent. gives the publisher a<br />
very handsome margin of profit. It is no<br />
good to the beginner to be greedy about the<br />
royalty. I mentioned 25 per cent. in my last<br />
letter as the ideal for an established writer.<br />
What a beginner needs is advertisement and<br />
pushful selling, and that is guaranteed by the<br />
cheque on account. Better for him 10 per<br />
cent. and £50 down, than 25 per cent. and<br />
nothing down.<br />
<br />
One of these first three books was the ‘ Time<br />
Machine.” I had previously refused an invita-<br />
tion from Mr. X. to undertake part of the<br />
expense of publication and trust to him. At<br />
times we meet, and I remind him of that<br />
incident. He is quite a well-known publisher.<br />
<br />
It has been a matter of regret to me that<br />
those first three agreements were not limited to<br />
a term of years. No just publisher will<br />
object to such a limitation upon the part of a<br />
beginner,—five or seven years is reasonable ;<br />
and it affords an opportunity for rearrangement<br />
if the beginning develops into success.<br />
<br />
Also let me assure the beginner that it is<br />
particularly ridiculous for him to trust to<br />
agents. If an agent were your agent only, or<br />
agent only for you and a select group of<br />
authors, there might be some sense in giving<br />
over your affairs to him; but every literary<br />
agent seems promiscuously disposed to grab 10<br />
per cent. of any transaction going, and it is so<br />
obviously to every agent’s interest to “ keep<br />
in” with publishers and so unimportant to<br />
them whether they grab their tenths on this<br />
man’s work or that man’s work, that except in<br />
the case of very big and conspicuous and<br />
valuable authors indeed—and every agent<br />
must, of course, be able to claim one or two<br />
<br />
big authors, commercially speak; -<br />
can get his chance on . before he<br />
<br />
minor crowd—<br />
<br />
THE AUTHOR.<br />
<br />
I do not see how any real services can<br />
pected from them. It is just because<br />
them now taxing the writing public at large on<br />
the strength of one or two generously<br />
special cases, that I am calling attention to the<br />
<br />
ordinary facts and the plain common sense of §<br />
<br />
the agency business. It is not simply that<br />
<br />
ents need not and do not display any ex. |»<br />
clusive loyalty to their clients ; most of them }<br />
<br />
get the money so easily that they do not even<br />
trouble to draw tolerable agreements, save<br />
American copyright, secure complete serialisa-<br />
<br />
tion, realise minor rights, or do the most i‘<br />
<br />
manifest duties of their position. No t<br />
that I have ever heard of can aa<br />
<br />
most of the British agents know no langu<br />
but English. I can speak of only one<br />
efficient agent in London at the present time,<br />
and he deals in a speciality, the negotiation of<br />
serials. I am told, but I have no sure know-<br />
ledge, that another understands this new and<br />
~ cinematograph business. He limits<br />
is work as every genuine agent should to a<br />
specified list of clients. There may be yet<br />
others meritorious, but unknown to me,<br />
<br />
I quite — with “ Justice ’’ that it would<br />
be easy to draw up a standard agreement that<br />
would cover all the possibilities of most books,<br />
and which would be fair to both author and<br />
publisher. I think, indeed, this Authors’<br />
Society Model Agreement is a little overdue.<br />
1 should be very pleased to assist in its pre-<br />
paration.<br />
<br />
H. G. Weis.<br />
ee<br />
<br />
UNREVIEWED Books.<br />
<br />
Sir,—I saw recently in The Author &<br />
complaint that books sent for review were not<br />
reviewed. I have written a few scientific<br />
books and I always, before sending a copy for<br />
review, inquire whether it will be reviewed<br />
and within what time. Unless the reply 's<br />
fairly definite I do not send a copy. In the<br />
case of cheap books printed in large numbers<br />
it is, perhaps, not worth while to proceed as<br />
above, but in that case is it fair to expect 4<br />
paper to review every book received ?<br />
<br />
I am, etc.,<br />
E. S. BELLASIS.<br />
a:<br />
<br />
Nore.—The Editor re<br />
pressure of space he has i<br />
among the Correspondence various letters d<br />
