https://historysoa.com/files/original/5/464/1899-07-01-The-Author-10-2.pdf 79d0a292ada0d9a03647969b36b8bccb PDF Text Text ���������������������������� 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 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) 1899-07-01 Volume 10 Issue 2 Pages Page range in volume 29–56 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 18990701 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Author. (The Organ of the Incorporated Society of Authors. Monthly.) CONDUCTED BY WALTER BESANT. Vou. X.—No. 2.] JULY 1, 1899. [Prick SIXPENCE. For the Opinions expressed in papers that are signed or initialled the Authors alone are responsible. None of the papers or para- graphs must be taken as expressing the collective opinions of the Committee unless they are officially signed by G. Herbert Thring, Sec. =o a Secretary of the Society begs to give notice that all remittances are acknowledged by return of post, and requests that all members not receiving an answer to important communications within two days will write to him without delay. All remittances should be crossed Union Bank of London, Chancery-lane, or be sent by registered letter only. Communications and letters are invited by the Editor on all subjects connected with literature, but on no other sub- jects whatever. Articles which cannot be accepted are returned if stamps for the purpose accompany the MSS. Dos GENERAL MEMORANDA. ERE are a few standing rules to be observed in an agreement. There are three methods of dealing with literary property :— J. THAT OF SELLING IT OUTRIGHT. This is in some respects the most satisfactory, if a proper price can be obtained. But the transaction should be managed by a competent agent. Il. A PROFIT-SHARING AGREEMENT. In this case the following rules should be attended to : (1.) Not to sign any agreement in which the cost of pro- duction forms a part. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs: or by charging exchange advertise- ments. (3.) Not to allow a special charge for “ office expenses,” unless the same allowance is made to the author. (4.) Not to give up American, Colonial, or Continental rights. (§.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher. VOL. X. As well bind yourself for the future to any one solicitor or doctor ! (7.) To stamp the agreement. Ill. THE ROYALTY SYSTEM. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately and very nearly the truth. From time to time the very important figures connected with royalties are published in The Author. Readers can also work out the figures themselves from the ‘Cost of Production.” The four main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) That there shall be no secret profits. (4.) That there shall be no charge for advertisements in the publisher's own organs and none for exchanged advertisements. pecs HOW TO USE THE SOCIETY. Le VERY member has a right to ask for and to receive advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. If the advice sought is such as can be given best by a solicitor, the member has a right to an opinion from the Society’s solicitors. If the case is such that Counsel’s opinion is desirable, the Committee will obtain for him Counsel’s opinion. All this without any cost to the member. 2. Remember that questions connected with copyright and publisher’s agreements do not generally fall within the experience of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Send to the Office copies of past agreements and past accounts with the loan of the books represented. The Secretary will always be glad to have any agreements, new or old, for inspection and note. The information thus obtained may prove invaluable. 4. Before signing any agreement whatever, send the pro- posed document to the Society for examination. 5. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are p 2 30 reaping no benefit to yourself, and that you are advancing the best interests of literature in promoting the indepen- dence of the writer. 6. The Committee have now arranged for the reception of members’ agreements and their preservation in a fireproof safe. The agreements will, of course, be regarded as con- fidential documents to’ be read only by the Secretary, who will keep the key of the safe. The Society now offers :—(1) To read and advise upon agreements and publishers. (2) To stamp agreements in readiness for a possible action upon them. (3) To keep agreements. (4) To enforce payments due according to agreements. ES THE READING BRANCH. EMBERS will greatly assist the Society in this f branch of their work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The Readers are writers of competence and experience. The fee is one guinea. OO iio NOTICES. 1; Editor of The Author begs to remind members 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. Communications for The Author should be addressed to the Offices of the Society, 4, Portugal-street, Lincoln’s-inn Fields, W.C., and should reach the Editor not later than the 2ist of each month. All persons engaged in literary work of any kind, whether members of the Society or not, are invited to communicate to the Editor any points connected with their work which it would be advisable in the general interest to publish. The present location of the Authors’ Club is at 3, White- hall-court, Charing Cross. Address the Secretary for information, rules of admission, &c. FROM THE COMMITTEE. NE hundred and eight new members have been elected to the Society during the current year, thirty-one being elected at the meeting of the Committee held in June. This number is very satisfactory, showing no decrease on the amount of the elections at this time last year. Some notice has been given in the papers that an arrangement has been attempted by the Pub- lishers’ Association, and adopted by some book- sellers, for the placing of high-priced books on the market at net prices. Authors signing agree- THE AUTHOR. ments in the future should therefore carefully look to this point, and should have it clearly stated in their arrangements as to whether the book is to be published net or with the usual discounts, for if the book is published net the publisher receives a larger price from the book- sellers, and the author must therefore receive a proportionately larger royalty. G. H. T. a ee LITERARY PROPERTY. T.—Kiperuine v. Putnam. M RUDYARD KIPLING has raised an action in the United States Circuit Court which involves a question of deep interest to authors. He suesG. P. Putnam’s Sons, D. Appleton and Co., Doubleday and McClure Co., Charles Scribner’s Sons, and the Century Com- pany, to recover damages sustained by alleged infringements of copyrights. All but GP. Putnam’s Sons have been notified that they are only technical defendants. I, MR. RUDYARD KIPLING’S STATEMENT. Srr,—Would you spare me a little space to set out the details of a difference which has arisen between myself and Messrs. G. P. Putnam’s Sons, of New York? My excuse for troubling you is that the case may be of interest alike to English and American authors as directly affecting their control of their own works. By arrangement with Messrs. D. Appleton and Co., The Century Company, The Doubleday and McClure Company, and until lately also with The Macmillan Company (all of New York), each of these houses has published certain of my books. In 1896 Messrs. Charles Scribner’s Sons under- took the publication of an edition of my works, which was necessarily carried out with the con- currence of the other authorised publishers. It is known as the “ Outward Bound Edition,” and by agreement with my other publishers may be sold only by subscription. I have written a special introduction for it and re-arranged the stories; Mr. John Lockwood Kipling designed for it a number of illustrations; and he also ~ designed for the cover, as a sign of my personal authentication or trade mark, the representation of an elephant’s head. a The “Outward Bound” Edition had this spring progressed to twelve volumes, and part of my work in America was to carry it-forward. On Saturday, March 11, there ‘appeared in an evening paper in New York City a conspicuous advertisement as follows :—  THE AUTHOR. 31 ! Rudyard Kipling’s Works. BRUSHWOOD EDITION. 15 Volumes Including General Index. {The Brushwood Edition is by far the most Complete Collected Edition of Kipling’s Works, and contains 17 Notable Stories and 51 Poems not in any other collected edition. It also includes A KEN OF KIPLING By Will M. Clemens. Containing an account of Kipling’s career, an appreciation of his work, some good anecdotes, a new portrait in photogravure, and two other illustrations. 15 vols., large 12°, Cloth xtra ..........csssscsesereeseeceeeneosenees Full buckram, leather labels, bevelled boari . Walt Galt extra, RilCtOps <i... ..sccssscccousorsveress Three-quarters calf extra........... ue Three-quarters crushed levant .........:cscccscssercensessenseeess nett $60.00 For sale only in the Retail Departments of G. P. Putnam’s Sons, 27 West 23d Street, N.Y., and E. P. Dutton & Co., 31, West 23d St., N.Y. On Monday morning, March 13, this advertise- ment came to the attention of Mr. Charles Scribner, who at once called upon Mr. George Haven Putnam, and protested against the enter- prise. On March 13 and 14, Mr. George H. Putnam wrote two long letters to Mr. Scribner in defence of the so-called Brushwood Edition. In the course of these letters Mr. George Haven Putnam wrote: “The question that has arisen between your house and the management of our retail department, for the action of which, of course, our firm assumes the full measure of responsibility, impresses me as by no means as simple as it seems to you. There are various complexities in it which it may be easier to see through clearly when there are more precedents. After receiving your note this afternoon I put the question before Mr. who took precisely that ground. It seemed to him that there were a good many matters to be considered in the question, and it was one of business ethics for which a simple and final answer was by no means easy.” In reply to this letter Mr. Charles Scribner wrote on March 15: “Dear Putnam,—l note your statement that you have placed the Kipling question before Mr. — , and that you report ‘he took precisely the same ground that you did.’ I have never claimed the question was free from complexities, most questions have them. Nor do I object to your securing sheets from the various . authorised publishers of Mr. Kipling’s books and binding them up for sale in your retail department, but I think you should confer with the author before you announce an edition of his works under a new title with a new index speci- ally prepared, and witha biographical or critical addition. And Lthink, too, that the manner of announcing your edition was particularly objec- tionable.” On investigating the “edition,” which was named from a story of mine—The Brushwood Boy—we found that it was made up in part of sheets obtained from some of my authorised publishers; that it included also some verses which I had not authorised to be published in any of my books; it included also sheets of a volume entitled “ Departmental Ditties, Barrack Room Ballads, and other Verses,” with the im- print of a firm which I had not authorised to publish this or any other book of mine ; also sheets of a book which I had not written or even seen. To these had been added some forty pages of titles and lines copied out of my books and arranged under the designation “Index to the Works of Rudyard Kipling: Brushwood Edition.” These sheets had been bound up into volumes. On the back of each volume was the name “Rudyard Kipling”; an elephant’s head in a circular design of the exact size of the elephant’s head on the cover of the “ Outward Bound” Edition, and a volume number. Upon the front of the covers there was again the elephant’s head, and a facsimile of my autograph. They were put up in a box labelled “Rudyard Kipling—Brushwood Edition.” In this connection it is interesting to remember that Mr. George Haven Putnam, in an interview with the Daily Chronicle, stated explicitly that it was not an edition, but “merely you had an harmonious binding.” I could see nothing about the books, or the box, or the advertisement to suggest that this enterprise was without my consent, or was not fully authorised by me. It seemed to me that this “edition” directly traversed my right to select my own publisher ; and that by placing a facsimile of my autograph 32 THE and an imitation of my elephant’s head on books not authorised or even seen by me, Messrs. G. P. Putnam’s Sons had given a false air of authen- ticity to their enterprise. ‘Also, there were the questions relating to the many purchasers of the “ Outward Bound” Edition and of the other authorised books. It would appear, on the one hand, that my “ Outward Bound ” Edition had been superseded, and on the other, that I was party to a scheme for issuing my well-known trade books with other matter which had never been authorised, under different covers as a new edition, and a more complete edition than that of Messrs. Scribners’. To give a few illustrations in this regard. Thirteen of the ‘ seventeen notable stories not in any other collected edition,” as the advertisement is so careful to point out, are secured by the inclusion of a book called “The Day’s Work,” published last autumn by Messrs. Doubleday and McClure, which in the ordinary course of events could not appear in my “ Outward Bound ” edition till June. Indeed, Mr. G. H. Putnam, in a letter of March 13 to Mr. Charles Scribner, admits that hisset “has the temporary advantage over your own handsome edition of containing the stories com- prised in the new Doubleday volume which are later, we understand, to be included in your own set.” The advantage is somewhat pronounced, when you consider that, under the terms of agree- ment with my various publishers, I could not pass a book into my “Outward Bound” edition until after the lapse of a year or thereabouts. Messrs. G. P. Putnam’s Sons, however, purchase unbound sheets of the ordinary edition of “ The Day’s Work” and make them a special feature of their Brushwood “edition.” As that volume appears with my autograph in facsimile outside, and with the elephant’s head, subscribers to the “ Outward Bound” edition, who would have to wait till June or later for their “Day’s Work,” might justly think that I was not dealing fairly with them. It seems to me that this matter touches publishers as well as authors. So far as I can make out from the “ Index to the Works of Rudyard Kipling, Brushwood Edition,” compiled and prepared by Messrs. G. P. Putnam’s Sons on their own responsibility, forty-nine of the fifty-one poems “not in any other collected edition,” are secured by the inclusion of a volume of verse called ‘“‘ Depart- mental Ditties, Barrack Room Ballads, and Other Verses,” purchased by Messrs. Putnam from a firm which is not authorised to publish any of my books. This volume includes about a dozen “ Barrack Room Ballads,” all of which are duly bound up under my facsimile autograph and elephant’s head asa volume of the Brushwood AUTHOR. “edition.” But Messrs. Macmillan’s authorised edition of my ballads and “Barrack Room Ballads” (another of Messrs. Putnam’s pur- chases and another volume of their “ edition”) naturally includes the same “Barrack Room Ballads.’ In the “Index to the Works of Rudyard Kipling, Brushwood Edition ” they are duly indexed twice over, with the explanatory note, “A few of the poems appear in two different volumes.” We come now to the two poems that make up the tale of fifty-one ; and here we are rewarded by one little touch of humour. In 1896 I published with Messrs. Appleton in New York a volume of verse called “The Seven Seas.” It was there- fore something of a surprise to me to dis- cover in 1899, at the end of “The Seven Seas,” two poems called “The Vampire” and “ Reces- sional.” “The Vampire” was adorned with a sort of blood-red title-page, and the reproduction of a picture, together with an equally blood-red autograph in facsimile. ‘“ Recessional” was not illustrated. Now, the one poem was written in 1898 and the other in 1897. They were both uncopyrighted; and there was nothing in the world to prevent Messrs. G. P. Putnam’s Sons from publishing and selling them, with or with- out illustrations, as many American publishers have done. But this firm preferred to smuggle them between the pages of a brother-publisher’s copyrighted book ! This would seem to establish the precedent that any retail bookseller may add to any volume of any author, after any lapse of time, such stray matter as in that bookseller’s opimion may temporarily increase the interest of the book to the vendor’s immediate pecuniary advantage and to the discredit of the author and his legitimate publisher. This, again, seems a point of interest both to authors and publishers. To continue the story. A few days after we had seen the “edition,” Mr. W. W. Appleton called, and it was intimated to him that we wished to stop the publication. He asked as a personal favour to be permitted to write to Mr. G. H. Putnam, which was agreed to. Mr. Appleton wrote on March 23, calling his attention to my special objections. On March 25 Mr. G. H. Putnam wrote a long letter of argument to Mr. Appleton, discussing the questions in detail. On March 25 Mr. G. H. Putnam wrote a long letter of argument defending the “ Brushwood Edition ” item by item to Mrs. Kipling. These letters to Mr. Scribner, Mr. Appleton, and Mrs. Kipling would fill about two columns of an ordinary newspaper. It appeared from them that the so-called “ Brushwood Edition” was not completed on Monday, March 13, when Mr.  THE AUTHOR. 33 Scribner protested against the enterprise, and also that Mr. Putnam knew that we were carry- ing forward the “ Outward Bound ” Edition. The objections that had been made to Mr. Putnam were that without the consent of the author he had practically published a new edition of his works under a new title, with a new index specially prepared and with additions; and specifi- cally we objected to the method of advertising, to the inclusion in an’ edition of my works of the volume of ‘Departmental Ditties, Barrack Room Ballads, and Other Verses,’ and of the matter which I had not written, and to the use of the elephant’s head and the facsimile of my autograph. Seeing that I could make no progress, I instructed my counsel, Mr. Gurlitz, who had been looking into the matter, to request that the “edition” be withdrawn. This was demanded by him substantially upon the ground of Mr. Scribner’s protest, and he referred Messrs. G. P. Putnam’s Sons to the letters written by Mr. G. H. Putnam to Mr. Appleton and Mrs. Kipling. In response to this letter Messrs. Putnam’s counsel called upon Mr. Gurlitz and the whole matter was discussed from its legal side, the books were produced, and each volume was examined, each item of objection discussed. We had learned of the unauthorised inclusion of two of my poems in “The Seven Seas” and in the index of that book which G. P. Putnam’s Sons admit having prepared. After some discussion Messrs. G. P. Putnam’s Sons insisted in sub- stance that they were acting within their rights, and on April 4 suggested a reference with an implication that was unsatisfactory. However, if the suggestion had been made on March 13, when Mr. Scribner first protested, and if the publication had been suspended until a decision had been come to, it might have been considered. But instead of heeding Mr. Scribner’s protest, which, it will be remembered, included a direct objection to the manner in which the “ edition x was advertised, the Brushwood “edition” was advertised again and again in the papers, and also in the Putnam show-window, where a large sign was displayed with the words: RUDYARD KIPLING’S COMPLETE WORKS. BRUSHWOOD EDITION. It was not in any sense “complete.” It did not contain “‘ Pharoah and the Sergeant,” ‘‘ The Truce of the Bear,” “The White Man’s Burden,” and a number of other writings which had then been published. We had nearly concluded to bring action when an intimation was received through Mr. Appleton that Messrs. G. P. Putnam desired to see Mr. Watt, my business agent, who had come over to New York specially to aid me in suppress- ing unauthorised publications. Heping there had been a change of purpose, proceedings were suspended, and Mr. Watt called and saw Mr. Irving Putnam. Mr. Watt was familiar with the questions involved, and after his interview reported that he had listened to substantially the same matter which had already been discussed in the Putnam letters. Under date of April 21 he received a letter from Mr. Irving Putnam to the effect that Mr. Putnam had noted briefly the various points which he had gone over at the interview. This was accompanied by a long memorandum of twelve numbered paragraphs. It added nothing new to the situation except the facts that the index had been prepared by Messrs. Putnams, and that the matter in Volume XV.—a collection of newspaper para- graphs about myself—had been “ added in order to make, with the Index, bulk enough for a volume.” I understand that Messrs. Putnam’s object was to get bulk enough for a fifteen-volume edition. Our efforts, extending over some six weeks, to get the “ Brushwood Edition” withdrawn with- out legal proceedings having failed, action was commenced on April 22. On April 23, statements purporting to come from the Messrs. Putnam were published broad- cast in the New York Press. These were to the effect that they were in the dark as to the suit ; that Mr. Kipling’s attorney would make no explanation. ‘We tried for three weeks to get specifications from Mr. Kipling, but they were refused,” &¢. Since then other statements of a similar character have appeared. It has also been said that I demanded the payment of heavy damages. Nothing of the kind occurred. No one ever applied to me for any specifications whatever, but on the contrary, commencing with the morning of March 13, which was the first business day after the announcement of the ‘ Brushwood Edition,” Mr. Scribner stated our objections to Mr. G. H. Putnam. On March 23, Mr. Appleton went into the details of our objections; on March 25 Mr. G. H. Putnam defended the “Brushwood Edition” to Mrs. Kipling item by item; on March 30, the counsel of the respective parties went over the matter again, item by item, from the legal aspect; the whole subject was fully dis- cussed for six weeks in voluminous writings and by word of mouth. At any time between March 13 and April 22 a settlement could have been made if a settlement had been desired by Messrs. Putnam. The ques- tion of damages did not become a practical one,  34 because Messrs. Putnam refused to withdraw the so-called “Brushwood Edition,’ and refused to inform us of the number which they had pub- lished and sold. Here, then, my case against Messrs. Putnam rests : They have, under cover of following the routine of their trade, produced an incomplete set of books, which they wish the public to accept as a complete edition of my books. They have attempted—both by the title that they selected for their “edition,” and by placing on every volume my autograph in facsimile, and an imitation of the elephant’s head which is the distinguishing mark of my “ Outward Bound ” edition—to make the public believe that their venture had my sanction. They have used in part matter written and authorised by me; in part matter written but not authorised ; in part matter neither written nor authorised nor ever seen by me. They have appropriated copyright material for their own uses in their specially prepared index. They have tampered with a copyrighted book three years after publication. They have made me responsible before a public, to whom I do peculiarly owe my best and most honest work, for an egregious, padded fake. And all these things they did—taking advantage of that public’s interest in my illness—when I lay at the point of death. I do not see how I can permit their action to pass without challenge. It establishes too many precedents which will do evil to the honour and integrity of the profession that, so far, has given me countenance and profit. Rupyarp Kipxine. II. MR. IRVING PUTNAM’S STATEMENT. The Putnams say they are not conscious that they have infringed in any manner Mr. Kipling’s rights; their retail department simply purchased sheets of his copyright books published by all the defendants named, except Messrs. Scribner, and bound them in various styles of leather binding. These works, while uniform in exterior, preserved inside the material just as issued by Mr. Kipling’s authorised publishers, with the original title-pages and imprints. To make a set of a certain number of volumes Will M. Clemens’s “ Ken of Kipling,” and other Kiplingiana, and an index were added. The whole was advertised as the ‘“ Brushwood Edition,” and was marketed jointly by the retail departments of G. P. Putnam’s Sons and E. P. Dutton and Co. Mr. Irving Putnam, the head of the retail department of G. P. Putnam’s Sons, has given an account of the matter to a repre- THE AUTHOR. sentative of the New York Tribune. some of his statements :— The trouble probably lies—although I do not see that we have done any wrong there—in our custom of buying unbound from Mr. Kipling’s publishers the printed sheets of his works and then binding them ourselves and selling them. Our retail shop, in conjunction with our neighbour E. P. Dutton and Co., bought from the several publishers of his works a number of copies of each of his different books as follows: Copies of seven different works from the Macmillan Company, three from the Century Company, two from D. Appleton and Co., and one from the Doubleday and McClure Company. We bought these printed sheets in unbound form and put our own covers on them—an ordi- nary custom in the book business from time immemorial. These books are in each case the authorised copyright edition, and Mr. Kipling presumably gets royalty on each copy sold. There is one book of his called ‘‘ Departmental Ditties,” consisting of his earlier Indian poems, which for some reason he does not seem to wish to perpetuate. We knew nothing of this feeling when we bought the books. Of this work there is no authorised copyright edition, but it happens to be material that the public thinks most highly of. This is not included in the Outward Bound edition published by Charles Scribner’s Sons, and especially selected and compiled by himself, and we thought it a good stroke of business to include in our complete collected edition. If we had known of the author’s reluctance to have these’ poems perpetuated we would perhaps not have included them, out of principles of comity and courtesy, but we have never received such an intimation from the author. These poems happen to constitute one of the most popular of his books, and in form of various editions have been im the market for eight years. As there is no author’s copy- righted edition we bought the best available edition possible—that published by Henry T. Coates and Co., Philadelphia. These several sheets we bound up in various styles of cloth and leather binding, making a collection that was uniform in exterior, but preserving the material just as published, together with the title-pages and imprints of the several publishers. We learned only incidentally that Mr. Kipling objected to this collection, and we have been vainly trying ever since to find out in what particular he con- sidered himself wronged. . . . Our lawyer wrote to Mr. Kipling’s counsel, and received a letter from Mr. Gurlitz stating that his client was “righteously indignant” over our ‘appropriation of his property,” and that the only possible settlement was on the basis of a withdrawal of the books for sale, an accounting to Mr. Kipling, and substantial damages week e ‘‘We have published nothing,” Mr. Irving Putnam repeats, “but have simply, as retail booksellers, bound editions published by other houses. Mr. Kipling is therefore, through his agents, the Macmillan Company and others, selling us material and taking our money on the one hand, while at the same time saying, on the other hand, ‘Don’t you sell it.’ In our binding, printing, and insignia and titles of different sorts we have infringed no rights of trade marks or copyright, so that I don’t yet see where the action lies either legally or reasonably.” We quote  THE AUTHOR. 3 Il.