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Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1892-09-01 Volume 3 Issue 4 Pages Page range in volume 117–148 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18920901 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Muthor. (The Organ of the Incorporated Society of Authors. Monthly.) CPOWDUCTED BY WALTER BESANT. Vou. IIT'—No. 4.] SEPTEMBER 1, 1892. [Prick SIXPENCE. CONTENTS. PAGE PAGE Warnings ae cas eos i ahs = ni me fe 9 In the Lower Ranks ... ee a ie bes na ee as Lee How to Use the Society... aa ais ee oo wee an L20: What is Read— The Authors’ Syndicate ... pe wee as 85 oo s5, 12 1.—Brentford Free Library ... aoe os wae ae «.. 136 Notices... oe ae = sae oon yet ae eee way ded 2.—The People’s Palace Library... ae 3 ace swe 186 Literary Property— American Independence _... on BP aes wale a eee. 1.—Lee v. Gibbings_... ae ee ae sas enh ao IL The Experiences of a Shy Woman oe one eS ee +.» 188 2.—Quinton v. Arrowsmith ... 2 Women in Journalism a cos eon tne as son .-- 139 Correspondence— Fraudulent Authors ... an see oe us ore me cs 126 1.—Long Oredit ... Be oe ie ee 2. 140 Feuilleton— 2.—Does the Higher Work Pay? ... ows. ve ewe 140 A Writer of Novelettes See ieee es vee teeny 129 3.—Praised, but Refused see ase igen were 4d The Athenzwm on Construction in Fiction... ee as we. 132 ‘© At the Author’s Head” ... = =e oe ae aw ee EL The Story of a Mistake .... i. See a ee ee sae 158 New Books and New Editions... aes ae eee aed ce ae PUBLICATIONS OF THE SOCIETY. 1. The Annual Report. That for January 1892 can be had on application to the Secretary. ®. The Author. A Monthly Journal devoted especially to the protection and maintenance of Literary Property. Issued to all Members. 3. The Grievances of Authors. (The Leadenhall Press.) 2s. The Report of three Meetings on the general subject of Literature and its defence, held at Willis’s Rooms, March, 1887. 4. Literature and the Pension List. By W. Morris Coxuus, Barrister-at-Law. (Henry Glaisher, g5, Strand, W.C.) 3s. 6, The History of the Societe des Gens de Lettres. By S. Squirm Spricaz, late Secretary to the Society. Is. 6. The Cost of Production. In this work specimens are given of the most important forms of type, size of page, &c., with estimates showing what it costs to produce the more common kinds of books. Henry Glaisher, 95, Strand, W.C. 2s. 6d. 7, The Various Methods of Publication. By S. Squire Spricer. In this work, compiled from the papers in the Society’s offices, the various kinds of agreements proposed by Publishers to ‘Authors are examined, and their meaning carefully explained, with an account of the various kinds of fraud which have been made possible by the different clauses in their agreements Henry Glaisher, 95, Strand, W.C. 3s. o Copyright Law Reform. An Exposition of Lord Monkswell’s Copyright Bill now before Parlia- ment. With Extracts from the Report of the Commission of 1878, and an Appendix containing the Berne Convention and the American Copyright Bill. By J. M. Lety. Eyre and Spottiswoode. 1s. 6d.  ADVERTISEMENTS. THE LINOTYPE GOWPOSING JIAGHINE. SPECIALLY ADAPTED FOR BOOKWORK. “A MIGHTY BUT PEACEFUL REVOLUTION.” OPINIONS OF VARIOUS NEWSPAPERS ON THE LINOTYPE. For full List of Eeperts’ Reports and Opinions apply to the Company’s Secretary for Pamphlet. “Tt will do away with type, and composition, and distribution, as now practised, will be known no more.”— Manchester Courier. “ Saves 70 per cent. in cost of composing, and from three- fourths to nine-tenths in time.’—Shefield and Rotherham Independent. “Tt bids fair to revolutionise the present system, especially of newspaper production, for which it seems peculiarly well adapted. The instrument is one of the most beautiful and ingenious pieces of mechanism ever introduced in connection with the art of printing.” —Scotsman. “The absolute saving of distribution, which is reckoned as equivalent to one quarter of the cost of composition, is an important factor in the economy of this machine. With it comes emancipation from the frequent errors arising from faulty distribution. To pye matter is impossible. Unquestionably the most remarkable machine ever invented in the art of printing.” —The Printers’ Register. “ Tt stands to reason that an invention that economises as well as expedites work, without aiming a blow at those who had previously done without it, must be a success.”’—Echo. “The rapidity and accuracy of the process impressed Mr. Gladstone very powerfully, or, as he expressed it himself, it ‘staggered’ him.”—Daily Chronicle. * One of the most remarkable machines ever invented.’’— Engineer. “A steam-driven, type-composing and casting machine which really promises to bring about a revolution in the composing-rooms of newspaper and book printing offices.” —Home and Colonial Mail. “ This remarkable invention promises to revolutionise all our ideas as to type-setting by machinery. It dispenses with movable type, and substitutes matrices in which the letters are cast in solid lines.”—Leeds Mercury. “One of the most remarkable labour-saving Machines ever devised in an age remarkable for such inventions.” —Western Mail (Cardiff). ‘The work never stops, line after line is added with — astonishing smoothness and regularity.”—Newcastle Daily Chronicle. ‘Has come into existence to create amazement, where surprise hitherto found a home. “The Linotype, to be brief, is a machine which does away with the present expensive and slow method of type-setting. — It performs all the work of a compositor automatically, with — greater precision and with far more rapidity. The most important feature of the patent, however, lies in the enormous saving it effects in the cost of setting, while a no ~ less startling fact is that the labour of ‘ distributing,’ or the putting of the type back into cases, is dispensed with.”— Admiralty and Horse Guards Gazette. “ Printing without types. A marvellous machine that — The advance of — industrial science is so rapid that this machine must, sooner — or later, come into extensive use.”—Hvening News and Post — makes fresh types for every line. (London). THE ECONOMIC PRINTING & PUBLISHING CO. LIMITED, 39, BOUVERIE STREET, FLEET STREET, E.C., Having acquired the monopoly of Linotype Machines in London (excepting Newspaper Offices), are in a position to quote decidedly advantageous Prices to Authors for the Composition of Books by Linotype, and also undertake the Printing, being well equipped with Printing Machinery by the best makers.  Che HMuthor, (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. III.—No. 4.] SEPTEMBER 1, 1802. [PRIcE SIXPENCE. for the Opinions expressed in papers that are signed or initialled the Authors alone are responsible, oct WARNINGS. Specran Warnine. — Readers are most URGENTLY warned not to neglect stamping their agreements immediately after signature. If this { _—~precaution is neglected for three weeks, a fine of £10 must be paid before the agreement can be used as a legal document. In almost every case | brought to the secretary the agreement, or the | letter which serves for one, is without the stamp. f The author may be assured that the other party 1 to the agreement never neglects this simple pre- » caution, The stamp duty varies from 6d. up to 10s. or more, according to the form of agreement. (] The Society, to save trouble, undertakes to get f all the agreements of members stamped for them ‘= at no expense to themselves except the cost of the 2 stamp. Reapers of the Author are earnestly desired to make the following warnings as widely known as possible. They are based on the experience of seven years’ workupon the dangers to which literary property is exposed :— RB a oe (1.) Never sign any agreement of which the alleged cost of production forms an integral part, until you have proved the figures. (2.) Never enter into any correspondence with publishers, especially with those who advertise for MSS., who are not recom- mended by experienced friends or by this Society. VOL, 111, (3.) Never, on any account whatever, bind yourself down for future work to any- one. (4.) Never accept any proposal of royalty until you have ascertained what the agreement, worked out on both a small and a large sale, will give to the author and what to the publisher. (5.) NEVER accept any pecuniary risk or respon- sibility whatever without advice. (6.) Never, when a MS. hes been refused by respectable houses, pay others, whatever promises they may put forward, for the production of the work. (7.) Never sign away American rights. Keep them. Refuse to sign any agreement containing a clause which reserves them for the publisher. If the publisher insists, take away the MS. and offer it to another. (8.) Never sign any paper, either agreement or receipt, which gives away copyright, without advice. (9.) Keep control over the advertisements, if they affect your returns, by clause in the agreement. Reserve a veto. If you are yourself ignorant of the subject, make the Society your adviser. (10.) Nuvur forget that publishing is a busi- ness, like any other business, totally un- connected with philanthropy, charity, or pure love of literature. You have to do with business men. Society’s Offices :— 4, Portueau Srrent, Lincoun’s Inn Fiaxps. 72ees Kk 2  120 THE AUTHOR. HOW TO USE THE SOCIETY. 1. Send to the office copies of past agreements and past accounts with the loan of the books repre- sented. This is in order to ascertain what has been the nature of your agreements and the results to author and publisher respectively so far. The secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. ’ 2, If the examination of your previous business transactions by the Secretary proves unfavour- able, you should take advice as toa change of publishers. 3. Before signing any agreement whatever, send the proposed form to the Society for examination. 4. The Society is acquainted with the methods, and—in the case of fraudulent houses—the tricks, of every publishing firm in the country. Remember that there are certain houses which live entirely by trickery. 5. The outward and visible signs of the fraudulent publisher are—(1) a virtuous and benevolent wish to have the unquestioned conduct of your business left entirely in his hands; (2) a virtuous, good man’s pain at being told that his accounts must be audited; (3) a virtuous indig- nation at being asked what his proposal gives - him compared with what it gives the author; and (4) irrepressible irritation at any mention of the Society of Authors. 6. Remember always that in belonging to the © Society you are fighting the battles of other writers, even if you are reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the inde- pendence of the writer. 7. Send to the Editor of the Author notes of everything important to literature that you may hear or meet with. eee THE AUTHORS’ SYNDICATE. R. Colles desires to inform readers of the Author— 1. That the Authors’ Syndicate is now in a position to take charge in whole or in part of the business of members of the Society. With, when necessary, the assistance of the advisers of the Society it will conclude agreements, collect royalties, examine and pass accounts, and, generally, relieve mem- bers of the trouble of managing business details. All accounts opened between the Syndicate and members are duly audited. 2. That the establishment expenses of the Authors’ Syndicate are defrayed entirely out of the commission charged on rights placed through its intervention. This varies, and must vary, according to the nature of the services rendered, but it is intended to reduce the rates to the lowest possible amount compatible with effi- ciency. Meanwhile members will please accept this intimation that they are not entitled to the services of the Syndicate gratis. 3. That he undertakes to work for none but members of the Society. 4. That his business is not to advise members of the Society, but to manage their affairs for them if they please to entrust them to him. 5. That when he has any work in hand he must have it entirely in his own hands; in other words, that authors must not ask him to place certain work, and then go about endeavouring to place it by themselves. 6. That when a MS. has been sent from pub- lisher to publisher, and from editor to editor, in vain, it is most likely impossible to place it. 7. That in the face of the present competition, authors will do well to moderate their expectations. To this it may be added, that where advice is sought, the Secretary of the Society, and not the Syndicate, must be consulted. On his behalf members are requested— ' 1. To place on paper briefly the points on which advice is asked. 2. To send up all the letters and papers con- nected with the case, if it is a case of dispute. 3. Not to conceal or keep back any of the facts. ect  THE NOTICES. HE Editor of the Author begs to remind mewbers of the society that, although the paper is sent to them free of charge, the cost of producing it would be a very heavy charge on the resources of the society if a great many members did not forward to the secretary the modest 6s. 6d. subscription for the year. He finds that, while the interest in the paper increases, and while it is acknowledged to be doing good service by its exposures and investigations, there has been some tendency this year to forget the subscription. Perhaps this reminder may be of use. With 800 members, besides the outside circulation of the paper, the Author ought to prove a source of revenue to the society. The Editor is always glad to receive short papers and communications on all subjects con- nected with literature from members and others. Nothing can do more good to the society than to make the Author complete, attractive, and interesting. Will those who are willing to aid in this work send their names and the special subjects on which they are willing to write? All persons engaged in literary work of any kind, whether members of this Society or not, are invited to communicate to the Kditor any points connected with their work which it would be advisable in the general interest to publish. Members and others who wish their MSS. read are requested not to send them to the Office with- out previously communicating with the Secretary. The utmost practicable despatch is aimed at, and MSS. are read in the order in which they are received. It must also be distinctly understood that the Society does not, under any circum- stances, undertake the publication of MSS. The Authors’ Club is now opened in temporary premises, at 17, St. James’s Place, St. James’s Street. Address the Secretary for information, rules of admission, &c. Will members take the trouble to ascertain whether they have paid their subscriptions for the year? If they will do this, and remit the amount or a banker’s order, it will greatly assist the Secretary, and save him the trouble of sending out a reminder. AUTHOR. 