the question of “Authors and Agents, ek<br />
“Unreviewed Books.” He regrets this all |!<br />
more as The Author will not appear again ©<br />
<br />
‘ts that owing to<br />
en unable to insert<br />
<br />
<br />
<br />
handle ©<br />
translation business, for example, and, indeed, |<br />
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lo At<br />
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THE COMMONWEALTH OF AUSTRALIA.<br />
<br />
COPYRIGHT.<br />
<br />
No. 20 oF 1912.<br />
AN ACT RELATING TO COPYRIGHT.<br />
<br />
[Assented to 20th November, 1912.]<br />
<br />
BE rr ENACTED by the King’s Most Excellent Majesty, the Senate, and the House of<br />
Representatives of the Commonwealth of Australia, as follows :—<br />
<br />
PART JI.—PRELIMINARY.<br />
<br />
1. This Act may be cited as the Copyright Act 1912.<br />
<br />
2. This Act is divided into Parts as follows :—<br />
Part I.—Preliminary.<br />
Part JI.—Copyright.<br />
Part IJ],—Summary Remedies.<br />
Part [V.—The Copyright Office.<br />
Part V.—WMiscellaneous.<br />
3. In this Act, unless the context otherwise requires—<br />
(a) “ the British Copyright Act” means the Copyright Act 1911 of the United<br />
Kingdom (1 & 2 Geo. 5, c. 46) ;<br />
(b) words and expressions defined in the British Copyright Act have the same<br />
meanings as in that Act ;<br />
(c) “ Territory ” means a Territory of the Commonwealth which is part thereof.<br />
<br />
4, The Copyright Act 1905 is repealed.<br />
<br />
5. The Copyright Office established under the Copyright Act 1905, and any officers<br />
appointed under that Act, shall continue as if established or appointed under this Act.<br />
<br />
6. Where, in pursuance of any proclamation™ issued under the Copyright Act 1905,<br />
the administration of any State Copyright Act has become transferred to the Common-<br />
wealth, such administration shall continue to be so transferred to the same extent and<br />
subject to the same terms and conditions as if the Copyright Act 1905 still remained<br />
in force.<br />
<br />
7. All Registers of Copyrights established under the Copyright Act 1905 shall<br />
continue as if established under this Act.<br />
<br />
* See proclamation in Gazette of 26th January, 1907, p. 435.<br />
<br />
Short title.<br />
<br />
Parts.<br />
<br />
Definitions.<br />
<br />
Repeal.<br />
<br />
Continuance<br />
of Copyright<br />
Office.<br />
<br />
Continuance<br />
of Adminis-<br />
tration of<br />
State Copy-<br />
right Acts,<br />
<br />
Continuance<br />
of Registers<br />
of Copyrights.<br />
Adoption of<br />
British Copy-<br />
right Act.<br />
<br />
Modifications<br />
to adapt the<br />
British Copy-<br />
right Act to<br />
the Common-<br />
wealth.<br />
<br />
Importation<br />
of copies.<br />
<br />
1 & 2 Geo. 5,<br />
c. 46, s. 14,<br />
<br />
ea :<br />
<br />
PART II.—Copyricut.<br />
<br />
8. The British Copyright Act, a copy of which is set out in the Schedule to this Act,<br />
shall, subject to any modifications provided by this Act, be in force in the Commonwealth,<br />
and shall be deemed to have been in force therein as from the first day of July, One<br />
thousand nine hundred and twelve.<br />
<br />
9. In the application of the British Copyright Act to the Commonwealth—<br />
<br />
(a) any powers of the Board of Trade under section three may be exercised by the<br />
Governor-General ;<br />
<br />
(v) the reference in sub-section (4.) of section nineteen to arbitration shall be<br />
read as a reference to arbitration under the law of the State or Territory in<br />
which the dispute occurs, and the reference in sub-section (6.) of that section<br />
to the Board of Trade shall be read as a reference to the Governor-General ;<br />
<br />
(c) the reference in section twenty-two to the Patents and Designs Act 1907<br />
shall be read as a reference to the Designs Act 1906, and the reference in<br />
that section to section eighty-six of the Patents and Designs Act 1907 shall<br />
be read as a reference to section forty-one of the Designs Act 1906 ; and<br />
<br />
(d) the reference in section twenty-four to the London Gazette and two London<br />
newspapers shall be read as a reference to the Commonwealth Gazette and one<br />
newspaper published in each of the capital cities of the Australian States.<br />
<br />