—Tue PusLisHER AND THE AGENT. Owing to the constantly renewed endeavour of publishers to obtain control of outside markets on a profit-sharing arrangement it is necessary once more to call the attention of authors to the dangers of the position. In the first place pub- lishers are not literary agents. This work is not primarily their business. They are the authors’ agents for the publication of their books only. Two points follow from this, one that a great majority of publishers have not the same facili- ties either as authors themselves or authors’ agents; and two, those publishers that have these facilities use them for the purpose of their own pecuniary advantage to the detriment of the authors. The words “ outside rights” have been used in the sentence above. It is necessary to explain them as this article deals practically with “outside rights ” only. The author can divide his property up into many rights. The chief of these are as follows: Serial rights in England. Serial rights in America. Serial rights in the Colonies. Book production in England. Book production in America. Book production in the Colonies. Continental rights in English. Translation rights in the different countries under the Berne Convention, and in some cases Dramatic rights. Now, the English publisher ought to deal only with the publication of the book in England, and perhaps its colonies and dependencies. Under many forms of agreement put forward by the best houses in London the publisher asks for all the other rights enumerated beyond the publication of the book as above referred to. These other rights are termed here, for the sake of convenience, ‘ outside rights.” It has been stated that the majority of pub- lishers have not the same facilities for placing these outside rights. It isa fact that they are not in touch with the editors of magazines like an author’s agent. ‘They cannot diagnose what stories certain magazines may desire at certain times like authors’ agents, or even like the authors themselves. They have not the possibilities of placing these rights that frequently come to an agent of recognised position. _ But it should be pointed out in the second place, that in many cases the publisher’s interest is antagonistic to the author’s interest in securing a financial return for these rights, and this is especially the case with regard to the American market. It very frequently does not pay the publisher to go to the trouble of securing American copyright for an author when he has VOL. &. car control of the American market, but pays him much better to sell sheets that have been printed in England, or stereos that have been manufactured here, on terms which are not invariably fully disclosed. In consequence he will rather take this latter step and obtain 50 per cent. of the net profits from the author than move on the author’s behalf to obtain the American copyright. In the third place, this great difficulty should be pointed out, that when an author is receiving a royalty on the publication in England, it is a mistake to mix up with such royalty agreement a share profit arrangement for the sale of rights to either the Colonies or America, for it has not in- frequently happened that the publishers holding an agreement on this basis have failed to obtain the American copyright, and have then sold a large set of sheets to America, charging against such sheets (if the number happened to be half the amount printed) a half also of the cost of composition. As the author’s royalty is being paid on the understanding that the cost of composition is charged against the English edition, it is not fair that half the cost of compo- sition should then be charged against the American or Colonial edition. The cost of machining and paper alone should be charged against these editions. Not long ago a case came before the Society worked out on the basis pointed out above, in which the sale showed no profits whatever—that is, of course, as far as the author was concerned. The fourth point, and by far the most impor- tant point, is the following: that the publisher generally asks for half profits on American rights, that is, 50 per cent. of the profits, whereas an author’s agent for doing the same work asks 10, and, at the outside, 20 per cent. This point has been put forward in The Author already on two or three different occasions, and it was shown that over a large series of agree- ments the lowest a publisher asked was 25 per cent.; so that it cannot possibly be to the advan- tage of an author to place these rights in the hands of a publisher on the terms they generally quote. It may be the case, however, that American publishers refuse to take matter from an author direct or through an author’s agent, when they will accept an offer from a publisher in England which may be arranged to the mutual benefit of the American and English publisher. Tf this is the case, and if it should happen that the publishers are endeavouring to make a close ring, the point for the Authors’ Society to aim at is to erect publishers in America who will stand outside such a ring. This will not be a difficult thing to manage, as the control of the market E 56 THE o can never lie with the publisher, but must finally lie in the author’s own hands. t+. H TI] —A New Yorx AcEncy. A prospectus has come to the offices of the Society from the International Press Association Literary Syndicate and Agency of New York and London, 114, Fifth-avenue, New York. The name of one of the directors is Mr. Charles F, Rideal, Fellow of the Royal Society of Literature of Great Britain, author of “ Wellerisms,” “People we Meet,” “Charles Dickens’ Heroines and Women Folk,” editor of “ American Men of the. Time,” “American Women of the Time,” formerly editor of Life, The Magazine and Book Review (England), &c., and he is assisted by an < experienced staff.” This Mr. Charles F. Rideal is apparently the gentleman who was for some years manager of the Roxburghe Press, that held its offices at 15, Victoria-street, S.W. To members of the Society and other persons interested, therefore, this notification will be amply sufficient. IV.—A Sone AGREEMENT: witH NoTEs. [Norrce.—In all cases in which publishers’ agreements are printed and commented on in The Author a copy of the paper will henceforth be sent to the firm concerned, accompanied by a letter drawing their attention to the comments and offer- ing them the opportunity of making any reply in The Author in case they should desire to do so.] (coPY.) This indenture made the day of one thousand eight hundred and between of (hereinafter called the vendor), of the one part, and in the county of music publishers for themselves, and ¢o-partners in the firm of (hereinafter called the purchasers) of the other part. Witnesseth that, in consideration of the sum of pence for every copy to be published and sold by the purchasers (except one copy im seven, according to the usual trade custom, and except to copies sent to the United States of America and Canada, for which only half the above sum is to be paid per copy), to be paid by the purchasers to the vendor so long as the copyright shall last for the absolute purchase of the copyright and rights of publication, representation and perform- ance, and all other the rights, property, and interests intended to be hereby assigned, he, the vendor, as beneficial owner, doth hereby assign unto the purchasers all the copyright and right of publication, representation, performance of him, the vendor, of and in the musical com- AUTHOR. positions or works specified in the schedule here- under written, including the title and words thereof for the United Kingdom of Great Britain and Ireland, including the Channel Islands and its colonies and dependencies, and for all foreign countries. And all other property, rights, and interests, whether at law or in equity of him the yendor, therein or thereto, to hold the same unto the purchasers for their absolute property. And the purchasers hereby covenant with the vendor that the purchasers will cause to be entered into proper books to be kept by them a true account of all copies of the said compositions sold by them, and allow such account to be inspected at all reasonable times by the vendor, and will pay, or cause to be paid, to the vendor the aforesaid sum of pence for each copy (except as and subject to reduction above men- tioned) on or about the first day of January in each year so long as the copyright shall last. In witness whereof the said parties to these presents have hereunto set their hands and seals the day and year first above written. The schedule above referred to. The agreement printed above is an agreement for the publication of a song. Music, like the Drama, has two distinct rights,—the right. of production in printed form and the performing right. Tn the drama the performing right as a rule is the most remunerative. With regard to music certain songs, like music hall songs, theatre songs, &c., are more remunerative on account of their performing right, though sometimes both rights bring in considérable sums, and other songs (ballads, and other pieces of “this kind) are more remunerative on account of the reproduc- tion in printed form. In any case and in any agreement that deals with property that has these two rights, the composer should consider carefully how he deals with these rights, and under no consideration should he assign his pro- perty absolutely to the publisher unless he binds the publisher by some stringent clauses to protect himself as composer. The agreement put forward above refers to a song in which the copyright (meaning the right of reproduction in printed form) was of more value than the performing right, and will be considered from this point of view. It is hardly necessary to state that the form of agreement from the author's point of view is almost as bad as it can possibly be in a case where he still retains a future benefit from the sale of his work on the royalty system, but unfortunately it not infrequently occurs that the agreements put  THE AUTHOR. 37 before composers by musical publishers are the worst possible for the composer and the best possible for the publisher. The time is come when the musical author should stand up against signing an agreement such as the one quoted. Leaving out the parties to the agreement, we see the words “every copy to be published.” There is no undertaking by the publisher that the work shall be produced, and there is no state- ment with regard to the form of its production or the price at which it is to be sold. The composer is to be paid pence on every copy sold. This might be a fair royalty if the song was produced at one price and an absolutely unfair royalty if the song was produced at another price. No doubt the publisher’s} response to a statement of this kind would be ‘“ Everyone knows the form in which a song is produced.” If this were the case there would be no harm what- ever in inserting it in the agreement. With regard to the question of royalties—it may be remembered that the cost of production of a song, in proportion to its sale price, is exceedingly small in comparison with the cost of production of a book with regard to its sale price ; in fact, the ratio is almost one to two; therefore, if an author received a royalty of 10 per cent. on a book he ought to receive a royalty of 20 per cent. on a song taking the author’s capacity as an equal factor in both cases. This point is of the greatest importance to musical authors, and cannot be too often stated. There is a further point to be considered. The royalty is not paid on every copy sold, but seven copies are reckoned as six, “ according to the usual trade custom.” This may be the usual trade custom, when seven copies are sold at a time, but the distributing agencies in the music tradeare not like the distribu- ting agencies in the book trade, and many more copies are sold at full price from the publisher’s office than there are ever sold of a book at full price from the same source. Another point: In book publication where this so-called trade custom comes in, thirteen copies are sold as twelve. Here we see a trade custom claimed of seven as six. This is a large gain to the publisher. Another point: the royalties paid in most agreements rise in proportion to the sales for the good reason that the cost of production of a second thousand is not as expensive as that of the first thousand, and if the work is produced in thousands at a time it becomes cheaper still. Here, however, there is no mention of a rising royalty. This is another substantial gain to the publisher. With regard to royalties on copies sold in the United States and Canada the amount is reduced to half, but the method of obtaining protection von. x. for musical pieces across the Atlantic is simple, as music has not by the American law to be manu- factured in America, and whereas on account of the double cost of production of books and other particulars with regard to the circulation of American literature the royalty in America varies three to five pomts per cent. below the royalties in England, on musical publication under this agreement it is to be 50 per cent. Thisfrom the composer's point of view, again, is a very bad feature. Then follows, perhaps, the most serious blot in the whole agreement from the composer’s point of view. The composer sells and transfers the copyright and performing right and all other rights in all the other countries that the pub- lisher can possibly ask for. This transfer is very dangerous, for there is nothing to prevent the publisher producing the song in other forms with alterations and adaptations as dancing music or as popular pianoforte music with variations. If he did so, and obtained a large sale for such variations or adaptations, the author might very strongly object, but would have very great difti- culty in proving a case against the publisher, his only remedy being one for damage to his reputation, about which there might be a strong diversity of opinion, the publisher holding that the increased advertisement is beneficial, the author objecting from personal grounds. It is most important, therefore, that the composer should not transfer the copyright, but should transfer only the right to publish in a specified form—that is, song form—under specified condi- tions. It is possible, for some reason or other, that the publisher might withdraw the song from the market. There is nothing to prevent him doing so, and the composer might thereby lose a certain source of income, and be unable to take any steps to compel the publisher. If the publisher holds the copyright and performing right, in case of bankruptcy those rights would be liable to go as assets of the estate, and in alien hands might be used in many ways to the disadvantage of the composer. Again, there is nothing to compel the publisher to affix the composer’s name to the pro- duction. It is improbable that the publisher would produce it without the composer’s name attached, but, when the question of copyright comes in, it is important that the composer should be guarded on all these points. Next as to the performing right. It was stated at the beginning of this article that this agreement referred to a song the chief value in which to the composer lay in the right of repro- duction. Under these circumstances, it might be argued that the performing right was of not E 2  38 much value; but in answer to this it should be stated that it is most important for the composer to retain control of this right, for if he sells the copyright, as pointed out, the publisher might produce the air in the form of dance music. Consequent on that, there might be the value of the thing as a performing right. Again, if the song became popular, the performing right (to take the ludicrous side of the question) might be of value to the organ-grinder, and the publisher might sell the right or deal with it contrary to the desire of the composer. The composer, there- fore, should certainly have control of this side of his property. There is nothing specified in the agreement by which the composer should obtain any return in case the performing right should at any time and under any circumstance become valuable. If the composer gives away a control of this right he should certainly do so for a substantial considera- tion. The annual account clause is bad. This point has repeatedly been pointed out in The A uthor. To sum up from the musical author's point of view, it is unfortunately the case that nearly all the agreements for the sale of musical compasi- tions transfer to the publisher copyright and performing right unless such compositions are specially written for the stage. “It is time that musical authors made a firm stand against selling their property in this haphazard way to publishers. If some of the better known musical authors began in the first instance to take this step they would gradually build up for them- ‘selves and their fellow composers a tower. of strength which would enable them successfully to resist these encroachments, and it is with this object in view that some of the difficulties of the agreement set forth above have been explained in detail. G. H. T. V.