121 Members are most earnestly entreated to attend to the warning numbered (3). It is a most foolish and a most disastrous thing to bind yourself to anyone for a term of years. Let them ask them- selves if they would give a solicitor the collection of their rents for five years to come, whatever his conduct, whether he was honest or dishonest ? Of course they would not. Why then hesitate for a moment when they are asked to sign themselves into literary bondage for three or five years P How, we are asked almost every day, is the young writer to make a beginning? He should first get an opinion from one of the Society’s readers as to the merits and chances of his book. It may be that certain points would be suggested foralteration. Itmay be that he will find himself recommended to put his MS. in the fire. He should, if encouraged, offer his MS. to a lst of houses or of magazines recommended by the Society. There is nothing else to be done. No one, we repeat, can possibly help him. If those houses all refuse him, it is not the least use trying others, and, if he is a wise man, he will refuse to pay for the production of his own work. If, how- ever, as too often happens, he is not a wise man, but believes that he has written a great thing, and is prepared to back his opinion to the extent of paying for his book, then let him place his work in the hards of the Society, and it shall be arranged for him without greater loss than the actual cost of production. At least he will not be deluded by false hopes and promises which can end in nothing. The address delivered by Mr. Edmund Gosse at the Shelley Centenary will be published in our October number, corrected by the author, ee LITERARY PROPERTY. I. Lee v. GIBBINGS. HIS case promised ‘to raise a somewhat important question to authors, namely, whether, where an author has sold his copyright in a work, the work can be published ina condensed or popular form without stating that itis in fact condensed from the original work. The question arose upon the recent publication of a condensed edition of Mr. Sidney Lee’s “ Autobio- graphy of Edward, Lord Herbert of Cherbury.” The facts of the case were briefly these. In 1886 the plaintiff, Mr. Sidney Lee, now editor of the  122 THE “Dictionary of Biography,” prepared, at the request of Mr. J. C. Nimmo, the publisher, and at an agreed price, an edition of the “ Autobio- graphy of Edward, Lord Herbert of Cherbury,” who lived in the reigns of Queen Elizabeth and Kings James I. and Charles I. and II., and dis- tinguished himself as Ambassador to the Court of France, and a man of letters. Mr. Lee’s work contained a preface, a table of contents, an introduction, a bibliographical notice of the cir- cumstances under which the text was originally printed, explanatory notes, a continuation of Lord Herbert’s life from the point at which his auto- biography terminated until his death, also an appendix and an index. A certain number of copies were issued, but the work did not command any great sale. In May last the defendant, Mr. William Walter Gibbings, publisher, of Bury- street, Bloomsbury, announced the publication, at the price of 5s., of a smaller edition of the work, to form the third volume of a series called “ The Memoir Library,’ but omitting, in part or in whole, the preface, introduction, table of contents, bibliographical notice, and index of the original. On the title-page of this smaller edition Mr. Lee was stated to be the editor, and the date of publication as “1892.” It appeared that the defendant had purchased from Mr. Nimmo the remainder of the original work, omitted the parts already mentioned, and then published the smaller and cheaper form of the work, but without any intimation that it was taken from the original work of Mr. Lee. The plaintiff .complained that the omissions from a work of so serious and scholarly a character were so important as to be injurious to his reputation as an author and scholar, and accordingly he issued the writ in this action, and now moved for an interim injunction to restrain the defendant from publishing or selling any copies of the “ Autobiography of Edward, Lord Herbert of Cherbury,” edited by the plaintiff and published by Nimmo in 1886, with any material alteration or omission, and containing any representation to the effect that such copies had been prepared for publication by the plaintiff. Mr. Justice KexewicH gave judgment as follows:—There are two aspects of this case, one of which had better be left alone; but the other must, to some extent, be regarded. The one which I think had better be left alone, is what I may fairly call the moral side. The defendant’s evidence is directed almost entirely to that. Instead of giving me facts—and the disputed facts are extremely few—I have a considerable amount of evidence, which, of course, has occupied a long time in reading, ‘respecting what is called the custom, or more AUTHOR. strictly, the habit of the publishing trade, and there is more than something about common sense. Those affidavits, hke many other affidavits, might, with great advantage, have been omitted altogether. Certainly they might have been cut down within the narrowest possible limits. No doubt the same observation is, to some extent, applicable to the affidavits on behalf of the plaintiff, but not to the same extent. Whether a jury would take into consideration the moral side of the case or not, it is not for me to prophesy. I certainly cannot. Ican only regard it from the legal point of view, and I refrain from making such remarks as occur to me on the moral side. The legal side of the case is one of consider- able interest, and not at all free from difficulty. I regard the defendant for this purpose as the owner of the copyright of this work. He is not, Iam aware, the owner of the copyright, but he has purchased the unpublished sheets of the plaintiff’s work, and as regards those unpublished sheets he stands in Mr. Nimmo’s place, and is the owner of the copyright. He has Mr. Nimmo’s assent to their publication. He has even Mr. Nimmo’s assent to the publication in the present form, and he, therefore, though having no right to multiply copies in the sense of printing further copies and publishing anything else but these sheets, can deal with these sheets as he pleases pro- vided he gives the plaintiff no cause to complain. He thinks fit—that is to say he finds it con- venient to his trade—to publish the plaintiff's work in a mutilated form. The word “ mutilated” may or may not imply something in derogation of the work or of the defendant’s manipulation of it, but strictly speaking the form is mutilated. The index is left out. Ido not myself attribute very great importance to that in such a work as this, but I only speak for myself in saying that. There are other parts left out, including the introduction, and I should certainly say that the omission of the introduction to such a work as this was very nearly leaving out the principal part of the work. Then the date is altered so as to give the impression that it isa new work. I am told that is not so; that nobody would sup- pose it was a work published in 1892 because the figures “1892” are on the title page. I suppose that there are some people who would regard “1892” as meaning nothing; I confess to be amongst those who would have regarded it as meaning that the work was published in 1892 and not in 1886; but that is a question of injury to the plaintiff to which I will come presently, and not otherwise a mutilation of the plaintiff's work. The omission of the intro- duction does seem to me to be a very cogent  fr f it [t So fey SO es $ [ [ s 3 { i t t I THE instance of mutilation. Is the defendant entitled to do that? There is no law compelling a man to publish the whole of the work because he has the copyright in the whole. Nor can he be prevented from publishing extracts from the work. Whether it is right for him to publish extracts without saying they are extracts, or whether he can publish a work in a mutilated form without indicating in the least that there has been that mutilation is a question to my mind of some difficulty. The question resolves itself into this—does he thereby injure the author's reputation? For that, what is the author’s remedy in law? His remedy in law is, I think, undoubtedly libel or nothing. Injury to reputation is the foundation of the remedy in an action of libel. It is what you have to prove in order to get your damages, and if one endeavoured, which I am not intend- ing to do, to frame the innuendo in an action of libel by the plaintiff against- the defendant, it would necessarily point to the injury of the reputation of the author here, by informing the public that this mutilated work was really the work of the plaintiff, whereas in fact his work was something far superior; and that this would be discreditable to him. That would be neces- sarily the general line of complaint. It comes, therefore, to a question on this part of the case whether I ought to grant an injunc- tion now to restrain a libel before that question has been before a jury, which is the avowedly proper tribunal for the purpose of determining whether a libel exists or not. The jurisdiction of the court to restrain a libel is undoubted. It has been affirmed over and over again, even in those cases in which the court has refused to grant an injunction, in particular the last case of Bonnard v. Perryman. Of late years there has been no such thing as an injunction to restrain a libel except in the recent case, where Mr. Justice Chitty distinguished trade libels from other libels, and granted an in- junction, a decision with which, within the last week or two, I have had occasion to express my entire concurrence. But with that exception, as far as I know, the court has not of late granted an injunction to restrain a libel before the point has been submitted to a jury—ain other words, on interlocutory application. Now ought this to be an exceptional case? I see no reason for making an exception in favour of a case such as this. The balance of con- venience does not seem to me to point in favour of granting an injunction, because, though the sale of the work will no doubt go on, and though if it goes on it is injurious to the plaintiff's repu- tation—the injury will be continued—yet the AUTHOR. 134 injury must to a great extent be done by the mere publication ; and, after all, success in the ultimate result would be quite satisfactory to the plaintiff. I mean, if it were eventually deter- mined that the plaintiff was right and could sus- tain an action for libel against the defendant by reason of this publication, then, not by the damages awarded, but by the mere verdict of the jury, he would have, I will not say rehabilitated, but maintained his reputation at the level at which it before existed. It cannot be suggested that the mere sale of a few copies more or less would place him in any worse position if even- tually he succeeded, and of course if he did not, then he has no reason to complain. Now, on the balance of convenience, I think I ought not to grant an injunction, especially it being, of course, understood that I express no opinion whether it is a libel or not. That is really the reason why the court in these cases does not grant an injunction, because, if it granted an injuction, or even if it refused it on the other ground than the one I have mentioned, the court would be obliged to express an opinion, and the court ought not to express an opinion on a matter that is to be left to a jury. But the plaintiff's case has been put by Mr. Renshaw on another ground, which strikes me as extremely deserving of attention, though I do not think I ought to grant an injunction on that ground at the present moment. He says this is like the case of Clarke v. Freeman, and Clark v. Freeman may be considered for this purpose, as decided quite differently from the way in which it was decided. In that I follow him. Ido not think that after the observations of Vice-Chancellor Malins, Lord Cairns, and Lord Selborne, on that case, I ought to hesitate to regard it as really erroneously decided, and I do not think that, having regard to Lord Cairns’ observations on page 310 of the 2nd Chancery Appeals, in the case of Maxwell v. Hogg, I ought to doubt what the proper decision should have been in Clarke v. Freeman or on what gronnd that proper decision would have been rested, because he says distinctly, speaking, be it remembered, in the Court of Appeal, “It always appeared to me that Clarke v. Freeman might have been decided in favour of the plaintiff on the ground that he had a pro- perty inhisown name.” The question of whether a libel was a fit subject for an injunction either on motion or at the trial, was not discussed in Clarke v. Freeman. It is not discussed by Lord Justice Cairns; itis not discussed by Lord Selborne, and it is not discussed by Vice-Chancellor Malins ; but they disapprove of the decision, and Lord Justive Cairns says, because the plaintiff hada property in his own name the name was invaded  124 THE AUTHOR. by the action of the defendant, and the plaintiff could therefore restrain the defendant from doing what he did on that ground, Thatis entirely independent of libel. Now can I decide this case on that ground in favour of the plaintiff ? I think not; and I think not because, when you come to test that argument, according to my present opinion, you really come back again to the question of libel in this case, though you would not have done so in Clarke v. Freeman. The pluintiff’s case on this part of it is, ‘“‘ that the defendant is publishing as my own what is not my own, that is to say, I am the author of an entire book; the defendant is pub- lishing only part of it, and such part that really he is not publishing my work at all; he is bringing out what I never sanctioned as my work, and which cannot be fairly represented as my work, and therefore I complain of him using my name in connection with a book that is not mine.” It comes back to this: Is the book the plaintiff’s or not? It is avowedly only part of it ; but it is such a substantial part of it that it may be fairly called the plaintiff's. It is so unless the mutilations are such as to give the plaintiff a right of action for libel. £0 that, try it as you will, it comes back to the same point, and I think, therefore, I should be doing wrong in seizing hold of the doctrine, not of Clarke v. Freeman, but which ought to have been supported. in Clarke v. Freeman, to give the plaintiff relief, which ought, on the other hand, to be denied him because he is really bringing an action of libel. I therefore, on those grounds, must refuse the motion, without expressimg any opinion whether what has been done is injurious to the plaintiff's reputation or not. This is really the whole question in the case. Tf the case is tried out there is nothing else to be tried, and therefore the proper way to deal with the costs isto make the costs of both parties costs in the action. The following is an extract from a letter by Mr. Lee which appeared in the Atheneum of the 13th ult. announcing tbat he had discontinued the action :— “ Lee v. Gibbings. “ My object in taking legal proceedings was to publicly show that I had no responsibility in the issue of the mutilated volume. The notices of the case in the Press have adequately relieved me of any suspicion that may have arisen on that score. But the judgment in the case secured for me, and I hope for other authors similarly placed, something more. Mr. Justice Kekewich held, despite the contentions to the contrary of Mr. Gibbings, his witnesses, and his counsel, that my work had been seriously mutilated. ‘The omis- : sion of the introduction to such a work as this,’ _*, he said, ‘was very nearly leaving out the a principal part of the work; this does seem to me,’ he continued, ‘to be a very cogent instance of mutilation.’ “The alteration cf the original date to 1892 was, in the judge’s opinion, calculated ‘to give the impression that it is a new work.’ “The court further laid it down that the right ey of a purchaser who purchases the copyright of O38 a work from the author to make changes in it, Don is subject to the limitation that he must give the , 8 author ‘no cause to complain.’ : “Some friends have urged me, in the interest : x of myself and my fellow authors, to carry the | 8 case to a final hearing. But I have already |x involved myself in much expense, and I am unwilling to incur more. I could not expect to recover very substantial damages, and I should be certain to suffer anxieties which must interfere with my usual avocations. I have done a little towards asserting the legal right of an author to some humane consideration at the hands of a publi her to whom he has parted with his copy- right. Iam content to leave the matter where it stands, and have instructed my folicitors to discontinue the action.” The points involved, to repeat, were the fol- lowing: 1. Mr. Lee wrote a life of Lord Herbert of Cherbury, which, together with certain introduc- tions, notes, explanatory matter and indices, he sold to Mr. Nimmo for asum of money. 2. Mr. Nimmo produced an edition of the work. 3. Mr. Nimmo sold, or transferred, to Mr. Gibbings, the remainder stock of the book. 4. Mr. Gibbings reproduced it in another edition, but without the introduction and other structural parts of the work. 5. Mr. Lee brought an action to restrain the publication of this mutilated form of his work, It is a perfect illustration of the chaotic con- dition of literary property that this action should have to be brought, and that counsel should be able to maintain the right of producing a mutilated copy of a work as the work itself. However, the important point is this: when one sells a work—any kind of work—does one sell that work alone—as it is—indivisible—or does one sell the power of issuing garbled, mutilated, incomplete, altered forms of that work with the original author’s name still attached? In other words, in selling a novel does one sell tpsissema verba—the work just as it is—without power of alteration, or does one sell the power of altering,  Sn Seen any ag a» ME Fy une AUTHOR. adding, condensing, any part of it? In sellinga poem, does one sell the right of publishirg it, with such alterations as the proprietor may see fit to add—a new rhyme here and there, the addition of a couplet or so to a sonnet—any- thing? It is not enough to say that no respect- able publisher would commit such acts. Respect- able publishers die; for other reasons they sometimes sell copyrights. What protection has the author? None, it appears, so far. Mr. Lee very wisely and, so far as concerns the common good, very nobly undertook to bring the point to an issue by taking his case into court. What has he got by it ? 1. Mr. Justice Kekewich, whose judgment we have given above verbatim from the note of the society’s shorthand writer, laid it down that the right of a publisher who purchases a copyright is subject to the limitation that he must give the author “no cause to complain’? But this is a very small thing. For who can decide what may constitute a ‘cause for complaint.” Perhaps he himself might decide that an additional couplet tacked on to a poet’s sonnet is not a ‘cause for complaint.’”” This admission, certainly, advances us a very little way. 2. The injunction sought was refused on the ground that the plaintiff's only remedy was a libel against Mr. Gibbings. Mr. Lee publishes in the Atheneum certain opinions of publishers. Mr. Murray stated that “itis calculated to damage the reputation of a literary man that a book edited—he includes, per- haps, written—in one year should be republished in another year in a mutilated form, and as though it were a new piece of editorial work.’ Mr. F. Macmillan is said to have expressed the same opinion. Mr. George Smith was more guarded. He said, “It is unusual to publish as anew book a muti'ated edition of an old book printed many years previously, and in my opinion it is an injustice to an author to print a new title page to such a mutilated work with a later date on it than that which appeared in the original edition.” Of the three publishers not one stated as his Opinion that the owner of the copyright has no right to make alterations or suppressions. Yet this is the real point at issue. The very guarded wording of the evidence of Mr. Murray and Mr. George Smith seems on the other hand to indi- cate that they think they have the right. We are left, therefore, as before, save for the little help gained by throwing light upon the doubt and confusion which wrap the subject. It still remains to bring a case before the court which shall decide this point. No one can com- VOL, III. 125 plain that Mr. Lee finds it necessary to withdraw from further prosecution of the case. He has incurred heavy expenses and grievous interrup- tion to his own work; he would probably have re- covered very small damages. Still, it is a most grievous thing for all concerned that the action should have been abandoned. All that has been substantially gained is that the publishers have received a warning that similar actions may result in similar mulctings by way of law expenses. Meanwhile, it remains for us to stipulate by clause of agreement that the sale of copyright includes the right of reproduction of the actual book complete in all its parts, and that without suppression, alteration, or mutilation of any kind. On Aug. 20 letters from Mr. Nimmo and Mr. Gibbing appeared in the Atheneum. We have nothing to do with Mr. Nimmo’s letter, which does not touch our point. That of Mr. Gibbings, however, fairly and squarely claims the right of mutilation. He says: “T may say that I understand Mr. Lee’s feel- ings, and sympathise with them so far as he is grieved that an important part of his work relating to Lord Herbert, and with which he doubtless took great pains, has been cut away. I believe such excision to be within the rights of a copyright holder, and, in fact, that such holder (who is not necessarily a publisher, be it remembered) can “ mutilate”? an author’s work, which, as the judge held, “may or may not imply something in derogation of the work and its manipulation.” This puts the case quite plainly and fairly. The defendant in the case says, “I have the right to excise what I please in my copyright.” If this is so, authors have not the least protection. Yet who could imagine that in parting with his copyright he was parting with himself—his name —his fame—his reputation—everything? This is the pomt which must be brought before the courts of law and settled somehow. i, Quinton v. ARROWSMITH. HIS was a case tried before Mr. Justice Wills in which the author charged a publisher with negligence in carrying out his agreement. The book was a ‘“ commission book,” z.e., one in which the author paid for the printing while the publisher undertook the management of the book. The author found that the book was not put out on the railway stalls, nor was it, as he considered, properly advertised. There were certain minor points L  126 THE AUTHOR. about commission. In the end the plaintiff lost his case. Perhaps it was not to be expected, in a case involving literary property, that either side should show any perception of the real point at issue. Nor was any perception of that point displayed. For the reai poimt was simply this. Did the defendant, when he undertook the sole management of the book — its “ publica- tion””—include all that is ordinarily understood by publication ? What is the “publication” of a book? It includes, without doubt, print- ing, binding, sending out press copies, and notification in some way or other, to the trade. Does it also include advertising for the general public? ‘The plaintiff clearly thought it did. The defendant, as clearly, thought it did not. That was the point which should have been pressed. Everything turned upon that. What would have been the result had it been pressed, had it been put forward as the chief point, the sole point, we do not venture to say. Perhaps —we do not say—the verdict would still have gone against the plaintiff. But that and nothing else was the real question involved. The minor points of which so much was made, the trade terms and commission, and so forth, had really nothing to do with the case. Anybody who knew the trade could have told the plaintiff that from 10 to 15 per cent. is a common publisher's commission, not in the least exorbitant. These things should have been kept out altogether, and the case should have been tried on the single broad question. The defendant undertook the publication of the book. Did that include adver- tising it? Probably, had he so understood it, he would not have undertaken it. Probably, had he not so understood it, the author would not have given his work into the defendant’s hands. There was a little playing about the question, but it was never pushed to the front. The defen- dant’s counsel asked the plaintiff if he was aware that the defendant had brought the book to the notice of 1400 retail booksellers. But he did not, according to the report before us, ask the defendant himself if that was so, and how he had done it. The defendant himself explained that he did not “ specially advertise” books of this kind, meaning commission books, and added, with amusing frankness, that while it paid him to do so at the authors’ request in his own periodi- cals, he did not see how it paid the author. The real question, itis repeated, was whether or no the defendant undertook, or should have undertaken, advertising as an integral part of publication. Clearly he did not, in his own mind. Clearly, also, the plaintiff thought that he did, or should have done, And the question, never seriously advanced, remains undecided. The judge, on the conclusion of the case, remarked that it should never have been brought into court. On the issues pressed, perhaps not. On the real question at issue, the case was a very proper one to be brought into court, but it should have been a friendly action. This kind of commission book is issued every day by certain London houses. In all cases the author is charged with the advertising, which is considered a part of the cost of production. A clause in the agreement generally makes that point safe from dispute. Lucky for the author if the money is spent in real advertising, and not in holes and corners, so that the publisher shall pocket all, and the public see no advertisements, and the author get no advantage. So we come back to the same stale point—the original agreement, All this litigation, all this worry, would have been sayed had there been a simple clause inserted in the agreement, defining what the publisher was prepared to do in the way of making the book known, and what the author would be expected to do. ao FRAUDULENT AUTHORS. HE following is taken from the Buokseller of July last. I am sorry to say that though I am called upon by name I did not see it until to-day (Aug. 18th), when it came to me from America. Our society meets with scant favour from either organ of the trade. This, as has been pointed out over and over again, is rather unfortunate for the trade, because those little trifling exposures we have found it necessary to make from time to time in the course of our existence, affect none but fraudulent persons, — whose fraudulent interests we should expect to see defended in the police-courts, and nowhere else. It is a pity, indeed, that another and a separate journal has not long since been started devoted to the interests of these gentlemen. It might be called “ The Fence, Conducted for Fraudulent Publishers, by Jonathan Wild (great great grandson of Jonathan the Great).” The Society of Authors.—‘ The society isacquainted with the methods, and—in the case of fraudulent houses—the tricks of every publishing firm in the country.” This we learn from the organ of the aforesaid society, conducted by Mr. Walter Besant. Does Mr. Besant know anything of the tricks of fraudulent authors? Authors, of a certain stamp, are ready enough to confide their woes to any friendly ear, or to print them as the opportunity offers. A publisher, on the other hand, when he has been taken in by an author, mostly keeps his own counsel. He has no wish to be regarded as a simpleton. Therein lies the difference.  THE AUTHOR. Do we know anything of the tricks of fraudu- 1 lent authors? Very little, it is true. But let us is) take up the question, and consider in what various *) ways an author may commit frauds upon a v4 publisher. 1. He may trick him with a work copied, stolen, 1) or made up of one or more previous works. .£ Against plagiarism a publisher would seem to be o9 powerless. But he can, and he does, take the ordi- *] nary precautions of employing—it is a part of 1) his machmery—a reader of education and culture. 'T This is always a certain protection—the memory 1) of some readers in the matter of novels and plots | is extraordinary. But he may still be taken in. i Heis, however, otherwise protected. First, by the ™ critic, who loves, above all things, to expose a real case of plagiarism; next, by the fact that he v2 generally knows something about the author and if his social position ; and, thirdly, by the fact that * exposure, sooner or later, is certain, and that any ‘ writer convicted of real unmistakeable literary a) theft is thereby ruined for life. The position of ae an editor who may accept copied and stolen i articles or stories, and publish them in his m@ magazine, is much more precarious. For him a} there is no protection, except the certainty of ih discovery and exposure. 