10.—(1.) Copies made out of the Commonwealth of any work in which copyright<br />
subsists which if made in the Commonwealth would infringe copyright, and as to which<br />
the owner of the copyright gives notice in writing by himself or his agent to the<br />
Comptroller-General of Customs, that he is desirous that such copies should not be<br />
imported into the Commonwealth, shall not be so imported and shall, subject to the<br />
provisions of this section, be deemed to be prohibited imports within the meaning of the<br />
Customs Act 1901-1910.<br />
<br />
(2.) Before detaining any such copies, or taking any further proceedings with a view<br />
to the forfeiture thereof, the Comptroller-General of Customs or the Collector of Customs<br />
for the State may require the regulations under this section, whether as to information, con-<br />
ditions, or other matters, to be complied with, and may satisfy himself in accordance with<br />
those regulations that the copies are such as are prohibited by this section to be imported.<br />
<br />
(3.) The Governor-General may make regulations, either general or special, respecting<br />
the detention and forfeiture of copies, the importation of which is prohibited by this<br />
section, and the conditions, if any, to be fulfilled before such detention and forfeiture, and<br />
may, by such regulations, determine the information, notices, and security to be given,<br />
and the evidence requisite for any of the purposes of this section, and the mode of<br />
verification of such evidence.<br />
<br />
(4.) The regulations may apply to copies of all works, the importation of copies of<br />
which is prohibited by this section, or different regulations may be made respecting<br />
different classes of such works.<br />
<br />
(5.) The regulations may provide for the informant reimbursing the Comptroller-<br />
General of Customs or the Collector of Customs for the State all expenses and damages<br />
incurred in respect of any detention made on his information, and of any proceedings<br />
consequent on such detention ; and may provide for notices under the Copyright Act 1905<br />
being treated as notices given under this section, and also that notices given to the<br />
Commissioners of Customs and Excise of the United Kingdom and communicated by<br />
<br />
<br />
<br />
<br />
them to the Comptroller-General of Customs shall be deemed to have been given by the<br />
owner to the Comptroller-General.<br />
<br />
(6.) This section shall have effect as the necessary modification of section fourteen of<br />
the British Copyright Act.<br />
<br />
11.—(1.) Subject to this section, the Governor-General in Council may, by Order,<br />
direct that the British Copyright Act and this Act sball extend to literary, musical,<br />
dramatic, and artistic works first produced or published in any part of the King’s<br />
Dominions to which the British Copyright Act does not extend, in like manner as if the<br />
works had been first published or produced in the Commonwealth.<br />
<br />
(2.) Any Order made in pursuance of this section may provide—<br />
<br />
(a) that the term of copyright shall not exceed that conferred by the law of the<br />
part of the King’s dominions to which the Order relates ;<br />
<br />
(b) that the enjoyment of the rights conferred by virtue of the Order shall<br />
extend to the Commonwealth only, and shall be subject to the accomplish-<br />
ment of such conditions and formalities as are prescribed by the Order ;<br />
<br />
(c) for the modification of any provision of the British Copyright Act or this<br />
Act as to ownership of copyright or otherwise, having regard to the law of<br />
the part of the King’s dominions to which the Order relates ; and<br />
<br />
(d) that the British Copyright Act and this Act may extend to existing works<br />
in which copyright subsists in the part of the King’s dominions to which<br />
the Order relates, but subject, to such modifications restrictions and pro-<br />
visions as are set out in the Order.<br />
<br />
(3.) An order in pursuance of this section shall only be made in case the Governor-<br />
General in Council is satisfied that the part of the King’s dominions in relation to which<br />
the Order is proposed to be made has made, or has undertaken to make, such provisions,<br />
if any, as he thinks sufficient for the protection of works first produced or published in<br />