— INFRINGEMENT OF COPYRIGHT. The Universities of Oxford and Cambridge secured on June 13 an injunction against Messrs. Gill and Sons, publishers of educational manuals, who exhibited the results of the Revised Version of the Bible as compared with the earlier version, without any licence to-do so. It was alleged that such publication was an infringement of a copy- right for which they had paid the Revisers not less than £20,000. After hearing Mr. Birrell, Q.C., M.P.,.for the Universities’ Press, and Mr. Etve for the defence, and two witnesses, ; The judge (Mr. Cozens-Hardy) said the title of the plaintiffs to the copyright had been formally proved, and had not been challenged. The only question he had to ecnsider was whether or not there had keen an infringement of the copyright THE AUTHOL. in the sense that the court required an infringe- ment to be proved. He held that this was not a mere matter of quantity, but rather of quality— the editor of the manuals haying taken all that was most peculiar, most material, and most important in the Revised Version. It seemed to him impossible to doubt that the defendants had deliberately and of set purpose—without, he was willing to assume, any consciousness that they were doing wrong—extracted from the Revised Version and put in their own books every single passage in the Revised Version which they thought and conceived could be of any import- ance for the comparative study of the old and new versions. If that was not an infringement of copyright, he did not know what was. There was a plain infringement of the copyright, and he must grant the injunction claimed with costs against the defendants. VI.—A Case To BE Reap. An author wrote a book which he laid before a publisher with a view of getting published. The publisher after full consideration of the matter undertook to publish the book on the usual half profit basis, by which the publisher was to take all the risk and expense of the cost of production and the author was to share with him, in equal portions, the net profits of the sale. It is need- less to repeat that from the author's point of view a half-profit agreement is a thoroughly undesirable arrangement, but the author foolishly considered, under the special circumstances of the case, it was worth his while to close with the bar- gain. The publisher, however, said that he could not do the book justice by way of advertising (in other words he could not do his duty by the book) unless the author bound himself to him for the production of his next two books on the same terms. This, of course, was a worse arrangement still for the author, who did not consider with proper care the difficulties of his position before entering into the contract. He signed the con- tract without proper advice. Tt seems a curious fact that a publisher cannot deal fairly with the author in the matter of one book unless the author binds himself for the production of two others, but this was suggested by the publisher as a reason in this particular instance. It is much more likely that an author would stick to a publisher for good and all if he received fair treatment and fair considera- tion in the first instance, instead of an agreement which in any event could be nothing but dis- astrous. In this case, as in many others of a similar: nature, the author, finding he has teen treated badly, acts up to the letter of the agree-  THE AUTHOR. a ment, and then leaves the publisher for good and all with a bad word to every other author who thinks of going to that house. But itis not with this point of view that the case is put forward. What happened was as follows: The first book was produced, and in the course of the year did exceedingly well for a first book, the sale running to some 4000 copies. Before the accounts were rendered to the author, and the money which should have been due to him on the first book was paid, the publisher produced the second book, and when the author in due course asked for a cheque from the sale of the first book, he was met with the reply that the returns had been swallowed up in the cost of production of book number two. This was distinctly contrary to the agreement, as the author was not sharing in the risk of cost of production, but was sharing in the net profits. Again, however, the author took no advice, believing that the position was as stated. The second book went on the market and did well; not quite so well as the first book, but sold sufficient to pay expenses and show a reasonable profit. The third book was produced, and again the author was met with the same answer, namely, that the expense of the cost of production of the third book had swamped the profits of the other two, and again the author accepted the position. Finally when the third book had been produced, and had circulated in the usual way and the author was free, he received a small amount from the returns of the three books jointly, and not from the profits of the three books singly. This delay to the author was serious. It is needless to say that the author had no voice in the cost of production, in the amount to be spent on advertising, and other little details which would readily swamp the profits for the author, though not necessarily for the publisher. Tf the result was unsatisfactory for the author, it will in the end be also unsatisfactory for the pub- lisher, because the tale of the author’s treatment will not only prevent the author from going there again, but will keep all his friends from the same house. Why are publishers so short-sighted ? GH. OU. Vil.—ImprriaL Press, Limirep, v. JOHNSON. This case was heard in the Queen’s Bench on May 4. The plaintiffs were a publishing com- pany carrying on business in London, and the defendant the Rev. Theodore Johnson, of Bodiam Rectory, Hawkhurst, Sussex. ‘the claim was for £400 damages for alleged breach of contract and warranty on the part of the defendant relating to his work, “Imperial Britain,” published by the plaintiffs. The defendant denied that he had made any special contract with the plaintiffs, and said that the manuscript of the book was sub- mitted to the plaintiffs in the usual way, they having full opportunity of judging of the character of the book, and they accepted the same with full approval in the usual manner of publishers. The defendant counter-claimed that the plaintiffs undertook to pay £25 on the publication of the first book, which they refused to do. The Rev. Mr. Johnson, the defendant, in exami- nation, said he was the rector of Bodiam, being appointed in 1895. Prior to that he had for fourteen years been a chief inspector of schools in the Diocese of Rochester. Before he wrote this work he had written some ten or twelve other books for various publishers.- One of them was written in conjunction with Sir Henry Bem- rose, and was published with the permission of the Universities. Another of his works was on history, another on geography, and others were religious. In September, 1896, the witness arranged with the plaintiff company to write the book in question, and before that he had partly pre- pared the matter. For the purpose of the work he had purchased a largenumber of works of reference. He did his best to write a reliable and useful work. The book dealt with a large number of matters, and it would have been little short of a miracle if it did not contain some mistakes. A first edition of such a work could not be entirely without inaccuracies, and the author could not avoid proof errors. A large portion of the work had not been challenged, and he had received many letters of approval from high and distin- euished authorities. Questioned by counsel as to the various state- ments, the witness quoted authorities for them. He did not defend the statement that Pretoria was the capital of British Zambesia. He did not mean to say that arsenic and’ Epsom salts were building stones. They came under a wrong heading through a mistake in the numbering. They should have come under the heading of “Mineral Products,’ and the matter in regard to them had got out of place. As to the statement that London has seven Parliamentary boroughs, he supposed that he had taken the old Parliamentary boroughs. “Earth worms” under reptiles, was a slip. The witness in cross-examination denied he had had the assistance of half a dozen persons in com- pleting this work. A number of other witnesses were examined in support of the defendant's case. The Lord Chief Justice, in addressing the jury, commented in severe terms upon defendant’s work, and then went on to speak of the pre- tensions of Mr. Heath, the plaintiff, and the Imperial Press. So far as he had been able to ascertain, said his Lordship, ‘Imperial Press, 40 Limited,” was Mr. Heath, and Mr. Heath only. A more audacious document than that put forward by him under this high-sounding and pretentious title, to the effect that fifty or sixty honourable names were behind him in an effort to extend and strengthen the British Empire, his Lordship had never seen. He hoped that if Mr. Heath again found it necessary to supple- ment his duties as a public servant by the publi- cation of books, he would not issue a second edition of such a document as that. His Lord- ship added that he did not want to exaggerate this matter, but when persons and companies asked the Court for damages it was necessary to bear facts of this kind in mind. The jury found that the contract of July 21, 1898 did not contain the whole of the agree- ment; that there was an implied cbligation on behalf of the defendant to use reasonable care; that the defendant did not use reasonable care; that the want of such care did not contribute to the plaintiff's loss, and that the plaintiffs were not entitled to any sum in damages. His Lord- ship at first said that was a verdict for the defen- dant, but that as the action was on a contract, the plaintiffs were entitled to nominal damages, which he fixedat 1s. The defendant was entitled on the counter-claim for £25, and he would con- sider whether he should not deprive him of costs. Dec NOTES ON THE PUBLISHERS’ CONGRESS. HE International Meeting of Publishers is over. The report of the proceedings has been given to the world. There was an opening meeting : there was a dinner: there were papers read on National Bibliographies: on the ‘‘ Protection of new Ideas in Form and Get up”’ —a very remarkable and mysterious title; on Right in Titles: on the Reproduction of Works of Art: on Overs in Printing; on Cheap Books: on International Protection of Publishing Rights : on Agreements between Authors and Publishers: on Canadian Copyright: on Copyright in Educa- tional works: on Quotations in Reviews: on the Convention of Berne: on Booksellers: on the right of National Libraries: on the coercion of Booksellers: and one or two other subjects. Very much of what was discussed might have been considered by a congress of authors. Throughout the meeting, however, it was calmly assumed that literary property belongs wholly to the publisher: there was not one word which would imply to the outside world the recogni- tion of the fact that literary property belongs THE AUTHOR. to the author, and is administered by the pub- lisher as a man or a company may administer a mine. The Society of Authors was alluded to by the President, Mr. John Murray, in his opening speech. He said that one of the reasons of their meeting was “that we may assert to the world at large the true position which we hold in the world of letters. This position is recognised by all the best and most distinguished writers. We are proud of it, and we claim that our traditions are as precious to us and that our sense of honour- able dealing is as keen and as true as that of any other class. We here undergo periodical attacks, which certainly display no inconsiderable vigour from a certain small class of guasi-authors, but they have done but little harm. They suffer from three radical defects. In the first place, they are too sweeping. They condemn a whole class, and rarely, if ever, bring to light a definite misdemeanour. Secondly, they are, intentionally or unintentionally, based on the assumption that the whole race of publishers are dishonest men. And lastly, they display a curious ignorance of what the work of a publisher really is.” We can have no possible objection to Mr. Murray being proud of the view with which the world regards his trade. He is probably thinking of the recognition bestowed by Thackeray on Bacon and Bungay, those virtuous philanthropists; or he is thinking of the present position, which is such that few authors will have anything to do with publishers except through an agent—the honour- able houses being mixed up with the others. A noble position, indeed! The position which he claims was not explained unless by talk about the debt of gratitude to publishers—for what? For the binding and the gilt? Notatall. Forthe “intrinsic worth” of books, mark you, owing “ to the advice and the experience of men of our craft”! This is indeed wonderful. It is the first time in the history of literature that publishers have set up a claim to be the advisers in the creation of literature. I dare say it will not be the last. Who wrote Tennyson’s Poems? Did you not know? Messrs. Macmillan, of course. And Swinburne’s? His publishers. The allusion to this Society as a “small class of quasi-authors” is also a new departure—for Albemarle-street. One did not expect it from that quarter. The list of our Council which adorns the frontispiece of The Author gives a longish list of the “ guast-authors.” As for the “sweeping charges” and the assumption that all publishers are dishonest— where are they ? What does the following passage mean? It is taken out of certain notes published every month for some years—in fact, until May,  THE AUTHOR. 