2. He may land the publisher in-an action, or a iq prosecution, for libel, obscenity, or blasphemy. + This can hardly be called a trick, but itis a danger. i In recognition of this danger many publishers most ‘q properly insert a clause in the agreement, holding ‘ them free from damages in case of such actions. rd id £0 = I know a case in which a publisher was threatened by a certain firm with an action for libel unless he withdrew, instantly, a single passage, reflecting “9 on their business, from a newly issued novel. H He recalled the whole edition, took out the page ‘ and substituted another. The whole operation “w was performed, I believe, in two days, and cost ‘@ about £200. I know not whether the publisher ™ called upon the author to pay back that £200. “| If he did not he ought to have done so, and the » author ought voluntarily to have made that repa- | ration, even though he had not intended a libel. ‘4 No writer can possibly object to such a clause 1 of protection. _ _ 3. An author may trade upon a name acquired @ by good work, and send in hasty, unconsidered ' rubbish when a proper price has been paid for | good work. That is certainly a danger, and, it ' would at first seem, a great danger. Publishers are, however, protected by the author’s own jealousy of his name. It is quite as easy to destroy a hame as it is difficult to build it up. I have, however, heard publishers complaining that so- and-so, being engaged beforehand, at a consider- able price, gave them after all only a work which VoL, II. a 127 proved a comparative failure. Well; but there is this to be said. An author is not always at his best. Did he, in this case, give the best that was in him? Was therescamping? Perhaps he thought he was actually giving work as good as any he had ever done. Or, again, the public is capri- cious ; not every work by the same man succeeds to an equal extent. Conceding the danger, the difficulty is to bring home the offence. How could one prove scamping and haste and care- lessness ? The author who can be guilty of these things is equally capable of denying them. One can quite understand a disappointment, a com- parative failure; but deliberate fraud in this direction is surely very, very rare. 4. An author may contribute a serial to to a journal which is totally unfit for its pages. This has been done on more than one occasion. One remembers that Charles Reade’s “Terrible Temptation” appeared in a household magazine, which suffered, it was said, greatly in conse- quence. It is, indeed, hardly a story quite to be recommended for reading aloud at the family tea-table. Again, when Charles Lever’s ‘“ Day’s Ride ” appeared in ‘‘ Household Words,” Charles Dickens took it into his head that it was unfitted for the paper, and announced—which was a thing unprecedented—that the story would be con- cluded on such a date. And if one should find a real old-fashioned Jolly Roger, swearing and swaggering, drinking, kissing the girls, and talking of bona robas, through the pages of the ‘Monthly Packet,” the world would stand agape, but those behind the scenes would know what it meant. Here again, one is protected by the common sense, as well as by the jealousy of authors over their own name; andI am sure that publishers will acknowledge that, as a rule, whenever an author, old or young, gets a chance he is zealous to acquit himself as loyally as he can to the magazine or the publisher who accepts his work, Isay,asarule. There may be, here and there, exceptions ; there may be abuse; but, as a rule, writers give honest work—their best work— for honest pay. 5. An author, again, may misrepresent the pecuniary value of his work. I have heard it asserted that men do sometimes declare that they have received for a previous work a sum of money very far in excess of the truth. This may have been done; the profession of letters does not necessarily convert a dishonest man into an honest one. Against this danger, however, a publisher is guarded by the customary rule in every kind of business. not to accept such assur- ances without proof. But misrepresentation as to pecuniary value may be made without intention or guile. Every- L 2  128 body knows the extraordinary ignorance of people about the details of publishing. Nothing used to be more common—it is not now so common, thanks to our society—than to hear an author declare with every sign of sincerity and unblush- ingly, that he knows that Messrs. A. and B. sold “thousands upon thousands” of his book for which he got no more than so much. Pressed for proof, he says that his bookseller told him there was a brisk demand, or that it was on all the stalls, or that all his friends bought copies, or that it was well reviewed in the Stoke Pogis Review. They simply know nothing, these people; we do our best to teach them. They say thousands, mean- ing many; they say many, Jumping at conclu- sions without any facts; their vanity is pleased by the mere imagination of a success which has been denied them. And, of course, there have been known such things as fraudulent returns, which make authors suspicious. And, again of course, authors have been kept designedly in ignorance of their own business. 6. There has been, in my own experience, one instance, and only one, in which fraudulent practices have been seriously charged against an author who was a member of the Society. In this case, which was instantly brought before a committee specially convened, the person accused was called upon to explain. He did not. He ceased to be a member of the Society. 7. A publisher may suppose the pecuniary value of a writer to be more than it really is. There are certain writers who refuse to treat except on the simple principle of purchase. One knows many men who take up the position that they must have a sum of money down for their work, and that the subsequent commercial history of their books concerns them nolonger. Thisis a very intelligible position. Given a reasonable amount of fair play it is perhaps a more comfort- able position than that of an equitable royalty. The difficulty is that of arriving at the sum which is equitable. It can only, in fact, be arrived at by a knowledge of previous sales. Now here follows a case in which a very distinguished man, and a voluminous writer, is concerned. He is dead, but those who loved him are not dead, and therefore his name must be concealed. He wrote many volumes; he sold them all; he frequently changed his publishers. He would not publish except for a sum of money down. He always got that, or some less, sum of money. He never knew, or inquired, or cared, about the circulation of his books. When he had a new one ready he offered it to his last publisher, who either refused him altogether or offered a great deal less than for the previous work. He either accepted the offer or he took his THE AUTHOR. work elsewhere. Now, what he did not know— what his successive publishers did not know until they learned by experience—was this: none of his books ever paid the publisher. They were all— perhaps not quite all— losses. Whether this << means a real loss of the money invested, or whether oe it means a loss in the sense of not proving a a remunerative sale, I do not know. This man was not in the least sense fraudulent, He was a highly honourable gentleman, scrupu- lous in all his dealings. He said, ‘Give me so- much; make what you please for yourselves. IT 8 | don’t care what you make.” His publishers . were deceived by his great name and by his long © list of published works, not by him at all. 8. There are many other ways in which an — author may cheat a publisher, but they seem to « be antiquated. The eighteenth century presents =» many examples of literary frauds. There were travellers who never went beyond the walls ofthe =—«-_" city ; scholars who translated Euripides without =" out knowing the Greek alphabet; divines who © wrote commentaries on Hebrew Prophets without —* being able to read Hebrew; historians who made histories of foreign countries without knowing more than their own language. These, and such things, need not be considered. They belong to a bygone time. 9. My conclusion from such experience as I have indicated, and such considerations as I have set down, is that publishers have singularly little to fear in the matter of frauds. Incom- petence they can protect themselves against, Unpopularity they can ascertain before hand. Plagiarism—rare — difficult to prove —is not necessarily, even when alleged, a bar to success. Why, some people actually alleged plagiarism against “She!” That most magnificent creation of modern fiction swept past the charge without the least notice ; nor did it affect her popularity in the smallest degree. Scamped work. Well, one should know the general character of a man before having any dealings with him. Libel— actions for injury to public morals. These may partly be guarded against by clauses in the agreement. Overpay—but this is matter of business. Very few publishers ever do risk their money by buying books. The purchase of books — for considerable sums is practised by three or | four firms only. The subject proposed by the Bookseller may be — larger than I think. Perhaps it cannot be exhausted in a single paper. I will therefore call upon those gentlemen who have been our secretaries, and may know more than myself, if there is more to be learned, to supplement these remarks from their own experience. we  THE: AUTHOR. FEUILLETON. A Writer or NoveLeEtTtTeEs. a RANCES CHATELAIN,” otherwise Mrs. Gertrude Bradshaw, gave a sigh of relief, and placed her pen on the rack. She had finished her day’s work, and there was nothing more to do save to rest and chat with the girls. But before she gathered up the sheets of foolscap and covered them with the blotting paper she read her last paragraphs aloud : “Slowly, but surely, came the knowledge of the horrible death in store. Jocelynde went to the casement, threw it open, then returned to Truesdale’s side. She was trembling fearfully ; for between the window and the prospect dull volumes of smoke were rising, as 1f the lower story were a mass of flames. Her lover’s eyes were open now; she bent until her lips almost touched his ear. “«¢ We shall die together,’ she said. ‘ You have given up your life for me. Will death be so terrible—coming whilst we clasp hands?’ ” Mrs. Bradshaw’s eyes reddened ; a few tears crept downwards. Jocelynde’s peril was a very real thing to her creator. A fragment of an old song, however, heard from the next room, brought back her usual smile. “Three thousand and twenty-eight words to- day,” she said, “three thousand to-morrow, and then ‘The Mad Wooer’ will be finished. Ten guineas for it, and the nineteen hundred and ninety pounds changes to two thousand, and I can go back to my proper work. Thank God my task is so nearly done!”’ The door opened, and a plaintive voice came in. ‘Mother, dear, do cease writing. The kettle is boilmg—Bessy is getting tea ready.” The authoress rose and hurried from the table to throw her arms around the neck of her eldest daughter Sylvia, a thin, tall woman of thirty, who was quite blind, although her eyes were as pretty as her mother’s. Mrs. Bradshaw was little and stout, so that she had much difficulty in embracing her; but Sylvia bent as low as she could. “T am coming now, child,” she said. just wait a minute.” She put the sheets neatly under the blotting paper and closed the ancient book on heraldry, which stood on a reading desk, and was valuable as a treasury of good names—Hornesey, Hunstan, Meres, Tourney, Guevero, Wyan, Fulnerby, Boraston—most of them she had utilised. Then she wiped her gold pen (a marriage gift thirty- five years old), and covering the inkpot, left the “There, 129 study and went to the parlour, with Sylvia’s arm encircling her waist. The parlour was low-ceiled, with mullioned windows. Mr. Bradshaw had bought Balburgh Hall a few years before his death ; and, although it was only a shred of the ancient mansion, his widow had chosen to spend the remainder of her life there. Quaint pictures hung on the painted walls; Bartolozzi’s ‘‘Fortune Teller” and “Psyche” were there, with wood carvings of naked little boys fastened between; Liverpool plates were scattered about, and above the high oaken mantel-shelf was Adam naming the Beasts, a needlework miracle performed by Mrs. Brad- shaw’s mother in her thirteenth year. The most noticeable feature of this was a human-visaged lion; very disproportioned, and, like Thersites in the Interlude, afraid of a horned snail. A round table spread with grotesque china stood near the fire ; everything shone with clean- liness. Bessy, the younger daughter, a fantas- tical girl, who copied her gowns from old engravings, knelt on the hearth with a toasting fork in her hands. She turned her reddened face and laughed gladly. “You must be nearly starved, mother!”’ she cried. She sprang up and wheeled the sacred arm chair to the verge of the fender. Mrs. Bradshaw sat down, and Sylvia drew forward her own hassock and nestled at her mother’s feet. Very tiny feet they were; infinitely more suited to a child than to a matron of fifty-six. Bessy poured out the tea and they talked for an hour. When the table was cleared, the curtains were drawn and the fire stirred; for it was dusk, and rain pelted on the windows. Mrs. Bradshaw became very silent; she had over- worked herself of late, and felt very weary. After a time Bessy took out her needlework, and Sylvia went to the cabinet piano—a family instrument, with high front of sea-green silk, quilted round an immense golden tassel. She began to extemporise, with the excessive intro- spection of the blind. When Sylvia was in the mood for playing she could sadden every- body, for her music was so devoid of hope. She melancholy grew until her sister rebelled against it, and made her play a fairy-like valse of Jensen’s. Mrs. Bradshaw sat looking at the red coals, for to night, now that her purpose of the last fifteen years was so near consummation, she made all her principal memories come out of their hiding places. She craved keenly for the promise of fame that had attended her early womanhood, and somehow the craving brought a glitter to her eyes and a brighter smile to her lips. Once again was she puffed with the young novelist’s pride,  130 THE AUTHOR. And she was admired—praised by those whose praise was worth most, commended by the great. She glanced furtively at Bessy and saw her watching interestedly. Poor Mrs. Bradshaw blushed; it is not always agreeable for one’s own children to understand. The girl had read her through and through, and it was not for the first time that she had been caught thus. Bessy went to a small book-basket, that held only four volumes; she took them down; held them slanting in the lamp-light to see if any dust had settled since morning; and, clasping them like so many babies, came to her mother’s chair and knelt on the floor. Their writer thanked her witha kiss. ‘“ Love for Ever’ was the first book. She opened it, and sought the place where her own lover had begged to interpolate his description of herself. Here it was: ‘A slim, dainty maiden; her cheeks pink-flushed; her dull, black hair rippled like oats in a midsummer wind.’ How that face had changed! The forehead and chin had be- come doubly massive; the eyes had sunk into caverns; and the once rich hair was thin and grey. Her battle with the world had made her unlovely. The books were bound in calf—white once, but fawn-coloured now. None had ever brought any money; but in those days she did not care. They were works of genius; fresh and breezy, with an untainted touch. She turned over the pages of all. The second—“< A Holy Witch ”’— was written just before Sylvia’s birth. She had read the manuscript to her husband, and they had both cried, she wiping her eyes first. In this, ‘‘ Alnaschar’s Bride,” she had felt the divine ecstasy too strongly, and had selfishly begged for solitude, so that he had repined. Yet, after all, she regarded his jealous complaint that she gave him too little of her time, as her greatest triumph. Her last novel, ‘‘The Honeysuckle Knave,” had been praised most, but she passed over it quickly, for soon after its publication her husband had died, and, by no fault of his, had left her nothing save the tumble-down house and a thousand pounds. She had an annuity of a hundred and fifty pounds, and from the time of his death she had renounced, with the intention of making some provision for her daughters, the writing that did not pay for the writing that paid. Sylvia had become blind in her twenty-first year, but she bore her trouble very patiently. Bessy, who was ten years younger, was some- thing of an authoress herself, and had published several pretty little tales for children. “Frances Chatelain” had. done conscientious novelette-work, and, as her publishers respected the hack whose copy was always clear and in- teresting, she had been invariably successful, The time had come now when she might choose her own subjects, and with the broadened view of a lady of large experience, treat her stories so that, besides being artistic and healthy, they would appeal to all classes. ‘Children,’ she said at last, ‘“‘I have some- thing to tell you to-night. I intended to wait till to-morrow, but I feel so happy that I must share my news with you.” Bessy leaned on the back of.the chair, and stroked her mother’s head. Sylvia sat again on the footstool, and took her hands. Mrs. Bradshaw was silent for some minutes; she had rarely spoken of her writing, and now her words would only come with an effort. “T have nearly finished my last novelette,’ she said, ‘‘ and thereby left myself free to follow the real bent of my talent. You may, perhaps, have thought me careful of the money I earned ” (here Sylvia threatened her hands), ‘but it has all been for you. If I were to die soon you would find yourself comfortably off. Out ot what I got by writing I have saved two thousand pounds, . and, with this house and the small capital I had before, you will each be worth about that sum. When your father died, his affairs, owing to another man’s unscrupulousness, were deeply involved; I set everything straight, kept his name so that we are proud of it, and determined that my little ones should not suffer. After to-morrow I shall not write another line for money, and we shall be merry as the day is long.” Sylvia and Bessy cried, and fondled her—the undaunted mother liked fondling. As soon as all the tears were dried she went to the piano—a journey she made at most once a year—and, sitting there, sang “The Token.” Her voice was worn and husky, yet, as she varied its expression, you would have wanted to laugh and to sob both at once. Oh, it was pathetic! Upon his ’bacca box he views, Nancy the poet, love the muse, “Tf you loves I, as I loves you, No pair so happy as we two.” But she faltered and broke down. “ Girls, I’m not crying,” she said, defiantly. ‘“ Come, it’s bed- time now. Light my candle, Bessy.” Feeling that it was a kind of holiday night they escorted her, one on either side, to her chamber, and waited until she was in bed before giving the usual embrace. She lay awake; she was exhilarated, and her brain would not quieten. Her room was panelled, with a little praying closet in one wall,—how often had she utilised its description !