the Commonwealth and entitled to copyright therein.<br />
<br />
12.—(1.) The Governor-General in Council may make Orders for altering, revoking,<br />
or varying any Order in Council made by him in pursuance of any power conferred upon<br />
him by the British Copyright Act or this Act, but any Order made under this section<br />
shall not affect prejudicially any rights or interests acquired or accrued at the date when<br />
the Order comes into operation, and shall provide for the protection of such rights and<br />
interests.<br />
<br />
(2.) Every Order in Council made by the Governor-General in pursuance of any<br />
power conferred upon him by the British Copyright Act or this Act shall be published in<br />
the Gazette, and shall be laid before both Houses of the Parliament as soon as may be<br />
after it is made, and shall have effect as if enacted in this Act.<br />
<br />
13.—(1.) Where copyright subsisted in the United Kingdom in respect of any<br />
musical, dramatic, or artistic work at or after the commencement of the Copyright Act<br />
1905 and before the first day of July One thousand nine hundred and twelve, the copy-<br />
right shall, subject to this section, be deemed to have subsisted in the Commonwealth as<br />
from the commencement of the Copyright Act 1905 or from the date of the commence-<br />
ment of the copyright in the work, as the case requires, to the same extent as if copyright<br />
therein had subsisted in the Commonwealth under the law of the United Kingdom.<br />
<br />
(2.) Where a person has before the commencement of this Act taken any action<br />
whereby he has incurred any expenditure or liability in connexion with the reproduction<br />
<br />
Provision<br />
<br />
for reciprocal<br />
protection of<br />
copyright.<br />
<br />
Cf. Canada<br />
Copyright<br />
Bill 1911,<br />
el. 34,<br />
<br />
Provisions as<br />
to order in<br />
council.<br />
<br />
Cf. 1 & 2 Geo.<br />
5, c. 46, 8. 32.<br />
<br />
Saving of<br />
copyrights in<br />
certain works<br />
made out of<br />
the Common-<br />
wealth,<br />
<br />
<br />
Summary<br />
offences,<br />
<br />
1 & 2 Geo. 5,<br />
c, 46,5. 11.<br />
<br />
Penalty for<br />
permitting<br />
unauthorized<br />
performance<br />
in theatres,<br />
&e.<br />
<br />
Cf. No. 25,<br />
1905, s. 51.<br />
<br />
Search<br />
warrant and<br />
<br />
(4)<br />
<br />
of any musical, dramatic, or artistic work in a manner which at the time was lawful, or<br />
for the purpose of or with a view to the reproduction of any such work at a time when<br />
such reproduction would, but for this Act, have been lawful, nothing in this section shall<br />
diminish or prejudice any rights or interest arising from or in connexion with such<br />
action which were subsisting and valuable at the first day of July, One thousand nine<br />
hundred and twelve, unless the person who, by virtue of this section, becomes entitled to<br />
restrain such reproduction agrees to pay such compensation as, failing agreement, may be<br />
determined by arbitration.<br />
<br />
PART JIII.—Summary REMEDIES.<br />
<br />
14.—(1.) If any person knowingly—<br />
(a) makes for sale or hire any infringing copy of a work in which copyright<br />
subsists ; or<br />
(2) sells or lets for hire or by way of trade exposes or offers for sale or hire, any<br />
infringing copy of any such work; or<br />
(¢) distributes infringing copies of any such work either for the purposes of trade<br />
or to such an extent as to affect prejudicially the owner of the copyright ; or<br />
(d) by way of trade exhibits in public any infringing copy of any such work ; or<br />
(6) imports for sale or hire into the Commonwealth any infringing copy of any<br />
such work,<br />
he shall be guilty of an offence under this Act and be liable on summary conviction to a<br />
fine not exceeding Forty shillings for every copy dealt with in contravention of this section,<br />
but not exceeding Fifty pounds in respect of the same transaction; or in the case of a<br />
second or subsequent offence, either to such fine or to imprisonment with or without hard<br />
labour for a term not exceeding two months.<br />
<br />
(2.) If any person knowingly makes or has in his possession any plate for the purpose<br />
of making infringing copies of any work in which copyright subsists, or knowingly<br />
and for his private profit causes any such work to be performed in: public without the<br />