4) inclusive, of the present year, when it was taken out, having done its work : “The Society is acquainted with the methods and—in the case of fraudulent houses—the tricks of every publishing firm in the country.” Will Mr. Murray be good enough to say how the Committee could more clearly and distinctly distinguish between the sheep and the goats? Or is he prepared to maintain that there is no such thing as a dishonest publisher? And is he prepared to assert that all the cases adduced in the Society’s publication, cases furnished by the Secretary, cases which have gone before the Committee, are inventions? If so, he will take even a bolder line, if not one so original, as the proposition that literature owes its “ intrinsic worth to the advice and the experience’”’ of the publisher. Tn turning over the pages of The Author, I have come across passages by the dogen in which the distinction is expressly drawn between honourable houses and the reverse. But the “reverse’’ are not always the smaller houses. As for the display of a “ curious ignorance ” of a publisher’s work, since the Society has ascer- tained and published for the information of those concerned all the details of the publisher’s trade, including most of the tricks of those who play tricks, the only ignorance left is that curious ignorance about the origin of the “ intrinsic worth” of literature. On that point the Society is still most curiously ignorant. After the dinner, when tongues may be allowed a little more licence, Mr. Murray became waggish. “He knew that there was a small society which vowed vengeance against all publishers.’ And he humorously suggested the danger of their being blown up by a new Gunpowder Plot hatched by the small society. Now, let us ask seriously why does Mr. Murray object to the protection of literary property in the interests of those who create it and to whom it belongs until they part with it? Why does he object to the exposure of tricks when tricks are discovered Why does he allege ‘“ sweeping charges” ? What, in a word, is the secret of his hostility ? Is it not, one may a!so ask, a very remarkable thing, and a thing not known in any other pro- fession or in any other trade, that an association for the protection of one of two parties to a busi- ness transaction should be continually attacked by the other party concerned ? _As regards the papers read, Mr. Bell’s paper on Titles was practical. He proposed the creation of copyright in titles by a system of registration. The subject of “ overs” was interesting in one way. Two years ago I stated that the “overs” probably provided a good many of the books wanted for review: this was flatly and vehe- mently denied. Only ignorance, it was said, cou'd have prompted such a suggestion. Well, but I knew what I was saying. And it is now admitted that in every 500 sheets there are sixteen “ overs,” but that, by imperfections in the other copies, these may dwindle down to what makes just 2 per cent. It follows, therefore, that with an edition of 3000 copies there would be sixty “overs.” This provides amply for review copies. I was therefore right, after all. It was also asserted that the ‘overs’ are regarded by the author as a margin for soiled books: also asa margin for bad debts. I beg to state that not one author in a thousand knows that there are such things as “overs,” and that this story about the margin is rubbish. Now consider the case of a book which has a great run, say, of 10,000 copies. There are 200 “overs.” If it is a six-shilling book at a royalty of 20 per cent., this represents a trifle of £12. I would advise authors to look after their “ overs.” On cheap literature the Congress declined to commit themselves to any resolution whatever. On the agreements between author and pub- lisher a list of clauses was submitted. On this list one need only add that the Secretary of our Society would have a great deal to say. Mr. Murray, however, added a few remarks of his own: “They started to work more than two years ago to draw up a form of agreement between authors and publishers which should cover the difficulties. They drew up drafts to cover every case, and they took the opinion of a very eminent lawyer, who said it was a perfectly fair and just form of agreement. It was their desire that the Authors’ Society—not a society representing all the authors in England by any means, but a society which occupied itself in the author's interest—should have the draft submitted to them and that there should be a conference to talk it over so that they could come to some common agreement, but the Authors’ Society took a different view of the matter. They had, he believed, attacked these forms of agreement in very severe language, and there lay a difficulty. If they were to be faced with that sort of treat- ment it would be very difficult for lawyers alone to draw up anything very satisfactory. There must be a bargain before the agreement, for the agreement was not the bargain. They had toa certain extent come to a deadlock there because they treated the agreement as a bargain made in favour of the publisher. The whole thing was a complete misunderstanding, and they all regretted. that, because their great desire was to come to favourable terms with the authors.” 42 THE AUTHOR. He did not explain that nothing was said about previous “bargains”; that the draft agreements claimed for the publisher the right—the absolute right—to charge blank percentages on gross receipts. for his own office expenses, allowing no office expenses at all for author or bookseller ; that no kind of safeguard was proposed against over- charging: that on commission books the agree- ments demanded a blank percentage on every single item, in addition to a commission on sales and discounts: that not a word was said against charging for advertisements which have cost nothing : not a word on the right of audit: nota word on the possibility of dishonesty—the pub- lisher alone among mankind being assumed incap- able of dishonesty : and that they actually claimed rights dramatic, American, colonial, and those of translation. It was a great pity that he did not explain these little facts, because, had he done so, his audience would have understood the action of the Society—this small Society of guasi-authors —which will never allow those draft agreements to become the rule, and which has so far effectively prevented their adoption even by the committee which proposed them. He did not explain, either, why if these draft agreements referred to previous “ bargains” he had not withdrawn his name from them and disavowed them. There was a long discussion about Canadian copyright, in which Mr. Daldy appears to have ignored absolutely the action of the Society of Authors, both in Canada and in Lord Monks- well's Bill, and with the Government at home. Mr. Edward Marston deplored the grievance of giving five copies to the National Libraries: he found this mare’s nest some time ago, and wrote a letter to one of the papers in which he estimated the loss by this tax to amount from the year 1837 to the present day to £375,000. This seems terrible indeed. Divided by sixty it, means £6250 a year. There are about 400 publishers in the Directory: or about 100 who may be seriously considered. It means, therefore, £62 10s. a year for every one. This must be acknowledged to be a very heavy tax. But let us look into the conditions. The theory supposes that these books would all have been sold. Would they ? Very few books sell out the whole edition and are then finished: the demand ceases before, or continues after, the first edition: it ceases before the exhaustion of the second or other future edition and after the appearance of the first edition. There is therefore no loss at all, with the exception of those very, very few books where the demand proves exactly equal to the first edition, or is so small when that is done that itis not worth while to bring out a new edition. We may also except a very few limited editions of illustrated books. On the whole, therefore, the tax is no tax at all. In every case where there are remainders after the demand ceases, whether in the first or the fiftieth edition, there is no loss except of the few pence which the five copies would fetch as remainders. There is one great lesson which the congress of publishers ought to teach us, namely :— It is useless to expect that any heed will be paid to the true evils of the publishing trade. These are (1) the absence of any safeguard against dishonesty: (2) the determination to regard literary property as their own to administer as they please: (3) their resentment of any action on the part of the creators of literary property to defend their own interests: (4) their manifest intention not to take one single step towards the abolition of secret profits. This lesson was proclaimed aloud in every speech and in every paper: not one publisher rose to demand safeguards against dishonesty : not one spoke against secret profits. The lesson should be answered by those authors who are independent, by taking more and more the management of their affairs into their own hands, especially in the matter of advertising: and, if they are wise, by changing a partner or a fellow venturer who wants to be considered both an agent and a partner into a commission agent (see p. 49). > — THE SIXPENNY BOOK. Er N | R. HALL CAINE, in an address delivered before the Newsagents’ and Booksellers’ Union, spoke at length on the sixpenny book and in favour of it. I should be sorry to misrepresent any of Mr. Caine’s arguments, Lut the address was too long for reproduction. The line he seems to take is this: (1) There has been a radical change in the methods of distribution. For the cheaper books are sold chiefly by the newsvendors. If this is the case it is a change of the greatest importance. (2) The sixpenny book need not displace the dearer book any more than a cheap restaurant ruins the dearer restaurant. No— but—but— reading is not dining. However he offered as a proof the fact that with a cheap edition of his last novel his American publisher sold another at a dollar and a half: of the former 100,000 copies: of the latter, 14,000. (3) He does not believe that the cheap book will ruin the country bookseller, but if it does there is the newsvendor to fall back upon. Alas!  Giie. AUTHOR. The newsvendor will not replace the bookseller. Under any changes of condition, we must still have the bookseller if our books are to be exhibited for sale. (4) He says that figures have been put forth which show that the author, with the sixpenny book, will see very little. He puts forward figures of his own. I hear that there has been sneering about these figures. Yet upon them depends the whole future of Literary Property. Thus :— Cost of production in quantities, twopence: price paid by bookseller he calls “nearly four- pence.” My own information sets it at 3{d.: book sold by bookseller at 43d. or at 6d.: at the lower price by the London booksellers. He goes on to say that there is twopence to divide between author and bookseller. I make it 1jd. Now, I am informed on the best authority that the royalty offered to the author is either 3d. or {d. That is, Tam told, the general rule. Mr. Caine, when he is offered 14d., is an exception. Now, ona royalty of 2d., the sale of 100,000 copies will bring: the author the sum of £250: of $d., £312 10s.: on a royalty of 14d., the sum of £625. Will a first- rate novelist think it worth his while to write a long novel for £250, or even for £625? Perhaps, however, Mr. Caine would bring it out in two forms simultaneously. It would be an interesting experiment. : (5) Mr. Hall Caine’s remarks on the fact that the best books, not the most trumpery books, are eagerly bought at 6d. are convincing. I have myself always maintained that the taste of the public is on the whole good and true: they may run after an unworthy book for a time, but they go back to their favourite authors. I have tried to present in brief the considera- tions which Mr. Hall Caine urged in favour of the sixpenny book. I am not prepared to dispute that if the news- vendors are to become vendors of the sixpenny book, the case is materially altered. I will endeavour to get information on this point. Meantime, I would ask, if the bookseller is to disappear, what will take his place? That his existence is threatened is quite clear, An attempt has been made to deprive him of the Englishman’s right of selling his own property as he pleases. The publishers offer him no advan- tages except a little larger margin in very high- priced books. He himself complains that every- ‘body wants to get books at 6d. Let us return to what was said last month. It is an experiment. How will it succeed? We shall learn before the end of the year. W. B. 43 TI.—Nores on THE ABOVE. 1. On my way home from the meeting a news- vendor told me he had sold 600 copies of one of the sixpenny novels, and anotner newsvendor said he had sold 6000 sixpenny volumes during the autumn of last year. 2. My statement that the cheap book does not injure the dear one will be supported by Chatto and Windus in England, and by Appleton and Son and Dodd, Mead, and Co. in America. I am told by Mr. Heinemann that Macmillan and Co. take the same view. 3. If the sixpenny novel is sold chiefly by the newsagents, the bookseller, so far as the cheap book goes, is already replaced. 