—and some-  THE AUTHOR. how grotesque shadows seemed to lurk in the corners. She turned from side to side, but not finding rest she rose at last, and, having wrapped herself up in a large shawl, drew up the blind, and sat in the window-recess, near the wide open lattice. Beneath lay a gardenful of budding lad’s- love and sweetbriar. The rain had released their odours, and the perfume suggested thoughts of Arcady. It was quite fine now; the moon was rising over the odd roofs of Balburgh, and in the far distance the line of the tide receded. So the world of letters lay before her again, and this time she was certain to conquer. If only he were here to share the fame and the glory! It was too exciting; she felt that she could not bear to be alone any longer, and she went to the next room, and stooped over Sylvia’s pillow to kiss her closed eyes. Then she did the same to Bessy, and returned ; her heart singing a solemn thanksgiving to God for her daughters. Early in the morning her restlessness became so tiresome that she determined to dress, and work at the novelette. If it were finished before noon, they might take a drive, yes—hire a pony and a wicker-work pheton, and have tea at the coastguard’s near Bluff Head. She descended the stairs quietly and lighted her lamp. When she had consulted her notes for the last chapter, she dipped her pen in the ink and began to write furiously. She had a singular habit of counting her words. At four o'clock, as the “long-sleeved” veteran in the lobby chimed, she had disposed of the lunatic abductor and murderer, and written a thousand ; at half-past five she had helped Lady Jocelynde and her lover Truesdale from the burning house, just as the agonised father drove up in his brougham. That meant another thousand. She had to depict a dawn after they were saved, and seeing from her window the morning sun just tinging the clouds, she did it with pre- Raphaelite exactness. ‘At eight she completed the following para- graph; of the order which, according to estab- lished custom, should follow the climax of a novelette : “Fortune, for having given Jocelynde so large a share of calamity in so short a time, has striven since to atone by granting her a most happy and placid married life. The shocking story of her misadventures only rests in her memory like a faded dream, and out of the wealth of her wedded peace she can spare a thought of pity for her mad wooer.” The pen fell from her tired fingers, and her head sank forward. Half an hour later Bessy found her in this posture, ~~ 131 “Qh!” she cried, maternally. “I did not know you were downstairs. It is wrong of you to hazard your health. Why, you’ve finished it! How could you?” Mrs. Bradshaw, looked up, laughing gently, “Yes,” she said, “my last novelette is done, and I’m a free woman.” Breakfast was ready soon, but the worker could eat nothing. She sat, idly sipping coffee, and toying with a piece of bread. Bessy remon- strated, to receive the reply, “ My dear, ’m not hungry. Ill lie down for a few hours. I have not slept at all in the night, and my head aches. Don’t tell Sylvia when you go up, for she’ll only be uneasy.” She returned to bed and fell into a heavy sleep, in which she dreamed of a perfectly rounded story that had never been written before, with a plot that probed to the core of holiest passion. She had written it herself, and men and women praised her; and her bosom swelled with joy in the thought of the good she had done to human- kind. Sylvia and Bessy thought it the grandest book in the world. When she woke they were standing at her bed- side. Some time passed before she could realise that she had not produced this marvellous work, but when the truth came a curious look of amuse- ment appeared on her face. “Children,” she said, “ I’ve had a most enjoy- able dream. I was the author of a story that began as a green-sheathed rose-bud, and unfolded until it became a flower of unparalleled beauty, radiant with life, and so sweet that everybody loved it. And at the very height of its loveliness it was endowed with eternal freshness.” She let her head fall back to the pillow. Her eyes were sparkling ; her features had_lost their look of a man’s features in miniature. Bessy went for some cooling drink, Sylvia lay on the bed and put her face beside her mother’s. Later in the day the old doctor came and felt her pulse. “Youve been working too hard,” he said pleasantly. “ You must rest in bed for a few days.” Downstairs he told Bessy that her mother’s brain was slightly over-wrought, and that she must be kept very quiet. He had not the least doubt that all would go well. Somebody was to stay with her always, and no business—he apolo- gised—professional affairs—must worry her. Meanwhile she was talking to Sylvia. ‘You know in my dream I felt very proud of the story, but I am sure I was not so proud as I shall be when Iam really writing it. I intend to put you and Bessy in, to make you the darlings of an old woman.” 132 THE In the night her illness took a serious turn, and she forgot again that the masterpiece was not written, and held conversations with divers celebrated people ; introducing her daughters, and ingeniously putting aside compliments; thanking the critics for their flattering and tender usage ; pleased with everybody and everything. The time crept on slowly. It was the first illness she had ever had, but her daughters went about their task of nursing as cleverly as if they had been trained. Early on the fifth morning she rose in bed suddenly. ‘The book, Sylvia!” she cried. “T will bring it, mother,’ Sylvia said. She awakened Bessy and felt her way down stairs, paused there for a moment, then brought from the shelf her mother’s first volume, ‘‘ Love for- Ever.” This she put into the hot, nervous hands. Mrs. Bradshaw crooned, and held it close to her heart. ‘My fame, my last born darling,’ she whispered. Bessy sobbed loudly. Sylvia went to the end of the bed, and, taking the little naked feet on her palms, stooped and kissed them. The mother spoke again, very indistinctly, “ Girls, you'll keep together.” A grayness came over her trembling face. Bessy ran to draw aside the curtain, thinking the dawn had broken. disappear with the added light. R. Murray Gincwrist. ec ON CONSTRUCTION IN FICTION. HE “leading literary ’’ journal—.The Athe- iy neum—showed. in its issue of August the 6th so keen an appreciation of literature, and such a noble respect for popularity, especially that form of popularity which is greatly due to style, as to review Louis Stevenson’s latest work “The Wrecker” in the middle of a batch. It so happened— perhaps this may be urged as an excuse— that the batch was unusuall good. It contained books by Mrs. Oliphant, Mr. P..H. Emerson, and Mrs. Parr, besides others— nine in all, So important isa new book by Mr. Louis Stevenson that it is taken up fifth in the. batch and dismissed curtly with one-third of the space allotted to Mr. Emerson’s ‘Son of the Fens,” and about the same space as that given to a young lady’s first work, published by Messrs. Digby and Long. A week or two afterwards, the same paper gave Zola a review by himself, not one of a batch, several columns long, This But the grayness did not, AUTHOR. shows the comparative respect paid by the “leading literary” organ to Zola and to Steven- son. The reviewer, though this is not our concern, does not like the book. Such honour to an author of the first rank, afforded by the literary paper of the first rank, suggests matter for reflection by other authors. There is, of course, one simple remedy if the author does not like a review—he need not ask a paper to give him another. All this, again, concerns the Atheneum. It is only noticed here as a curious illustration of the respect to literature which one finds in a literary organ. We notice the review solely with reference to one passage in it. The writer lays down a maxim or law in the Art of Fiction. “It is impossible,’ she (or he) says, “to prove that the best way of telling a story is to introduce-it with a mass of irrelevant detail, and not to plunge into it at once.” We must, therefore, concludes the critic, plunge into the story at once. Is this so? Is this a law absolute in fiction ? Undoubtedly it is the duty of the novelist to interest his readers and to draw them on, to hold their attention, from the beginning. But is there no other way than by plunging into the story at once? Thackeray is a story-teller who may safely be produced in evidence. In which of his novels has Thackeray plunged into his story at once? In “ Denis Duval,’”’ which promised to become his finest story, as a story, he held the reader from the outset. Yet no one can tell what the story was going to be when the story-teller broke off in the middle. Again, who can tell Mrs. Gaskell’s stories from their beginning? Many novelists there are—and have been—who possess the art of leading the reader on, step by step, page by page, long before he is able to guess what the story is going to be. Yet in the long run he will find that this very introduction of detail, apparently irrelevant, helped to build up the characters, just as cement supports the house. To lay down as a law absolute that the only artistic way is to plunge straight into the story seems to us a dogma which shows ignorance, not only of the art itself, but of its practice. The motif may be preseuted in the form of a prologue, which is a very good way of presenting it; or it may be arrived at by a series of introductory chapters presenting it crude, undeveloped, growing into shape, till the reader arrives at certainty. There are, in fact, * many ways, all of them artistic, all of them legitimate, by which a novel may be opened. And to “plunge ”’ is only one. The first part of the story itself—The Wrecker —which is a very long one, longer than the average three-volume novel, will illustrate our point. We do not seruple to take an illustration  — Shes © THE from it because the secret itself is contained in the second part. Here is the leading situation. A San Francisco speculator, member of a ring, discovers that half-a-dozen men, survivors of a wreck, have been landed; he learns that the wreck is lying high and dry ona reef in a lagoon ; she is therefore safe from storms; she contains a cargo ; she will be sold as she lies; he proposes with the aid of his ring to buy the ship for a trifle. At the sale he bids a small sum, expecting to have the ship knocked down to him. But a stranger goes fifty dollars more; he advances his price: so does the stranger by fifty dollars more. He ascertains that the stranger is a low class lawyer acting for an unknown client. If, he argues, this man goes on bidding there must be some limit laid down; that limit must very certainly be a long way within the margin of profit: that limit will indicate the value of the cargo. Therefore he will bid till he reaches that limit and a little beyond. He does. The wreck is knocked down to him for 50,000 dollars. He sends out his partner in a schooner to take the cargo out and to carry it where it can be sold. The partner does this. So far from the ship con- taining a cargo worth 50,000 dollars her whole freight is not worth 10,000 dollars. He sails home with the melancholy news. His partner is already bankrupt. Then comes the question— the secret of the ship—Why did the unknown client bid five times the value of that cargo? This is the question of the book. Wilkie Collins would have begun the story with the auction of the wreck. That would have been his prologue. Then he would have proceeded to the voyage of the schooner, introducing what is necessary concern- ing each character by the way. That would be plunging at once into the story. But we must remember that Wilkie Collins was a story teller and not a student of character. Louis Stevenson proceeds in a different way. He builds up the characters of his people before he writes the great auctionscene. He shows how one had attempted an artistic career, for which he was absurdly unfitted, and another had tried the same line with even more insufficient genius. He shows, with very great care and patience, and a considerable display of humour, what these men were before he proceeds to the action of the piece. He then fills in the canvas with the subsidiary characters, every one of whom he makes a finished study. These studies, these portraits, these pictures made in Paris, Scotland, San Francisco, are all intended with one object, to show the two characters, Pinkerton and Loudon Dodd, as they are, livingmen. The author does not ask us to admire their virtue, their honour, or any of the qualities which go to make the con- AUTHOR. 