consent of the owner of the copyright, he shall be guilty of an offence under this Act, and<br />
be liable on summary conviction to a fine not exceeding Fifty pounds, or, in the case of a<br />
second or subsequent offence, either to such fine or to imprisonment with or without hard<br />
labour for a term not exceeding two months.<br />
<br />
(3.) The court before which any such proceedings are taken may, whether the alleged<br />
offender is convicted or not, order that all copies of the work or all plates in possession of<br />
the alleged offender which appear to it to be infringing copies or plates for the purpose<br />
of making infringing copies, be destroyed or delivered up to the owner of the copyright or<br />
otherwise dealt with as the court may think fit.<br />
<br />
15. Any person’ who, for his private profit, permits any theatre or other place of enter-<br />
tainment to be used for the performance in public of any musical or dramatic work,<br />
without the consent of the registered owner of the sole right to perform or authorize the<br />
performance of the work in the state or part of the Commonwealth where the theatre or<br />
place is situated, shall be guilty of an offence, unless he was not aware, and had no reason-<br />
able ground for suspecting, that the performance would be an infringement of the right<br />
to perform or authorize the performance of the work.<br />
<br />
Penalty : Ten pounds.<br />
<br />
16.—(1.) A Justice of the Peace may, upon the application of the registered owner<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
of the copyright in any literary, dramatic, musical, or artistic work or of the agent of such<br />
owner appointed in writing—<br />
<br />
(a) if satisfied by evidence that there is reasonable ground for believing that<br />
infringing copies of the work are being sold, or offered for sale—issue a<br />
warrant, in accordance with the form prescribed, authorizing any constable<br />
to seize the infringing copies and to bring them before a court of summary<br />
jurisdiction ;<br />
<br />
(b) if satisfied by evidence that there is reasonable ground for believing that<br />
infringing copies of the work are to be found in any house, shop, or other<br />
place—issue a warrant, in accordance with the form prescribed, authorizing<br />
any constable to search, between sunrise and sunset, the place where the<br />
infringing copies are supposed to be, and to seize and bring them or any<br />
copies reasonably suspected to be infringing copies of the work before a<br />
court of summary jurisdiction.<br />
<br />
(2.) A court of summary jurisdiction may, on proof that any copies brought before it<br />
in pursuance of this section are infringing copies of the work, order them to be destroyed<br />
or to be delivered up, subject to such conditions, if any, as the court thinks fit, to the<br />
owner of the copyright in the work.<br />
<br />
17.—(1.) The registered owner of the sole right to perform, or authorize the perform-<br />
ance, of a musical or dramatic work in the Commonwealth or any part thereof, or the agent<br />
of such owner appointed in writing, may, by notice in writing in accordance with the<br />
prescribed form, forbid the performance in public of the work in infringement of his<br />
right, and require any person to refrain from performing or taking part in the performance<br />
in public of the work, in infringement of his right, and every person to whom a notice<br />
has been given in accordance with this section shall refrain from performing or taking<br />
part in the performance in public of the work in infringement of the right of such<br />
owner.<br />
<br />
Penalty : Ten pounds.<br />
<br />
(2.) A person shall not give any notice in pursuance of this section without just<br />
cause.<br />
<br />
Penalty : Twenty pounds.<br />
<br />
(3.) In any prosecution under sub-section (2.) of this section, the defendant shall be<br />
deemed to have given the notice without just cause unless he proves to the satisfaction of<br />
the court that, at the time of giving the notice, he was the registered owner of the sole right<br />
to perform, or authorize the performance, of the work in the Commonwealth or any part<br />
thereof, or the agent or (sic) such owner appointed in writing, and had reasonable ground<br />