4. I say that the sixpenny book in- editions of 100 does not cost so much as 2d., and that in larger editions it could be produced at tid. Also that 13d. is a practical author's royalty, and calculations should therefore be based on that figure. Further, that the most popular sixpenny novel has sold 250,000, and the next most popular nearly 2 . Finally, that these were sales of books from fifteen to thirty years old, and that a popular novelist publishing at 6d. from the outset might achieve a sale of half-a-million, and still leave 10,00¢ readers who would rather buy his book at 6s. But I uphold the cheap book, not necessarily the sivpenny book. That price is, as you say, an experiment, and the practical price for a new novel will reveal itself by-and-bye. Meantime, for reasons you do not quote, I claim for the sixpenny book, first, that it is enlarging the number of readers; second, that it is elevating the taste in fiction; third, that it is purifying the morality of literature ; fourth, that it is making for the peace and general good ot the world. Therefore, if the sixpenny book should die the shilling, two-shilling, or half-crown book which may follow will have a better chance to live. H.-C. es PARIS NOTES. 5, Rue Chomel, Paris. ge N grand homme vient de nous quitter.” Thus wrote one of his contemporaries in announcing the death of M. Fran- cisque Sarcey. The news created a profound sensation, for though Sarcey aimed at nothing higher than honestly meriting the titles of “critique national” and “ prince du bons sens”’ that the Parisians had long since bestowed on him—in the paternal attitude he adopted towards the public; in his shrewd appreciation of the varying minds of men; in his sturdy champion- 44 ship of the oppressed ; in his unwearied effort and immense success in making the loyalty and purity of his endeavour manifest to the world at large ; in his generous outstretching of the right hand of fellowship to his less gifted or less fortu- nate comrades; in his magnanimous acceptance of the burden imposed on him by the recognition of the universal brotherhood of humanity—he offered an example to all literary leaders. His sterling qualities were fully appreciated by his most eminent contemporaries. ‘The day was long; the task was hard; the work is good,” was M. le Senne’s emphatic verdict. ‘He had only one anibition, and it was satisfied—to bear high aloft, so that it might burn the more brightly, the lamp spoken of by Lucretius which the runners in life’s race pass from hand to hand in order that, regardless of time and space, it may guide mankind towards humanity and towards the beautiful,” said M. de Leygues, in concluding his funeral oration. “If you wish to judge a man justly in these days of implacable party polemics, pay no attention to newspapers, but walk behind his coffin and listen to what the crowd, the immense crowd, says of him,” said M. Jules Claretie, representative of the Republican journa- lists at Sarcey’s funeral. “To-day it says, ‘This was a good man, a man of talent, an honest man, a man with no false pride or rancour, a charitable man, a helpful comrade, a popular writer, a master, a glory, a great figure which has disappeared !’” Francisque Sarcey was born at Dourdan on Oct. 8, 1828. He early showed an immense aptitude for study, obtaining several of the “Concours général” prizes at the lycée Charle- magne, and being received with Taine and About in 1848 at the Ecole normale. From 1851 to 1858 he was successively master of the fourth and third classes of rhetoric and philosophy in the colleges of Chaumont, Rodez, Lesneven, and Grenoble. Several anonymous articles censured by the authorities were traced to his pen, and he was forced to throw up his post; whereupon he came to Paris and published a series of critical contemporary studies in the /garo under the pseudonym of Satané Binet. In 1859 he under- took the theatrical column in the Opinion Nationale, and in 1867 began his well- known connection with the Temps, which only ended with his death. In 1871 he became a contributor to the X/Xe. Siécle—edited by his friend Edmond About—where he made himself notorious by the ardour of his convictions and soundness of his views. His fame as a lecturer is too well known to require comment. M. Lintilliac, in his recently published “ Conférences dramatiques,” has drawn a graphic portrait of THE AUTHOR. “Le bon Oncle,’ with his Socratic face and satyr-like form on the lecturer’s platform —a rude, awkward figure, forsooth, but one eagerly awaited and welcomed by the most fastidious audience in the world. His industry was pro- digious, and itis calculated that, in addition to his famous dramatic criticisms and productions in book form, he has written enough matter on heterogeneous subjects to fill two or three hundred volumes. Of his imperturbable good nature the following anecdote may, perhaps, convey some slight idea :— The “bon Oncle” having temporarily incurred the displeasure of the students of the Latin Quarter, it was decided in conclave to caricature him at the coming Carnival. In order to make the likeness more apparent, an emissary was employed to steal surreptitiously an old coat which, having been long worn by the critic, would naturally fall into the inimitably awkward folds characteristic of Sarcey’s most favoured garments. Despairing of otherwise accomplish- ing her mission, the emissary forthwith took Sarcey into her confidence, avowing that —know- ing his character—she considered this the best and surest way of succeeding in her mission. “You are quite right,” responded Sarcey, “ Here is the wardrobe where all my coats are kept; choose. Will you have a hat into the bargain ?” “T do not think a hat is required,” was the reply, “for they intend to represent you with an enormous head ; but I will take one on chance.” It is the critic himself who tells the story, relating with infinite humour how wne forte grippe had prevented him from personally judging of the success of the caricature. Space will not permit us to give a detailed appreciation of Sarcey’s work. He was, un- doubtedly, one of the representative men of the realistic epoch, and he has left a name which will never be forgotten in the annals of dramatic criticisms. He died a comparatively poor man in his small hotel, 59, rue Douai, surrounded by his family. _ His coffin was provisionally deposited at Montmartre, his body being shortly afterwards disinterred and cremated at the Ptre-la-Chaise crematory, in accordance with a wish he had formerly expressed. Only the family were pre- sent at the latter ceremony ; but an immense crowd followed the funeral procession to Mont- martre, the cordons of the funeral canopy being respectively held by MM. Georges Leygues, Gréard, Jules Claretie, Roujon, Camille Le Senne, Jules Lemaitre, Larroumet, and Adrien Hébrard. The death of the famous Henry Becque made but a passing impression in literary and dramatic circles. In the course of his long life, the unfor- tunate dramatist had produced but a single  THE AUTHOR. masterpiece, viz.,a play entitled “La Parisienne,” whose extraordinarily brilliant and well-merited success placed his name in the front rank of dramatic authors. ‘Les Corbeaux” (acted at the Comédie Francaise in 1882) is the only other work bearing his signature which merits notice. Becque died in extreme poverty, leaving still unfinished a play entitled ‘‘ Les Polichinelles,”’ on which he had been occupied for the last ten years. Impecuniosity was his chronic malady, dating from the student days in which he fought his famous duel with Poupart Davyl, where — owing to the poverty of the combatants—only one pistol could be hired, of which each duellist made use in turn, the order being decided by lot! How a man who had acquired such brilliant notoriety, and who at every “ first night” expended enough anecdotal wit in theatrical corridors and green-rooms to have filled several columns, could have remained so long in such a destitute con- dition was an enigma to his friends, among whom may be mentioned MM. Octave Mirabeau, Edmond Rostand, and Lucien Muhlfeld. The two latter carefully gathered together the unfinished manu- script of “Les Polichinelles,’ and deposited it with the Society of Authors, who, likewise, under- took the charge of all arrangements connected with poor Becque’s funeral, He was interred at Pére-la-Chaise. M. Quentin Bauchart, municipal councillor of the Champs-Elysées, better known under his literary pseudonym of Jean Berleux, is at present reported to be engaged in writing a historical novel in dialogue, entitled “ Fils d’Empereur,” in which the ill-fated Prince Imperial plays the hero’s réle. He has also begun a history of the Champs-Elysées. M. Berleux is a member of the Société des Gens de Lettres and also of the Cercle de la Critique, in addition to having con- tributed the “ Vie Théatrale”’ to the Revue de la France Moderne for upwards of ten years. To M. Jules Huret belongs the honour of having written the first complete biography ever given the public of the illustrious queen of trage- diennes, Mme. Sarah Bernhardt (chez Juven). It opens with a preface in letter form by M. Edmond Rostand, in which the celebrated author of “Cyrano de Bergerac” thus concludes a graphic sketch of his own acquaintance with the divine reine de Vattitude: ‘‘And this, my friend, is what appears to me more extraordinary than all—this is the Sarah that I have known! Ihave not known the other, the lady with the coffins and alligators. I have known no other Sarah than this one—the Sarah who works; and she is the greatest.” [An English translation of this book has just been published by Messrs. Chapman and Hall—LBp. | 45 The two young Russian writers, MM. Alfons. Dyktor and Jack Iskowich, can certainly boast energy and perseverance if they can boast nothing else. They have just arrived at Paris, after having made the tour of the world, sans un sou pendant trois ans, in order to study for them- selves the miseries of life, and thus render more inte- resting the new work on which they are engaged. It will be published here next September under the appropriate title of “Les Deux Vagabonds.” If all young men bitten by the literary tarantula were submitted to the same test, we wonder how many per cent. would voluntarily undergo such an ordeal ? “ Hildesheim” (chez Lesnerre), four little pastiches written in French by the Honourable Maurice Baring, secretary to the English Embassy at Paris, has received the approval of the French critics, who predict a brilliant literary career to its author. We regret not to have yet seen a copy of this little volume, which is reported to be sparkling with wit and finesse. M. Georges Ohnet is now occupied in writing a play which will shortly be staged. His new novel “ Au fond du gouffre”’ (chez Ollendorf) is already on the highway to score the same remark- able numerical success enjoyed by most of its. predecessors. The epithet ‘“‘litérature de con- cierge,” so perseveringly applied to all this writer's productions by the disciples of the “école psychologique,” does not in the least affect his popularity with the crowd, for he knows how to interest the multitude. Although he spends so much of his time shut up in his study at Abymes, all Paris knows the active, energetic little man with the keen, bright eyes, and inex- haustible fund of humour and repartee. M. Emile Zola is a member of the committee of the Société des Gens de Lettres. This society possesses a capital of three millions, and intrusts. to its committee the disposal of an income of 300,000 francs. The first Monday after his return from bis eleven months’ exile in England, M. Emile Zola took his seat, as usual, in the delegates’ bureau, and —among other trans- actions—voted that the aid requested by M. Edouard Drumont (the celebrated anti-semite) in a literary law suit should be granted. A salutary example of tolerance, and ove that M. Drumont would do well to imitate. M. Emile Pouvillon is now installed at Mont- auban, busily engaged on a new novel which is expected to occasion some stir in ecclesiastical circles. His idea is to give a faithful portrait of the contemporary French clergy, not of the naif old country priest of byegone days, but of the complex, modern ecclesiastic, whose mind is perhaps deformed—but, in any case, transformed. 40 —by the influence of modern fiction and the social milieu in which he lives. M. Pouvillon’s prose style is elegant, impressive, and convincing ; two of his novels, ‘‘ Les Antibel” and the “ Roi de Rome,”. have recently been successfully drama- tised, and the discussions of the critics on that ‘occasion brought his name prominently before the lettered Parisian public, who are eagerly awaiting his next publication. M. Paul Burani is a writer of quite a different genre, and his circle of readers is as diverse as his talent—yesterday the popular songster and vaudevillist of the boulevards, he is to-day known as the author of a sensational novel entitled “Mon Oncle la Vertu,” whizh is vastly popular among a certain class of readers. As regards appearance, this prolific producer of illiterate literature has the air of a bon garcon gras et rond, with frank countenance and placid aspect; indeed, few of those who to-day curiously regard the popular rhymester would ceive him credit for the immense application and capacity for hard work which are among his most prominent characteristics. “Versailles et les deux Trianons” is the title of M. Philippe Gille’s new work which the Maison Marne is publishing in numbers, and it forms a worthy monument of the historical science, research, and erudition of its author. The latter is well known in the Parisian world of letters, and enjoys the reputation of being one of the most conscientious and impartial critics of the day, in addition to being the author of a discreet volume of poems, and of having signed “Les Trente Millions de Gladiator ” with Labiche, “Manon” with Meilhac, and ‘“ Lakmé ” with Gondinet. He likewise boasts the honour of being the intimate friend of M. Victorien Sardou, with whom he collaborated in “Les Prés-Saint-Gervais.” The two friends are equally consummate authorities on French art under Louis XIV., XV., and XVI., and they may frequently be seen pacing together the stately avenues and grounds of the park of Versailles, engaged in discussing their favourite topic. M. Philippé Gille’s present publication forms a pendant to the two works on the palace and park of Versailles which he has already given the public. Among notable publications of the month, to which space will not permit us to give a detailed notice, may be mentioned: “ Louis