133 ventional hero: they are, in fact, neither virtuous nor honourable. Pinkerton, for instance, does not understand what morality means in business. Can it be held, therefore, that the study of such a character is unworthy of a painter—that such a portrait is unworthy of Art? Why, Pinkerton is the man of the day, he is the note of the time ; the world is full of amiable men who bring into business everything except morality; they are generous, loyal to their friends, capable of love at its best; but in business they lie, cheat, thieve, and over reach without the least com- punction. The eighth commandment no more exists for them than the seventh for some men. Pinkerton begins where Loudon Dodd ends. The latter, indeed, makes a feeble attempt to assert principles of honour, but soon collapses. The delineation of the two partners is, in fact, one of the very finest things, artistically, that Mr. Stevenson has ever done. Observe that we do not advance, tentatively, an opinion that the work seems to us to be fine. The present writer, himself a humble dabbler in the Art, boldly says that it is fine; that it is artistic; that it is noble, strong, and beautiful work. To the Atheneum reviewer it is “irrelevant detail.” It will be observed that Pinkerton, the specu- lator, when he bids higher and higher for the wrecked ship, has no idea that anything but commercial reasons have made his opponent run up the price. He is certain of it; there is no doubt in his mind about it. With this convic- tion, he bids higher and higher; with this con- viction, he sends out his partner; with this conviction he awaits his return. This brings us to the second part, which con- tains the answer to the question—the secret itself. Whatever remarks we might find to make upon the presentation of that answer may be post- poned indefinitely. It was only intended here to question and to illustrate the doctrine of the Athenzxum reviewer, that, as a hard-and-fast rule —a law absolute—a novelist must at once “plunge ” into his story. Se ae A STORY OF A MISTAKE. ERE is a remarkable instance of how a |} blunder—one of the most obvious and glaring blunders possible—may escape the notice of a whole army of correctors and editors. A. B. wrote a certain paper for an American journal. This paper went through certain succes- sive stages during the process of production. At 134 each stage it received a new reading from begin- ning toend. Thus: 1, It was written in MS. Then it was read through and in great part re-written. 2. It was read through again when completed, and sent to be type written. 3. The type writer read it through before sending it back. 4. The author corrected the type-written MS. carefully and sent it to America. 5. It was then set up in type. 6. The author received a proof from America, which he read and corrected, sending it back for press. : 7, The editor or the sub-editor read it finally and passed it for the magazine. The paper thus had at least seven readings. Yet a blunder was passed, if the author made it—or committed, if he did not make it—of a most elementary description; one that leaps to the eyes; one that stands out of the page calling on everybody to spot it, correct it, put an end to it. The blunder was simply this: A certain strike of working men was spoken of as undertaken for “lower” wages—instead of “higher.” How the word “lower” got there; whether the author wrote it in the first instance, or the type writer, or the compositor, it is impossible to say. Probably it was an author’s mistake. A long succession of readings of the passage followed. Not one of the readers discovered the mistake. In a word, the critical faculty must have been for the moment asleep in every one who read the proofs, because did one ever hear of working men striking for lower wages ? oda IN THE LOWER RANKS. N this great world of literature, containing | strong and weak, great and small, compe- tent and incompetent, there is a certain class of whom we seldom hear, save when their wrongs, real or fancied, or their cruel poverty force them to complain either to the Society or elsewhere. It is a class which began to exist when magazines began to be published. It sprang into being with the Luropean Magazine, the Gentleman’s Magazine, and their successors. At the present moment, when the monthly magazines are numbered by the score, and the weekly magazines by the hundred, the class of those who live entirely by writing for these periodicals has increased enormously, and is daily increasing. The great majority of its members are humble persons who do not dream THE AUTHOR. of aspiring so high as a monthly magazine. The Cornhill, Longman’s, Temple Bar are far, very far, beyond their hopes. They live by contributing to the penny weeklies, of which there are at the present moment an extraordinary number. These journals maintain hundreds of writers ; they boil hundreds of kettles; they pay thousands of quarterly bills. It is true that the remuneration is not generally very great, but then the quality of the stuff produced is not very good. Moreover, the true connection between literary worth and coms mercial value has never yet and never will be dis- covered. The two things are incommensurable quantities. It will always be possible for a great monthly magazine to publish, for instance, a paper which, for literary merit, brightness, genius, cannot compare with another but a sixth part its length on the same subject appearing at the same time in the humble Family Teapot. Such instances are doubtless rare, because the writers to the latter valuable journal think of everything, as a rule, except style and form—but they are not impossible. It is indeed astonish- ing, in taking up the Teapot and others of its class, to remark how its writers seem to rej in bad slipshod prose. So far as can be learned of the secrets, carefully concealed, of the editor’s room, there is, in these journals, a certain rough and ready examination of all the contributions offered, and without doubt they do know how to present, whether the critic likes it the or not, the kind of paper which their readers want. Now the number of these papers is legion. Thousands upon thousands of pens are racing and tearing over thefoolscap day and night, producing copy for them. Every girl who wants to make a little money—what girl does not ?—for dress and for herself, tries a story for some penny weekly. Every ambitious and bookish young clerk dreams of lifting himself out of the ruck by writing for the penny weekly. Wives who want to help their husbands; husbands who have an hour or two to spare: widows and elderly spinsters who would fain increase their slender means: all these send up tons, waggon loads, of manuscripts to the penny weekly. Let no one suppose that the pure love of art, the noble spur of genius, the infirmity of desire for fame, or any- thing in the world but the simple necessity or longing to make money, inspires these writers. They have no higher aim than to reach the editor's standard; they hope no more than to get the “scale” pay. It is a trade? Cer- tainly it is a trade; and one far, very far, inferior to such skilled trades as watch-making, cabinet- making, engine-fitting, and the like. In saying that it is a trade no reproach is intended. Why should there not be a tradé in—not literature—  THE AUTHOR. 135 but—call it—the composition, stuff, confection— that people buyin ordertoreadinthetrains? They buy buns to eat in the train; gingerbeer to drink in the train; penny magazines to read in the train. The buns and the beer are consumed and forgot- ten ; the penny weekly is read and left in the train. The two former area production of trade. Why not the latter? It is not disgraceful to make buns for a living—why should one be ashamed to turn out stories and paragraphs and essays for a living ? In fact, the writers are not at all ashamed of it; they are proud of it; they even call themselves followers (as they certainly are) of the literary craft. Many of these papers find it most convenient to engage salaried contri- butors forthe greater part of their space, which is, week after week, turned out on a uniform plan. They therefore engage a writer at so much a week, to undertake a department, such as the answers to correspondents, the children’s column, the paragraph colums, the riddles and prize de- partment, the notices of books, and the drama. - This salaried writer is responsible for his depart- ment; out of what he receives he may pay for assistance if he pleases. In some of the more successful journals the salaries are most liberal ; the work, of course, generally takes up the best part of the week, but it would be difficult to find any line of life in which so small an amount of skill may be rewarded by so much pay. Those writers are fortunate indeed who secure a sure footing on one of the successful weeklies, where the pay is generally high and gometimes even munificent. But these places are comparatively few. On the other hand, there are magazines where the pay is absolutely deplorable. One knows not whether the low pay is due to the slender circulation of the paper, or to greed and the sweating propensities of the proprietor. Insome cases, undoubtedly, the former is the cause. For whatever reason, the pay given by many of these papers, whether to their salaried writers or for occasional contributions, is most wretched. Nor is itonly that the pay is wretched. The miserable writer is continually, under one pretext or another, being cut down. He is engaged to furnish so many columns at so much ‘‘a year.” He interprets this to mean a year’s engagement or six months notice of change. After a few months he gets a letter to say that he must now, the circumstances, or the plan of the paper, or its shape, having been altered, furnish so much more a week, and that the pay is to be reduced by so much. What is he to do?. If he throws up the post in despair. there are plenty outside ready to take up the job for less—and always for less, This is the real secret of sweat- ing; the existence of plenty to do it for less. It is the same story whether of making cheap shirts or cheap magazine work; almost every- body can do it who gives his mind to it, after a fashion. Therefore it is the worst paid and most miserable work in the world. By what arguments, persuasions, reasons, examples, entreaties, can we induce people not to attempt to live by writing unless in the groove in which there is comparative safety—by journalism ? And Heaven forbid that we should help to swell the flock which is crowding into that profession ! The man thus cut down has generally to endure and to go on. Presently, with another turn of the screw, he is cut down still worse. What can such aman do? Yet he would live by writing. Nothing else would suit him. He might have gone into a shop, and so have done well, or con- tinued in his clerk’s place and so have risen. But he would write. In such work, with such employers, there is no increase of pay for long and useful service; there is no pension; there is no recognition of useful service; the writers build up the magazine with long and powerful effort ; presently it succeeds; it becomes a great property ; the men who made it a property are turned off to starve. A great deal is made now- adays of the woes of the Irish peasant who makes a potato patch flourish on the barren rock and gets rack-rented—if he ever really does—for his pains. Is his case worse than that of the sweated writer ? There is another complaimt—a bitter cry— which is a new thing in the land, and means the beginning of worse trouble. It is alleged— whether truly or not—that in many of the women’s journals —the papers written for women, and supposed to be written by women —there has been of late a change of the women writers for men—at a lower rate of pay. It has come, therefore, to this: that where women have always been supposed to lower the rate of pay whatever work they undertook in these lower walks of literary work, itis now proved that men are actually found to be lowering the rate of women’s pay. And if anything were wanted to illustrate the congested state of the labour market, this might serve. What remedy for these things? Nothing. Absolutely nothing except the knowledge—which our people can spread everywhere if they will take the trouble to do so—that to attempt to live by writing, unless as a journalist properly trained and equipped, is, and always must be, to embark on a most precarious, badly-paid, hard-worked, ignoble and dependent career. No draper’s assistant behind a counter, no usher in a com- mercial academy, is so dependent on his employer  136 THE as this kind of writer. If this was understood there might perhaps—one does not know—be some relief of the cut-throat struggle for pay— pay—pay—any kind of pay. But perhaps even this would not be of any avail against the con- cested market. Only those who enter now with hope would enter then with despair. ect WHAT IS READ. I. A Frere Lrprary. HE third annual report of the Brentford Free Public Library, recently issued, is a short document but full of suggestion. The library is small; it contains no more than 4092 volumes in all; but it seems to be well used. What, first, do the people read? The following is a list of books most frequently issued in order of popularity : Blackmore’s Lorna Doone ... Issued 65 times. Edna Lyall’s Jn the Golden Days a 05: Bosant’s Katherine Regina we ATs Cassell’s Popular Educator So Abe, Macdonald’s Robert Falconer... 430 Stanley’s In Darkest Africa ... 5, 35 4 Kingsley’s Westward Ho! .. 5, 31 5 Cross’s Life of George Eliot ... 5, 30 55 Besant’s All Sorts and Condi- tions of Men ... - 5 25a jsop’s Fables ... yo 22 Holmes’ Autocrat of ‘the Break- fase Table a ee, Wo 22S Ball’s History of the Indian Mutiny: yo 2; Gulliver’s Travels - 20; Cumming’s Lion Hunter... nA Darwin’s Descent of Man oo IS Booth’s In Darkest England ... 3 Se Longfellow’s Poems... ... ... 4 lade Ruskin’s King of the Golden AUC ee a wo Ik, Bmiless Duty... 2 no ko Swedenborg’s Heaven and Hell ,, 14 5, Thompson's Electricity nw de Farrar’s St. Paul 1a Taking individuals we find that “ A Cooper’? has read during the year the following books: Countries of the World, Darwin’s Descent of Man, Darwin’s Forms of Flowers, Du Chaillu’s Land of the Midnight Sun, Oliphant’s Literary History, Drammond’s Tropical Africa, and James’s Wanderers. ‘‘ A Railway Servant” read Balfour’s Manual of Botany, Caine’s Trip Round AUTHOR. the World, Cassell’s Technical Educator, Figuier’s Insect World, Figuier’s Reptiles and Birds, Lamb’s Warrior Kings, and Stanley’s In Darkest Africa. This is not bad as a record. Of course the great majority of readers in a free library go there simply to pass the time. They are, in the daytime, the unemployed; they call for a story book ; very often they drop off to sleep over it. Then there are the curious middle-aged men who read regularly and read hard. Who are they? What have they been? They seem too young to have retired. Perhaps they have shops which they can leave in the afternoon. A free library is an interesting place at all times of the day, but especially in the morning, when all those who have got “billets” are at work, and those who have none, and are sick of seeking, sit in the free library and rest if they cannot eat. There are 20,000 parishes in England and Wales. Before long there will be a free library, little or great, for everyone. These notes of books read by working men should show that we must not fill the shelves of the new free libraries with goody trash. It must also be observed, as an indica- tion of popular taste, that the only book of poetry taken out was Longfellow. II. Tur Prorue’s Patace. Men readers, many of whom are not so high up in the social scale as clerks or shopmen, read the following works on political and social sub- jects, I quote in order of popularity : Marx, “ Capital;” Smith, “ Wealth of Nations;” Mill, “ Liberty,” “ Logic; Howell, “Conflicts of Labour and Capital;” Kraoly, “Dilemmas of Labour and Education ;”’ Michelet, “The People” (translated); Mill, “ Political Economy ;” Fawcett, “ Political Economy ; . Lubbock, “« Representative Government ; ” Walker, “ Political Economy ;” Fawcett, “ Free Trade ;” Maine, “ Popular Government ;” Fowle, “The Poor Law;” “Jevons, “ Money ;” George, “Social Problems;” Sidgwick, ‘“ Falacies ;” Spencer, “ Sociology and Education ;” Bain, « Education; ” Smith, “False Hopes ;” Gronlund, “Co-operative Commonwealth ;”’ and almost any of the ‘“ Citizen Series.” Science.