for believing that the person to whom the notice was given was about to perform or take<br />
part in the performance of the work in infringement of the right of such owner.<br />
<br />
18. Where proceedings are instituted in any court of summary jurisdiction, by or on<br />
behalf of the owner of the copyright in any work or the owner of the sole right to perform,<br />
or authorize the performance, of any work, in respect of any offence in infringement of his<br />
right, any penalty imposed shall be paid to him by way of compensation for the injury<br />
sustained by him, but in any other case any penalty imposed in respect of any offence<br />
against this Act shall be paid to the Commonwealth.<br />
<br />
19. No proceedings shall be instituted in a court of summary jurisdiction in respect<br />
of any offence against this Act after the expiration of six months from the date of the<br />
offence.<br />
<br />
<br />
<br />
<br />
<br />
seizure of<br />
pirated copies.<br />
<br />
Cf. No. 25,<br />
1905, s. 52.<br />
<br />
Power of<br />
owner of per-<br />
forming right<br />
to forbid per-<br />
formance in<br />
infringement<br />
of his right.<br />
<br />
No. 25, 1905,<br />
s. 54.<br />
<br />
Application<br />
of penalties,<br />
No. 25, 1905,<br />
s. 57,<br />
<br />
Limitation of<br />
summary pro-<br />
ceedings.<br />
<br />
Cf. No. 25,<br />
1905, s. 59.<br />
<br />
<br />
Appeals,<br />
Tb. s. 60.<br />
<br />
Part not to<br />
apply to<br />
works of<br />
architecture.<br />
Cf. 1&2 Geo.<br />
5,c. 46s, 9(2).<br />
<br />
Copyright<br />
office.<br />
<br />
Cf. No. 25,<br />
1905, s. 10.<br />
Registrar of<br />
Copyrights.<br />
Cf. ib. s. 10.<br />
<br />
Powers and<br />
functions of<br />
Registrar.<br />
<br />
Seal.<br />
Cf. ib. s. 11.<br />
<br />
Registration<br />
optional.<br />
<br />
Copyright<br />
Registers.<br />
<br />
Ib. s. 64.<br />
<br />
Method of<br />
registration,<br />
Cf. No. 25,<br />
1905, s. 65.<br />
<br />
Registration<br />
of assign-<br />
ments and<br />
transmissions,<br />
<br />
Ib. 8. 66.<br />
<br />
How registra-<br />
tion effected.<br />
<br />
Ib. s. 67.<br />
<br />
20. An appeal shall lie from any conviction or order (including any dismissal of any<br />
information, complaint, or application) of a court of summary jurisdiction in respect of<br />
any offence or matter under this Act, and such appeal shall be to the court, and shall be<br />
made within the time and in the manner, provided by the law of the State or Territory in<br />
in which the conviction or order was made in case of appeals from courts of summary<br />
jurisdiction in that State or Territory.<br />
<br />
21. This Part of this Act shall not apply to any case to which section nine of the<br />
British Copyright Act, relating to infringement of copyright in the case of a work of<br />
architecture applies.<br />
<br />
PART IV.—Tue Copyricur OFrice.<br />
Division 1.—GENERAL.<br />
<br />
22. There shall be, for the purposes of this Act, an office called the Copyright Office.<br />
<br />
23. The Copyright Office shall be in charge of an officer called the Registrar of<br />
Copyrights.<br />
<br />
24. The Registrar of Copyrights shall have such powers and functions as are conferred<br />
upon him by this Act and the regulations.<br />
<br />
25.—(1.) There shall be a seal of the Copyright Office, and impressions thereof shall<br />
be judicially noticed.<br />
<br />
(2.) The seal of the Copyright Office in use at the commencement of this Act shall,<br />
until altered, be the seal of the Copyright Office.<br />
<br />
DIVISION 2.—REGISTRATION.<br />
<br />
26. Registration of copyright shall be optional, but the special remedies provided for<br />
by sections fifteen, sixteen, and seventeen of this Act can only be taken advantage of by<br />
registered owners.<br />
<br />
27. The following Registers of Copyrights shall be kept by the Registrar at the<br />
Copyright Office :-—<br />
The Register of Literary (including Dramatic and Musical) Copyrights.<br />
The Register of Fine Arts Copyrights.<br />
The Register of International and State Copyrights.<br />
<br />
28. The owner of any copyright under this Act, or of the sole right to perform, or:<br />
authorize the performance, of any musical or dramatic work in the Commonwealth or any<br />
part thereof, may obtain registration of his right in the manner prescribed.<br />
<br />