XVIII. et le Duc Decazes,’”’ a most interesting work by M. Ernest Daudet, largely drawn from the private documents existing in the archives of the Chiteau de la Grave ; “ Diderot et Catherine II.” (chez Calmann Levy), by M. Maurice Tourneux, a work containing the precious manuscript notes THE AUTHOR. left in the Russian Empress’s keeping by the great French philosopher previous to his quitting that country; ‘“ La Vie 4 Paris,” by M. Jules Claretie (chez Charpentier), a spirited account of the principal events and personages of the year 1898; “La Campagne de Minorque,” by M. Raoul de Cisternes (chez Calmann Levy), m which, among numerous other letters, may be found one containing a graphic narrative of the death of the unfortunate Admiral Byng; “ Nouvelles études d’Histoire et de Critiques dramatiques,” by M. Gustave Larroumet (chez Hachette) ; ‘Lettres 4 ’Etrangére,” containing the correspondence of Balzac and Madame Hanska from 1833 to 1842; ‘‘ Lettres inédites de Michelet 4 Mlle. Mialaret,’”’ containing the letters written by the great historian to the young gul whom he afterwards married; and “ Abrégé de Chiromancie et de Chirognomonie appliqu¢e,” by Marthe Desbarolles, pupil and adopted daughter of the Cagliostro of the present century. The activity in the fiction department obliges us merely to cite the titles of the recent novels produced by well-known authors: “Les Demi- Solde,” by Georges d’Esparbes (chez E. Flam- marion); “Reflets sur la sombre route” (chez Calmann Levy), by Pierre Loti; “Jardin des Supplices,” by Octave Mirbeau; “Villa Tran- quille,” by André Theurick ; “ Leur égale,” by M. Camille Pert (chez Simonis Empis) ; ‘La Mon- tagne @’or,” by Jean Rameau (chez Ollendorf) ; “T/Aiguille dor,’ by J. H. Rosny (chez A. Colin); “L’Otage,” by Charles Foley; ‘‘ Mar- cheurs et Marcheuses,” by Richard O’ Monroy ; and last—but by no means least—the long- expected “Femmes Nouvelles” of Paul and Victor Margueritte. Darracorre Scort. ec NOTES AND NEWS. HE following illustration of the way in 7 which secret profits are provided for may be useful. A. B., for the author, applied to C. D., the publisher, for an estimate concern- ing the publication of a book on commission. The terms were these : 1. The author to bear the charges for the pro- duction of the book and the incidental expenses. 2. The publisher to take 15 per cent., appa- rently, of all moneys received. The words “ bear the charges ’’ would be under- stood by anyone not versed in the httle ways and manners of some publishers to mean the actual cost incurred. They might be defended, whatever charges were made, as covering, and intended to cover, any  THE charge the publishers might choose to inake, They would thus cover any secret profits that they chose to make. This point will probably be raised before long in acriminal court. They then sent in an estimate. Observe, however, the wording of the letter. It was to the effect that there was delay in getting “an” estimate from the printer, which caused delay in getting ready “our” (the publisher’s estimate). The use of the pronoun and the article is significant. It seems to point to secret profits. The estimate forwarded, when compared with those in the hands of the Society, showed as follows : The Publisher : the Society :: or The Society : the Publisher :: 100 : 155. This, then, is the true meaning of the profits and percentages which, according to the pub- lishers’ draft agreements, they have the “ equit- able” right to claim, the amount left blank to suit the taste and fancy of each individual. What, then, would be the meaning of a 15 per cent. royalty with this book? Without giving all the figures, it means that on a sale of 1000 copies the author would lose about £25 and the publisher would gain about eo5. the author had simply paid the true cost of pro- duction, the author by the same figures would have cleared about £40. TOO ; 03. At the conference of publishers the chairman, on whose utterances we have spoken in another column, complained of “ over production.” He spoke of it as if it were an outside thing, an act of hostility to the trade committed by persons who have nothing to do with it. I am only sur- prised that he did not charge the writers them- selves with this wickedness. Now if there is any- thing in the world more certain than another it is the fact that the over-producers are publishers themselves. The next certain thing is, that so long as there are great prizes to he obtained by bringing out books: so long as the public taste is an uncertain quality which may “ boom” this or that book: so long as there are large literary properties to be created by those who success- fully appeal to the public, so long will the over production of books continue. In fact, the whole trade of publishing is under- going revolution, and this Mr. Murray and his friends do not understand. It is no longer a little hole-and-corner business, in which the pub- lisher treats the author as a patron treats his client: gives him what he pleases and keeps the AUTHOR. 47 profits dark ; it is a trade which is rapidly becoming, like everything else, open to competi- tion, in which the creator of a property puts him- self into the hands of business men who deal with publishers in the way of business men: in which the methods have been exposed and are now well known. It is forthe old-fashioned pub- lisher to recognise these facts or not, as he pleases: if he refuses to do so he will get ‘left.’ He may have, if he likes, the support of all the writers whose name spells loss: he will not, unless he recognises existing facts, have the sup- port of those whose name means money. In the Anglo Savon of June 16, I find an accusation against the literary profession of a kind which is to me at least perfectly new, to the effect that there are certain persons of standing in journalism and literature who do not scruple to maintain hacks to do their own work. Do they really exist—these persons of eminence? Ave there really men of letters who have to find an ignoble livelihood by writing articles which they know will be signed by other men? Tonce introduced into a novel a man who exhibited pictures as his own which were done for him; but I thought that I had invented and imagined the case—made it up out of my own head. I have never come across a journalist, or even heard. of one, who sent in articles as his own which were written for him. As for books, I have certainly known cases in which a name appeared on the title page of a work written by another hand. One such case was brought before me the other day. Perhaps I may get permission to publish the names. The real author of the book—which was successful—was a lady: the supposed author was—a man: the publisher was the creator and deviser of the—call it what you please: he paid the author, whose necessities obliged her to accept whatever was offered. It is a curious story, and one which is perhaps not uncommon. But that a well-known writer of articles, essays, and reviews, a man with a reputation to defend, should keep in his employment other men who do the work for which he is paid is to me a new thing in litera- ture, and one that ought to be exposed, First however, we have to be convinced that the charge is based on trustworthy evidence. ‘Till that is done, let us regard it as a mere rumour. And let us remember that the perils of the situatzon— for a hack may turn aswell as a worm—are many and obvious. There are men living and working at this moment on the Press who undertake the execution of quantities of worle not ona half of which they could accomplish in the allotted time. How, then, is it managed? In the simplest way possible. The master minds employ “understudies,”’ who 48 have acquired their style and method—not generally a very superhuman task. There are lots of young men who make a decent living by writing articles which owners and editors believe to be the essays of the eminent persons whom they engage and pay. As a matter of fact, these lucnbrations are very often the work of underpaid hacks. Regarded calmly, the system must be described as fraudulent. You are an editor. You are anxious to engage the services of the celebrated Mr. Smith. You pay him five guineas for an article. It is a gross swindle, I insist, if he supplies you, instead of his own work, with an article for which he pays twenty shillings to young Mr. Jones. The injustice affects three persons. It affects the owner of the paper, who pays for an article which he does not obtain. It affects the reader, who is not obtaining the matter which has been intended for him. And it affects the hack, who receives an utterly inadequate honorarium for his services. Shall Iadd that it affects a fourth person, and that it must lower, even in his own esteem, the eminent person whose sorry traffic <annot be otherwise described than as that of obtaining money under false pretences. The handwriting test does not avail the editor in the detection of this fraud, for the eminent person and his subordinates are expert in the use of the typewriter. There has been a continuation in the pages of the Glasgow Herald to the calumnies of the provider of literary gossip. This person has replied that he did not intend to charge the Society, or myself personally, with a deliberate falsehood. What did he do it for, then? He now says that “authors have paraded their troubles with the publishers in such a way as to produce the impression that all publishers devote themselves to over-reaching authors.” ~« Produce the impression’’? I do not believe it. Moreover, I should like to know in what papers or magazines any member of this Society has “paraded his troubles,” except in self-defence. I can honestly say that I have myself answered hundreds of attacks: that I have never ‘“‘ paraded ” anything or appealed to the public except in answer to charges deliberately advanced and deliberately false. I would say more. I am quite sure that there has never been any association of men and women for any purpose which has been so frequently and so violently abused and mis- represented: and certainly none which has so flourished and advanced in the face of this oppo- sition. Once more I welcome our old friend, Mr. Alfred Nutt, again. It will be remembered how Mr. Nutt was asked last year a very simple question, merely for the reference to a passage which he “quoted” from The Author, and for further reference to the repetition of that passage, which, he stated, had been made without alteration in The Author. It will be remembered also how he tried to evade the plain question: how he wrote rigmarole: how he put off answering: how the Committee called upon him to produce that simple reference: and THE AUTHOR. how he finally refused to answer. Nobody has ever been able to find that passage. This is ancient history: it was exposed in these columns last year, It 1s, however, well to remind ourselves of this story, especially when he begins again—now in the Chicago Dial. Again he speaks of “ vague and reckless’ statements. This time, however, he takes very good care not to quote one of them. Instead of this, he takes a passage from an article in the Dial, which says, guardedly, that “if” a sale of a thousand copies of a book is certain there will be no risk—a statement perfectly simple and true. He actually pretends to assume this to mean that such a sale is certain for every book. He then proceeds, with tears in his typewriter, to point out the injustice of this statement. Such and such books, he says, “ have been published solely at my risk, without any help or subsidy whatever.’ Poor man! He should, however, remember that he is not obliged to do so. We can hardly sympathise with anyone who deliberately incurs certain loss: or ask, on the other hand, why he does it and what he expects to get by it. Perhaps it was done out of sheer love for literature. Perhaps from other motives. He is good enough to refer to me often, and with the appearance of temper. He complains that I consider only one kind of book—which is not true. The six-shilling book is a convenient unit, and it includes many kinds of book. Moreover, I would submit for Mr. Nutt’s consideration the plain fact that printers do not really charge more for printing scholarly books than for printing novels. They really do not. If Mr. Nutt’s printers have tried to do so, let me recommend him to find some other firm which does not. — He seems also horribly afraid that the ‘ Method of the Future” should be generally adopted: he is apparently ignorant that it has already been taken up : he says that it is impossible for ency- clopedias, which nobody denies. Yet the argu- ment that because it is impossible, at present, for collective books, it is also impossible for indi- vidual books, is hardly logical. He says that publishing requires “‘ more capital than any other business.” Really? Is that so? More capital than any other business? How much capital did A. have, that eminent practitioner, when he set up in business? How much has that young gentleman whose name we saw for the first’ time six months ago, and now see with a list a column inlength? To put it mildly, I find Mr. Nutt’s views on necessary capital hardly credible when I consider some other kinds of business. I know of a printer, for instance, who pays £2000 a week in wages. How much capital would his machinery  THE alone require ? However, I should like to meet Mr. Nutt half-way. I can assure him that, s> far, he has not done the Society the least harm, even with the kindest intentions of doing it as much harm as he can. I will willingly make a com- promise with him. When he has given me the reference to those “ quotations” which he made a year and a half ago, I will propose that he shall go on publishing, for the admiration of the whole world, all the books which are certain to lose, while the authors whose productions do not mean loss, the creators of literary property, shall publish for themselves and take care of their own pro- perty, without troubling Mr. Nutt at all. In this way he will go on losing as much as he pleases. This will make him completely happy. And the author will have his property to himself. So everybody will be happy. One more word with Mr. Nutt. He talks about “the glib statement that there is no risk in publishing.” Where is that statement made ? Who made it? Is it in The Author? I quote below the passage on “ Risk” from “The Pen and The Book.” Water BESANT. Does THE MEANING OF RISK. (From ‘“ The Pen and the Book.’’) . HE question of ‘risk’ is one which requires careful consideration, because so much ignorant nonsense is talked about it, and so many misleading statements are constantly advanced on the subject. What, therefore, does risk mean practically ? “(.) The production of great works, such as encyclopedias, dictionaries, maps. illustrated art books, may undoubtedly entail the investment of large sums; waiting for the repayment perhaps for many years; and perhaps losing in the long run. Let us, however, separate these works, which are only undertaken by two or three pub- lishers: and let us confine our inquiry to general literature. Gi.) The production of general literature stands on quite a different footing, as the follow- ing considerations will show— ““(a) There are many hundreds of writers, engaged upon every branch of intellectual work, whose works entail no risk whatever. In other words, the experienced publisher knows with these writers how large an edition he can safely order without any loss to himself. This kind of experi- ence was happily illustrated by an account shown to me recently. The author was a well-known writer. The publisher knew beforehand so well AUTHOR. 