—Darwin, “ Descent of Man,” “ Origin of Species,” ‘Expression of the Emotions ;” Huxley, “Physiology;” Furneaux, “Physiology; y Jago, “Elementary and Advanced;” Roscoe, “Chemistry ;”’ Thorpe and Wilson, &c. Natural History.—Fulton’s “Book of the Pigeon” (an Hast-end Pet) ; Buffon, Buckland, Wood, White, and Figuier (translated).  THE * AUTHOR. Astronomy.—Ball, “ Story of the Heavens;” Proctor; Dunkin, “The Midnight Sky;” Lockyer, Brewster, and Herschel. The International Scientific Series and Science Primers. Electricity Jenkins, Angell, Poyser, Urba- nitsky, Thompson, Munro, Fergusson. Geology.—Geikie and Lyall. Physiography.— Huxley, Thornton, and Law- son, Botany.—Masters, Hooker, Thome, Carpenter, Coffin (Thome and Bennett most popular). Geography.—Reclus, Stanford, Cornwell, and Geikie. The pet subjects here are travel, topography, geography, history, biography, poetry, technical works, botany, electricity, chemistry, physics, and so on. Of course, more fiction is read than anything else; but a good deal of study goes on in the evening. Psychology and sociology have been taken up of late, and this is only a hasty list and by no means complete; but it may sutfice to show that the masses do sometimes read something better than fiction, though perhaps not as often as could be wished. M.S. R. James (Librarian). ect AMERICAN INDEPENDENCE. R. BRANDER MATTHEWS publishes, in the Cosmopolitan for July, a paper on the literary independence of the United States. That America has broken away from British traditions, British standards, and British methods, has long been patent to all of us, yet it is useful to be reminded how this came about. In Lowell’s “ Fable for Critics,’ for instance, the writer shows how strong was then the influence of the old country. I myself know two Byrons, one Coleridge, three Shelleys, Two Raphaels, six Titians, (I think) one Apellis, Leonardos and Rubenses plenty as lichens, One (but that one is plenty) American Dickens. A whole flock of Lambs, any number of Tennysons— In short if a man has the luck to have any sons, He may feel pretty certain that one out of twain, Will be some very great person over again. No one now would think of calling Mark Twain the American Dickens ; or James the American Thackeray. They have left off comparing them- selves with English writers—all, that is, except Mr. Howells, who is continually measuring him- self beside somebody on this side the water. 137 Next, Mr. Matthews states that many British authors used to believe that “ unbounded afilu- ence”’ would burst upon them when copyright was granted. Perhaps. Not those authors who take counsel with us. What he says is that inferior books are ceasing to be reprinted in America, and that the American has got his chance at last. And then he states that there has been a steady decrease in the American reprints of English books going on for thirty years. In the classifica- tion by which he proves this statement we need not follow him. Let us consent to his conclusion. It seems natural, without the trouble of consulting catalogues, that as the American nation advances in culture it should provide its own literature for itself; and as there are few who would now be so daring as to deny the best English culture to the best bred American, it is still more natural that America should endeavour to be sufficient for itself in matters of modern literature. Atthe same time, why does Mr. Brander Matthews always write in aspirit of hostile rivalry towards ourselves? ‘There is no necessity for any hostility atall. We have so much thatis common to Americans and English that a great writer will most certainly, and always, meet with an equally large clientéle on both sides the Atlantic. The same may be said of writers—dramatists, historians, poets, novelists, essayists—who are not great writers, yet possess the charm which makes them popular. There need be no fear that these authors will fail to find an audience wherever the common language is spoken. It is not, indeed, a duello between the American and the English author. The former is welcome here if he can compel a hearing. The latter will always be welcome there whether Mr. Matthews tries to silence him or not. The paper speaks of another point which is interesting and yet somewhat dis- heartening. It is of the popularity of the American magazine in this country. One sees it everywhere; it is beating a certain class of English magazine clean out of the field. But,it wi'l be said, such new papers as the Strand circulate by hundreds and thousands. That is quite true. But what circulation have , and 5 and: , &¢c., those most respectable old magazines ? Are they going down? It is reported that they are, and rapidly. Whatis thereason? There are many reasons. First, the matter of editing. It is understood that half-a-dozen men are wholly engaged in editing Harper. They give their whole time and all their thoughts to editing Harper. They are paid handsome salaries. What salaries are paid to the editors of , and , and , those above named most respect- able periodicals? How much time do the editors of those respectable magazines give to their work ? 138 Then there is the delicate subject of pay for contributors. Writers who talk about pay must expect to be called tradesmen. Nevertheless, the poet—A pollo himself—if he had a MS., for which one publisher offered a thousand pounds and another ten pounds, would give it to the former. This is exactly the case with the American and the English editors. Consequently, the best things are fast flowing to the former. There exists at this office a list of prices paid to con- tributors by nearly all the leading magazines and periodicals of the country. It is an instruc- tive and a surprising list. It includes such items as a cheque for two guineas — actually, two guineas !—for an excellent story filling several pages in what is generally considered to be a first- class magazine. Another so-called first-class magazine pays at the rate of ten shillings a page. Another once sent a well-known writer one guinea —it seems incredible, but it is true—one guinea! for a paper of six pages—and so on. S20 THE EXPERIENCES OF A SHY WOMAN. HERE are some women who walk into an editorial office with as little concern as if they were entering the boudoir of a bosom friend. To them there is no pausing on the threshold of the outside door, no sinking of heart, no wild desire to turn and flee, and beg their bread from door to door, rather than face the quiet gentlemanly man inside. To such women life is easy, and passing through the waters thereof they use it as a well, while their less fortunate sisters flounder and sink in the torrent. I am not one of those happy women. Had I been afflicted with heart disease, I should have been long ago picked up. dead outside the glass door leading int» the sanctum of one of the editors for whom I have the pleasure of working. There may be other women beside myself who know the sickening feeling of shyness, drawing the blood from their hearts, as they turn the handle of the editorial door; leaving their hearts only to rush back as the preliminary politenesses have been made, with such force, that the editor and his crowded table, the mantelpiece and the piles of books thereon, sway and swim around them as if they were in a heavy swell off the Nore. Those who have attempted it will be able to say if this condition is favourable to con- ducting one’s own business, and whether under the circumstances the editor may not be excused for placing his eyeglass in his eye and looking as if he thought, though he is too much of a gentle. THE AUTHOR. man to say it, that fools and women are closely allied. Yet this is one of the. minor evils to be endured by the would-be journalist, and, when I have made my confession of weak- ness, let others go and do as I have done before they judge me and condemn me, and thrust me out of their society, literary or otherwise. For months I had struggled on, making desperate efforts to gain a footing on the ladder of journalism. Article after article had been sent to this paper and that paper. I was supposed to be a successful beginner, and there was much that greatly encouraged me, but the greatest achievements were embittered by the little note, which in most cases accompanied the editorial letter—‘ the editor will be glad if Miss Smith will make it convenient to call at his office at such and such a time.” Then I knew that it was all over with me. I flatter myself I can be rather imposing in a letter, but those keen eyes, so accustomed to gauge character, read me through and through in a moment, and I was as dough in their hands, and, left their offices having agreed to terms that in my saner moments I should have looked upon as suicidal. -Never for one moment let it be thought that. I mean to accuse any editor of taking an unfair advantage of my helplessness. That is far from my thoughts. We are all partly fools and partly wise, and when only the fool part is apparent, it is natural that-one~ should “be judged as a fool. That is a condition of life. “Can I get no one to do my business: for me?” I cried in my despair, and Echo answed “No one.” I was recommended to a young lawyer, whose pro- fessional career did not occupy his entire time, and who was said to have some experience in literary matters. I was delighted with the prospect, but a further investigation showed me that his experience was not so successful as to lead me to imagine, that my pocket would be more benefitted than his own had been by his business arrangements, and with a sigh I gave up that idea. Wild ideas of being a literary agent myself passed through my mind. It was impossible to be an author and an agent at the same time, and the agent might be more succcessful than the author, but I compromised the matter by setting apart so many days during the month to act as my own agent. On these days I may almost say I camped out in the Strand. When I had written several times about any article to any given office, I boldly went to that office and sent up my card. Then, trembling and shaking, I went up to the editor’s office. “Iam extremely sorry you should have had to write again about your article (to which, again, out of the many, was the allusion made?) I think I  wee ee ee re ee Ne ee ey ee ee eh LAL + PE AUTHOR. have it here, and if you will sit down I will just look through it again. Thank you.” This latter remark being made as I occupied the leather chair placed at my disposal. Iwas grate- ful for the respite from further conversation while one pile of manuscripts after another were being skimmed through, and my composure was gained by the time that the third and fourth drawers in the editorial table were turned over. Sometimes an MS. arrested his attention, which from his look he had never imagined to have been there. Two or three were taken out and laid on his blotting pad with an air asif to say, “ well that is a surprise,” but my well-known writing came not forth. Time was going on, and the drawers were coming to an end, so I ventured to say that it might be lost, to my mind a very possible contingency. A look of extreme surprise and pain came over his face. Such a thing was not possible, and in a moment I felt what a low-minded woman I was to have thought such a thing. “My clerk shall look for it, and you shall have an answer to-morrow,” he said blandly. “I cannot think why it has been mmislaid—but without fail you shall hear to-morrow.” And so I left, having been there just an hour and a quarter, and went on my campaign. I did not hear the next day, nor on any other day, but I have not ventured to thmk, even in my own mind, that the article is lost—it is mislaid. Then on to another office to keep an appointment, and to hear that the editor has been suddenly called away, and could I come back in an hour's time? And in an hour’s time to be asked if I could wait, as, contrary to every expectation the editor had not returned, but had left his profuse apologies in case he should be late. And again I felt what a low-minded woman I was to let the thought enter into my head that he was down the river with friends, and the arrangements we were to have made respecting my articles were no more to him than the champagne corks that float, down the stream. So low one sinks, when one attempts to grapple with the arch-fiend business. And so on and so on, through tedious hours, always meeting with courtesy and kindness, always failing to make any progress in my business affairs, till my mind became so worried with such matters that all pleasure in writing departed, and with it the power of writing well. And then there was John. I have not mentioned John before, because he had nothing to do with my literary career—in fact, he was the opposition. He had long ago stated that he thought it quite wrong that a woman should toil and moil, as he called it, and bustle about with men ; let them write at home if they liked, but let them not enter into the arena of the literary world; and 139 much more to that effect, and when I said that beggars must not be choosers, he only replied that some people were beggars who needn’t be beggars, and some people had to beg—and a great deal more that would be quite out of place ina literary magazine, which is intended to help people who are far above such paltry things as John was thinking about. It was after one of these field days in the Strand, when the vanquished party had beaten a retreat, via Charing Cross and Pall Mall, and was sitting worn-out and heavy hearted before the fire that John came in. It was very weak of me, I know; I told him again and again that he could not be of the smallest help to me in arranging my business matters, to which he simply said “ Bother busi- ness.” Itoldhim I would never never marry if I could get some good trustworthy agent to go to see the editors for me, and look after my concerns, but at that time I knew of none, so what was I to do? I told him years ago I would think over the matter when I was a successful journalist, and that particular evening he was brutal enough to ask me to reconsider the subject before that date. The literary world may sneer or grieve over what they have lost, but let them know it is they who have driven me to this extreme, and, had I not been a shy woman, I should not have been writing quietly at home, and producing long MSS. that only John and I admire in secret. ee WOMEN IN JOURNALISM. DO not propose to deal seriatim with the points advanced by Miss Billington. There is not a single line in my article to justify the assumption that I condemn all journalism intended for women and written by women; and I was careful to point out (bearing in mind many well- known ladies with distinct literary gifts) that some of the higher branches of journalism were in the hands of women who had, however, as a rule, achieved a literary reputation elsewhere. This, however, does not in the least affect my theory that, on the whole, the influence of women in journalism is a deteriorating one. Miss Billing- ton, in reply, whilst evading the real issue, points out that the majority of lady journalists are not journalists at all; they have not got the “ abnor- mal faculty of observation,” ‘bright human sympathy and peculiar gifts” so happily and modestly possessed by some journalists, who are “born and not made.’ Now, meeting ber upon her own ground for a moment, what I say is:— Are you talking of the great journalists, the 140 Albany de Fonblanques, the Delanes, the Archi- bald Forbes, Harriet Martineaus, and so forth: or are you talking of the average descriptive reporter, who does weddings, interviews, reports, and the other matter which go to make up the greater portion of the ordinary newspaper?” In this latter case it appears to me (and I may here say that articles of mine appear in the St. James’s Gazette, Pall Mall Gazette, Strand Magazine, and other publications of equal literary merit to the Daily Graphic) that no special gift or qualification of any kind is required; and that any ordinarily intelligent woman, who has quickness, a fairish amount of observation, and some capacity for expres- sion,- could, after a little practice, adequately carry out this kind of journalism. With regard to the question whether journalism is a desirable occupation for women, it is one that purely depends on the point of view taken up; and, Miss Billington’s experiences being, as she admits, “‘ unique,” do not seem to me legitimate ground for any general deductions. A provincial journalist, whose philosophy I admire, asks, in a delightful leaderette, why on earth a journalist should care whether the wares sold by his master are good or bad? The grocer’s boy, he says, might just as reasonably weep over the adulterated sugar or marmalade his master sells. - It is simply an affair of supply and demand, and, if demand be for rubbish. the conscientious literary proletariat is bound to supply the public needs. The only qualms that trouble this genial gentleman are those which occur about rent day, when his salary has been forestalled and spent. Well, there is some- thing in this airy way of looking at affairs, and, so long as the wares be only rubbish, perhaps it doesn’t matter much; but even the grocer’s boy would not altogether like to see his master drop poison into the family marmalade. Mr. Andrew Lang seems rather to have missed my point. I never intended to imply that the young woman was a lady, quite the contrary ; nor, of course, did I suggest that the most susceptible of elderly editors would put a pretty girl on to writing leaders, or to any other important work. The writer “ F. L. 8.” whilst practically agree- ing with me, very rightly points out that women journalists are not alone to blame for the vulgarity and personalities of newspaper literature. Editors will fill their columns, and apparently there is so large a market for tittle tattle that the temptation to supply it is irresistible ; which, alas ! only brings us back to the supply and demand theory. I am not quite in agreement with . “Grace Gilchrist’s”? assumption that the cleaner tone of modern newspapers is due to women THE AUTHOR. readers (by the way, in her last paragraph she brings a far graver indictment against her own sex than I did); I fancy it is a case of autre temps autres meurs, and that decent men would not tolerate the coarse wit of the eighteenth century to-day. On the whole, the matter is a difficult and complex one; and perhaps the best thing that each of us can do is to keep his own page as white and spotless as possible. AY. Ze spec CORRESPONDENCE. I. Lone Creprt. ANNOT anything be done to break down the long credit system in literature ? At present editors cram their drawers with accepted MSS. which they cannot use for years, and which they donot intend to pay for until after publication. To those authors who can afford to wait the delay may be no great hardship, but that is no reason why it should be forced upon them. Only a short time ago I was shown, at the office of a weekly newspaper, a serial story which would not be pub- lished for two years, and not one penny was to be paid for it until then. Would a doctor ora lawyer be expected to. wait for his money like this? But the real sufferers are those who must quickly turn their wares into money or starve. They are compelled to decline all offers involving the usual delay in payment—I could mention instances, if necessary—and must struggle on by means of chance openings, living from hand to mouth, until some substantial success enables them to join the fortunate few who can afford to "wait, or until they go down into the deep sea, with the many. Yet it seems to me that the matter is one which authors have very much in their own hands. I am told that one leading novelist always requires immediate payment for his work. Will not others do the same? Or, at least, when asked their terms, will not they name one sum for cash, and another, very much higher, for payment after publication ? If all would do this, the custom—already started in America—of paying for every MS. upon acceptance, would soon become general here. A MEMBER. I. Dors tHE HieHEer Literature Pay? Permit me one word more with reference to this question. Our Editor appears to think that  PHE AUTHOR. ) if a man of scientific genius, and capable of f what I will still take leave to call the Higher i) Literature, saves himself from starvation by J. abandoning scientific work, itis of no consequence. () The only difference between us is, that I think it * of very great consequence, and of even more con- »- sequence to the commonwealth than to the “ individual; and I trust, therefore, that the ‘. Author, and the Authors’ Society, may some day =) take up the advocacy of the endowment of ert. J. S. Srvart-GuLenniz. [Mr. Stuart-Glennie returns to the question of Je starving genius. It is not quite correct to say d} that the editor of this paper regards the failure «= and abandonment of a career as of no importance. /@ Such a thing is a tragedy of the deepest impor- *) tance. But what has happened with poetry, »= scientific research, and all the various depart- ‘2 ments of science, letters, archeology, and the like, *) by which a man cannot live is, I apprehend, this: )) lt is now well known that a man cannot live by i practising certain arts, crafts and pursuits. No 19 one, therefore, tries to live by them. Where is »— your starving poet? Where is your starving if numismatist’ Where is your starving physicist ? ‘T They do not exist. Those who take up these lines »| begin by assuring for themselves the daily bread. ‘T They are civil servants, professors, teachers, »| persons of private income, some of them in ‘J business, some holding posts in museums, some i are librarians or secretaries. None are starving, »{ because none are so foolish as to try to live by 7 what is, nevertheless, their only real and serious 99 occupation.—Ep. | —— + TAT, ‘“ PRAISED BUT REFUSED.” I have before me now a reader’s report from a 7 very well-known, old-established firm, who ‘{ principally publish children’s books. The MS. is f spoken of as “rather clever,’ “ charmingly ’ “too satirical for children, but the parents would understand the satire,” ‘ very like Hans Anderson in style.”’ ‘ Rather clever,” may be “damning with faint praise,” but in my opinion there can be no higher praise than to be considered in style like Hans Christian Anderson, the prince of child storytellers. The MS. was returned with the reader’s opinion inclosed and no further comment. Before this I had taken the same story to a firm that has a world wide reputation; they “ knew my name and would ke delighted 1o publish anything” they said, because of it, I presume they meant. They returned it. ‘Very charmingly written,’ but ‘ written,’ 141 “it would cost too much to produce, coloured illustrations were so expensive.” I had left them some illustrations, but had especially said I did not care if they used them or not. I kept my stcry some years and then sent it to a magazine. It was returned with “the story is very charming and graceful, Lut the editor fears it is scarcely suited.” It seems curious how everybody should think it ‘‘ charming” and yet not care to publish it. Another MS. I sent about, and finally lost ; a few years later, I had the pleasure of seeing a story with exactly the same characters and incidents in it, published and illustrated in a popular illustrated paper. No doubt it was a ‘“mere coincidence,” but I should like to know what became of my story. I believe most authors could tell innumerable stories of this lind. As arule publishers Lave so many MSS. and so many reasons for taking or refusing an MS. that they evidently do not always abide by their reader’s opinion, J. Harn FRISwWELL. oe “AT THE AUTHOR'S HEAD.” \ | R. BERTRAM MITFORD’S new novel, “?Tween Snow and Fire,’ dealing with stirring times on the Kaffrarian border, will be published immediately by Mr. Heine- mann. “Wedderburn’s Will,” a detective story, by Thomas Cobb, author of “On Trust,” ‘The Westlakes,”’ &c., will be published early in October by Messrs. Ward, Lock, Bowden, and Co. “One Night’s Work ’”’: a serial story by the same writer will be shortly begun in Household Words. We understand that the committee of the Shelley Memorial Library and Museum are about to put forward a definite scheme as to the site of the proposed institution, cost of the building, and the sum required as an endowment fund. Itis thought that £3000 will suffice to give effect to the committee’s proposals. The honorary secre- taries, Mr. J. Stanley Little, Buck’s Green, Rudgwick, Sussex, and Mr. J. J. Robinson, Arundel, Sussex, appeal to men and women of letters for subscriptions. It may be mentioned that West Sussex has no library. Mr. J. Stanley Little contributes an article, entitled “To be or not to be: a Twentieth Century Problem,” to the August number of the Library Review. This article continues ‘and  142 elaborates the argument which formed the basis of Mr. Little’s paper in a recent number of Greater Britain. The first victory in the United States under the new international copyright has been scored by Messrs. D. Appletonand Co. Judge Lacombe, in the United States Circuit Court, on June 30, handed down a decision ina suit brought by that firm to restrain the American News Company from publishing and selling copies of Carlyle’s novel “ Wotton Reinfred.’’ A permanent injunc- tion is granted against the company, prohibiting them from handling the work, and also ordering them to pay to Messrs. Appleton all the profits they have derived from the sale. “The Sting of the Scorpion,” is the title of Mr. J. E. Muddock’s new historical novel, which will commence simultaneous publication in a large number of newspapers in October. The Author’s Syndicate have had the placing of the story. Mr. J. E. Muddock’s “ Maid Marian and Robin Hood: A Romance of Old Sherwood Forest,” the publication of which was withheld on account of the election, will be issued this month by Chatto and Windus. It will be embellished by twelve original drawings from the pencil of Stanley L. Wood. A new volume of essays by the late James Hain Friswell, author of “The Gentle Life,” “The Better Self,’ &c., will shortly be issued. The essays have been edited and revised by the author’s daughter, and will be published by Messrs. Hutchinson and Co., of Paternoster- square, Dick Donovan, the well-known writer of detec- tive stories, is attracting a large number of new readers to the ever popular Strand Magazine to which he will contribute up to the end of the year, when he will commence a new serial for Mr. Newnes’ Million. His last story which appears in the August number of the Strand under the telling title of ‘‘The Great Cat’s Hye,” is one of the most powerful things of its kind that we have ever read. A series of ten original sketches from Dick Donovan’s pen for simultaneous appearance next year will be published through the Author’s Syndicate. : Mr. Hume Nisbet’s next novel which bears the title of “The Divers: a Romance of Oceania,” is published by A. and C. Black. It is astory of savage lifeand adventure. ‘ Where Art Begins” by the same author is promised by Messrs. Chatto and Windus by September. THE AUTHOR. Mr. Walter Besant’s “ London,” which has been held over by Messrs. Chatto and Windus, will be published in September. “In Love,” astory of Scotch country life, by I. K. Ritchie, has been published by Mr. Eliott Stock. Messrs. J. Baker and Sons, of Clifton, have published “ Lyrical Studies,’ by Marcus 8. ©. Rickards. A new work by Mr. J. E. Gore, F.R.A.S.; entitled ‘‘The Visible Universe: Chapters on the Origin and Construction of the Heavens,” is in the press, and will shortly be published by Messrs; Crosby Lockwood and Son. The work deals with the Nebular Hypothesis, the Meteoritie Hypothesis, and other theories which have been advanced to account for the origin and construe- tion of the solar and sidereal systems. The volume will be illustrated with nebular and stellar ~ photographs and other drawings. eS NEW BOOKS AND NEW EDITIONS. Theology. James, Montaaur R. The Testamentof Abraham. With an appendix by W.E. Barnes, B.D. At the Cambridge University Press. Clay and Sons. 5s. ‘ Len, J. Cameron, D.D. Life and Conduct. Edinburgh: A. and C. Black. 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I greatly prefer it to an The alignment is perfect, the working easy, and the inestimabl advantage of being able all the time to see what you are writing and what you have alread . GR ANT ALLEN | written makes it, out and away, the best instrument for a literary man. Though I hay | The Nook, Dorking, May 18th, 1892. | | sal learnt for a week, I find I can already write quite as much in a day as I used to di with my own right hand before it was disabled by writer’s cramp. I need hardly say, after this, I am going to keep the Machine, and enclose cheque, USES IT. Full Informaticn Free. MESDAMES BRETT & BOWSER, TYPISTS, SELBORNE CHAMBERS, BELL YARD, TEMPLE BAR. Authors’ MSS. carefully and expeditiously copied, 1s. per 1000 words. Extra carbon copies half price. References kindly permitted to Augustine Birrell, Esq., M.P. MIss RR. V. GILL, TYPE-WRITING OFFICES, 6, Adam-street, Strand, W.C. ee Authors’ and dramatists’ Work a Speciality. All kinds of MSS. copied with care. 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Burghes, Authors’ Agent, 1, Paternoster-row. Machines sent on Free Trial. THE TYPE-WRITER COMPANY LIMITED, 12 & 14, Queen Victoria-street, London, E.C.; 22, Renfield-street, Glasgow ; 35, Charles-street, Bradford. Local Agents in all Districts. Yours very faithfully, GRANT ALLEN, MRS. GiLeg, TYPH-WRITING OFFICE, 35, LUDGATE HILL, E.C. (ESTABLISHED 1883.) Authors’ MSS. carefully copied from Is. pe 1000 words. Plays, &c., 1s. 3d. per 1000 word Reference kindly permitted to Walter Besant, Esq Miss PATTEAEN, TYPIST, 44, Oakley Street Flats, Chelsea, S.W. AutHors’ MSS. CAREFULLY TRANSCRIBED. REFERENC! KINDLY PERMITTED TO GEORGE AUGUSTUS SALA, EsqQ. FWire-Resisting Safe for MSS. Particulars on Application, Stickphast PASTE for joining papers and sticking in scraps: Sixpence and One Shilling, with strong useful brus! TO AUTHORS. The skilled revision, the honest and competent criticis and the offering of MSS. in the American market, are specialities of the New York Bureau of Revisio Established 1880. Endorsed by George W. Curtis, J. Lowell, and many authors.—20 W., Fourteenth-sti New York. Printed and Published by Horace Cox, Windsor House, Bream’s-buildings, London, H.C. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 03 Issue 04 (September 1892) Subject The topic of the resource <em>The Author</em>, Vol. 03 Issue 04 (September 1892) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1892-09-01-The-Author-3-4 publications The Author