29. When any person becomes entitled to any registered copyright or other right.<br />
under this Act by virtue of any assignment or transmission, or to any interest therein by<br />
licence, he may obtain registration of the assignment, transmission, or licence in the<br />
manner prescribed.<br />
<br />
30. The registration of any copyright or other right under this Act, or of any assign-<br />
ment or transmission thereof or of any interest therein by licence, shall be effected by<br />
entering in the proper register the prescribed particulars relating to the right, assignment,.<br />
transmission, or licence.<br />
<br />
<br />
31. In the case of an encyclopedia, newspaper, review, magazine, or other periodical<br />
work, or a work published in a series of books or parts, a single registration for the whole<br />
work may be made.<br />
<br />
32.—(1.) No notice of any trust expressed, implied, or constructive shall be entered<br />
in any Register of Copyrights under this Act or be receivable Ly the Registrar.<br />
<br />
(2.) Subject to this section, equities in respect of any copyright under this Act may<br />
be enforced in the same manner as equities in respect of other personal property.<br />
<br />
33. Every Register of Copyrights under this Act shall be primd facie evidence of the<br />
particulars entered therein, and documents purporting to be copies of any entry therein or<br />
extracts therefrom certified by the Registrar and sealed with the seal of the Copyright<br />
Office, shall be admissible in evidence in all Federal or State courts, or the courts of any<br />
Territory, without further proof or production of the originals.<br />
<br />
34. Certified copies of entries in any register under this Act or of extracts therefrom<br />
shall on payment of the prescribed fee be given to any person applying for them.<br />
<br />
35. Each register under this Act shall be open to public inspection at all convenient<br />
times on payment of the prescribed fee.<br />
<br />
36. The Registrar may, in prescribed cases and subject to the prescribed conditions,<br />
amend or alter any register under this Act by—<br />
(a) correcting any error in any name, address, or particular ; and<br />
(b) entering any prescribed memorandum or particular relating to copyright or<br />
other right under this Act.<br />
<br />
37.—(1.) Subject to this Act the Supreme Court of any State or a Judge thereof<br />
may, on the application of the Registrar or of any person aggrieved, order the rectification<br />
of any register under this Act by—<br />
<br />
(a) the making of any entry wrongly omitted to be made in the register ; or<br />
(b) the expunging of any entry wrongly made in or remaining on the register ; or<br />
(c) the correction of any error or defect in the register.<br />
<br />
(2.) An appeal shall lie to the High Court from any order for. the rectification of any<br />
<br />
register made by a Supreme Court or a Judge under this section.<br />
<br />
38.—(1.) Every person who makes application for the registration of the copyright<br />
in a book shall deliver to the Registrar one copy of the whole book with all maps and<br />
illustrations belonging thereto, finished and coloured in the same manner as the best<br />
copies of the book are published, and bound, sewed, or stitched together and on the best<br />
paper on which the book is printed.<br />
<br />
(2.) Every person who makes application for the registration of the copyright in a<br />
work of art shall deliver to the Registrar one copy of the work of art or a representation<br />
of it.<br />
<br />
(3.) The Registrar shall refuse to register the copyright in any book until<br />
sub-section (1.) of this section has been complied with, or the copyright in a work of art<br />
until sub-section (2.) of this section has been complied with.<br />
<br />
(4.) Each copy or representation delivered to the Registrar in pursuance of this<br />
section shall be retained at the Copyright Office.<br />
<br />
39. A person who wilfully makes any false statement or representation to deceive the<br />
Registrar or any officer in the execution of this Part of this Act, or to procure or<br />
<br />
Registration<br />
of works<br />
published in<br />
a series.<br />
<br />
Trusts not<br />
registered.<br />
<br />
No. 25, 1905,<br />
s. 68.<br />
<br />
Register to be<br />
evidence.<br />
<br />
Tb. s. 69.<br />
<br />
Certified<br />
copies.<br />
<br />
Ib. s. 70.<br />
Inspection of<br />
registey’.<br />
<br />
Tb. 8. 71.<br />
<br />
Correction of<br />
register.<br />
Ib. s. 72.<br />
<br />
Rectification<br />
of register by<br />
the Court.<br />
No, 25, 1905,<br />
s. 73.<br />
<br />
Delivery of<br />
copies to<br />
Registrar.<br />
Ib. 8. 75.<br />
<br />
False repre-<br />
sentation to<br />
Registrar.<br />
<br />
<br />
<br />
<br />
No. 25, 1905,<br />
s. 76.<br />
<br />
Delivery of<br />
books to the<br />
Librarian of<br />
the Parlia-<br />
ment,<br />
<br />
Cf. 1 & 2 Geo,<br />
5, c. 46, s, 15.<br />
<br />
Preservation<br />
of rights of<br />
State libraries,<br />
<br />
Regulations.<br />
<br />
No. 25, 1905,<br />
s. 79.<br />
<br />
(4)<br />
<br />
influence the doing or omission of any thing in relation to this Part of this Act or any<br />
matter thereunder shall be guilty of an indictable offence.<br />
P nalty ; Imprisonment for three years.<br />
<br />
PART V.—MIScELLANEOUS.<br />
<br />
40.—(1.) The publisher of every book which is first published in the Commonwealth<br />
after the commencement of this section, and in which copyright subsists under this Act,<br />
shall within one month .after the publication deliver, at his own expense, a copy of the<br />
book to the Librarian of the Parliament, who shall give a written receipt for it.<br />
<br />
(2.) The copy delivered to the Librarian of the Parliament shall be a copy of the<br />
whole book with all maps and illustrations belonging thereto, finished and coloured in the<br />
same manner as the best copies of the book are published, and bound, sewed, or stitched<br />
together, and on the best paper on which the book is printed.<br />
<br />
(3.) Ifa publisher fails to comply with this section, he shall be liable on summary<br />
conviction to a fine not exceeding Five pounds and the value of the book.<br />
<br />
(4.) For the purposes of this section the expression ‘“‘ book ” includes every part or<br />
division of a hook, pamphlet, sheet of letterpress, map, plan, chart, or table, but shall not<br />
include any second or subsequent edition of a book unless that edition contains additions<br />
or alterations either in the letterpress or in the maps, prints, or other engravings<br />
belonging thereto or any book published by any State or any authority of a State.<br />
<br />
41, Nothing in this Act shall be deemed to affect the existing provisions of any Act<br />
of the Parliament of a State which require or relate to the delivery to any specified Public<br />
or other Library of the State of copies of books published in the State or to affect the<br />
power of the Parliament of a State to make laws requiring or relating to such delivery.<br />
<br />
42. The Governor-General may make regulations, not inconsistent with this Act,<br />
prescribing all matters which by this Act are required or permitted to be prescribed or<br />
which are necessary or convenient to be prescribed for giving effect to this Act or for the<br />
conduct of any business relating to the Copyright Office.<br />
<br />
BRADBURY, AGNEW, AND CO, LD., PRINTERS, LONDON AND TONBRIDGE | https://historysoa.com/files/original/5/530/1913-07-01-The-Author-23-10.pdf | publications, The Author |
| 543 | https://historysoa.com/items/show/543 | The Commonwealth of Australia: Copyright (1913) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Commonwealth+of+Australia%3A+Copyright%3C%2Fem%3E+%281913%29"><em>The Commonwealth of Australia: Copyright</em> (1913)</a> | A full summary of the copyright Bill as assented to on 20 November 1912. | | | | | | | <a href="https://historysoa.com/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23&sort_field=added">Supplement to <em>The Author</em>, Vol. 23</a> | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1913-Commonwealth-of-Australia-Copyright | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=78&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bradbury%2C+Agnew+%26+Co.">Bradbury, Agnew & Co.</a> | | | | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1913">1913</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=4&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=London">London</a> | | 19130701 | | https://historysoa.com/files/original/4/543/1913-Commonwealth-of-Australia-Copyright.pdf | Australia, copyright, publications, The Author |