49 what he would sell that he printed one edition which sold out all but twenty copies or so. Once more, remember that there are hundreds of writers of whom this may be said, and that they are all known by publishers in their respective branches. ‘““(b) There is another large class of writers of whom it is safe to conclude that their books will at least pay expenses with some margin. ““(c) There is a practice of ‘subscribing’ a book; that is, offering it to the booksellers of London before it is even printed. The publisher thus gains some idea of the number on which he may venture. Thus, if he arrives at a subscrip- tion of 200 copies of such a book among the London booksellers, he may expect as many from the country trade, and so he goes to press with a risk either greatly diminished or wiped out. “(d) But publishers reduce the risk a great deal more in various ways. “They bind no more than are wanted. ‘They do not advertise more than is absolutely necessary; they feel their way. Thus, with a great many books, whose sale is certain to be small, £5 or so covers the advertising bill. They do not mould a book which is not likely to want a second edition. Thus they save £10 or so. ““(e) But the real way of regarding the actual risk incurred is this. Publishers do not pay the printer and others for a certain time, three to six months. Before that time they have received their returns of the first subscription of the book. The risk therefore is not, as is generally believed, the cost of production ; it is the difference, if any, between the first subscription and the cost of pro- duction. “For instance, the cost of production being £100, and the returns of the first subscription £95, the risk isjust £5. Andas I have said, pub- lishers know pretty well at the outset what the first subscription will be. These considerations are sufficient to show what risk really means in the production of current general literature, not in great undertakings: it is the difference between the cost of production and the first returns.” ae THE METHOD OF THE FUTURE. HIS method is explained in ‘“‘ The Pen and Ty the Book.” I always advocate as the best method of those in practice, the sale of a book outright—provided the proper value can be arrived at and obtained. A still better method is the following: “The author will dissever himself altogether from the publisher, and will connect himself directly with the bookse'ler and the libraries. 50 He will appoint an agent or distributor, to whom he will pay a commission. He will take upon himself the printing and production and adver- tising. He will himself incur the risk, if any, of a loss on the first run of the book.” : “One thing only is necessary, an agent who will work the books honestly and with zeal, and will not publish in any other manner than for the author.” I will illustrate the method by giving results. The figures are quite simple. I assume a six- shilling book, type small pica, 320pp., quite plainly bound, paper good but not, of course, expensive. I assume a fairly good sale of an edition of 3000 copies, the “overs” giving the review copies. (See p. 41.) The cost of production may be set down at £150. The sales, less an allowance for bad debts, soiled copies, and other causes, amount to £500. By this method the author pays £150 for the production, £50 to his agent, and realises £300 for himself. Now, how would he fare by other methods ? (1) Haur Prorirs. : Bos do & Ss. a. Cost of production £150, : swollen by advertise- ments not paid for, and by secret percentages ... 200 0 0O Author’s share of profits .. 112 10 0 Publisher’s ditto, nominal 112 10 oO 425. 0 36 By sales £500, less 10 per cent. for office expenses and 5 per cent. for bad debts... ea ees: £425 0 O (2) Royalty OF 10, 15, 20, 25 PER CENT. | By this 10 | 15 | 20 | 25 | Method. _——— | $$ | ———} —___ | —___ —___ Author’s share...... | 90 | 135 | 180 | B25 300 Publisher's share ...| 260) 215|170|}125| 50 These figures speak for themselves. Now, it must not be supposed that this method will give the unsuccessful writer a better chance than he has already. The public is the final judge from whom there is no appeal. It is, however, submitted that the whole problem is solved by this simple method: that a writer of reputation incurs norisk: that he will approach the public quite as well in this way as in any other: and that he will thus have the pleasure of administering his own affairs in his own interest. Dee THE AUTHOR. THE CASUAL CONTRIBUTOR. e ROM time to time a number of letters have K appeared in the correspondence columns of The Author, the writers of which complain bitterly of their treatment at editorial hands, and suggest some ingenious, if not very practicable, schemes by which the editors are to be coerced into amending their ways. Individual cases of hard- ship and of discourteous treatment doubtless there are, but, generally speaking, one’s sympathy with the writers of these letters would be greater did they not betray a most deplorable want of common-sense in their literary affairs and a quite pathetic ignorance of the rules by which, whether he likes them or not, the ordinary editor is bound.» When we find a contributor so incapable bf writing a business letter as gravely: to suggest, ina recent number of this journal, that the Society should provide “ printed forms for sale to its members which shall express in polite and businesslike terms all that is necessary for an unknown writer to say when offering his work”?; when we find another explaining at length that he himself is “one of the most courteous of men,” but, none the less, has had misunderstandings with ‘one of our best-known critics,” ‘another well-known literary man,” “a west-country editor,” and “a literary friend,’’— while yet another makes the brilliant suggestion that all contributors are to combine in a boycott of those editors who prefer to manage their business in their own way—then one does feel that it is just this kind of thing that brings the Society into contempt, and that“possibly a few elementary rules for the guidance of the casual contributor, obvious as they must be to many, to some, at least, may prove of practical assistance. And I who write am myself a casual con- tributor, so that at least I shall speak of the things that Iknow. Although literature is not the main business of my life, I have worked fairly hard at it during the past eight or nine years. During all that time I have lived in the country; personally, I know one only of the many editors for whom I have worked, and his acquaintance I made when I had been a con- tributor to his paper for a year. As I do not propose to sign this article, I shall not be accused of a desire to advertise myself if I state that within the last eight years work of mine— articles, stories, or verses—have appeared in the Nineteenth Century, the National Review, Longman’s, Temple Bar, the Badminton, Punch, the World, the St. James’s Gazette, the Academy, and a number of other periodicals. My only reason for giving this list is to show my readers, so to speak, my credentials for dealing  THE AUTHOR. with this subject. And, lest the fact that I have often succeeded be thought to have deadened my sympathies for the beginner, I may add that I have also seen scores of my MSS. return to me in dishonour, and that at the present time I cannot count with certainty upon any work of mine finding acceptance—except in the case of two journals, as regards which [ am more or less upon the regular “outside” staff. But at least my experience has taught me something, the lessons, namely, which I propose to summarise here, because I believe it to be the simple duty of any writer to do all that he can to assist his literary brethren. So, to put the matter as plainly as possible, F would say— #7 Rule 1. Offer your work to first-class maga- zines and papers only y—The neophyte frequently remarks: ‘ Oh, it would be absurd of me to send my first productions to” —let us say “the Highflier Review. 1 can only hope to work my way up to first-class periodicals by degrees. So for the present I’ll try the Rushlight”—a new, obscure, and impecunious magazine. Now this, my friend, is, from every point of view, a mistake. Supposing the Rushlight accepts your contribu- tion, at best you will be ill-paid, at worst you will not be paid at all. It is quite likely that the Rushlight may finally flicker out of existence between the time when your paper was accepted and the date when youexpected it to appear. In any case there probably will be some difficulty in obtaining your honorarium, so that you will feel compelled to send off another of those letters to The Author, abusing editors wholesale. You will not be an inch further along the road to success, for no one reads the Rushlight, whereas the first thing you must aim at is to make your name familiar to the reading public. And, asa matter of fact, it is quite a fallacy to suppose that your contribution will not stand every bit as good a chance of acceptance with the Highflier. If ‘that periodical won’t have it, offer it to another of the same standing.“ If no first-class magazine will give your MS. a home, burn it or put it aside. But remember, once for all, that if no first-class periodical will print your contribution, it is better—far better—that it should not be printed at all. To traffic with struggling, inferior journals is to sow for yourself a certain crop of disputes, delays, and disappointments. 7 Rule 2. Wher offering your MS., study the rules of the game, as set forth in the editorial notices. Send the stamps, or stamped envelope as you are requested. Have your MS. typed, and send it flat, not rolled into a tight cylinder, which will exhaust the editorial patience in the shortest possible ey Then, as to the accompanying 51 letter, which, as I have mentioned, so perplexes. one member of the Society that he wishes to replace it by a printed form, simply say that you enclose an MS., mention its nature (humorous story, dialogue, or whatever it is) and length (so many words). If you have appeared in the magazine before, remind the editor of the fact. Add that you enclose stamps for the return of the MS., if unsuitable, but that, should it be accepted, you would be glad to have a line to say so. And that is all. In fact, the shorter your note the better will it please the editor. Never seek to explain the merits of your work, still less use the argument ad misericordiam. / Rule 3. Then wait patiently, even if you hear eo nething of your MS. for some time. Note the date upon which it was despatched, but do not follow it up with numerous letters./If you have heard nothing of it by the end, let us say, of two months, it may be well to inquire about it, but again let your note be brief and courteous. “Even if you think your editor has treated you badly, it is the worst possible policy to tell him so. _ The same rule, mutatis mutandis, holds good for the interval between acceptance and publication. Certainly it is most annoying to look for your article in vain, month after month, and some of the leading magazines, especially those of the old-fashioned type, are notorious offenders in this respect, while the fact that they do not pay until the contribution is published aggravates the evil, from the author's standpoint. But to write ferocious letters to the editor is worse than useless ; possibly you may goad him into returning your work, even when it is in type; probably you will effectually deter him from accepting the next contribution you send. As regards payment, I need say nothing. By observing the first rule here suggested, that of sending your work to first-class periodicals only, you will be free from any difficulty about getting your money, while the amounts of your cheques will be at least adequate to the time and trouble: devoted to earning them. There are some further rules and suggestions which I should like to add; perhaps, with the editor’s permission, I may resume the subject in a future number. peace The correspondence of the month must be held over until August.—Eb. 52 THE AUTHOR. BOOK TALK. HE Belfast News Letter says that the Newry a Telegraph, one of the oldest papers im Ulster, has purchased the exclusive serial rights for Ireland of Mr. W. B. Lappin’s novel “Mad Mag.” Later on the novel will be brought out in book form, when something reliably Irish may be looked for. “The Tendency of Religion,” by Colonel R. Elias, late 59th Regiment, is a collection of facts, reflections, and forecasts based upon the great and increasing mixing of the nations, and conse- quent gradual development of mutual under- standing and impartiality among men all the world over, bringing with it the mevitable recog- nition that all the great religious systems are essentially alike, differing only in details. The book has been very widely reviewed and favour- ably received. Miss Ellen T. Masters, the authoress of several practical hand-books on embroidery, and of ‘The Gentlewoman’s Book of Art Needlework” in the Victoria Library, is putting the finishing touches to another small volume on the same subject. This is “The Book of Stitches,’ which is to be uniform with Mrs. Humphry’s well-known ‘“Mamnners” series, and is to be illustrated with between sixty and seventy diagrams prepared by the authoress, showing clearly how some of the fancy stitches that she describes are executed. The publisher is Mr. James Bowden. H.R.H. the Princess of Wales has graciously accepted and acknowledged a copy of “ Rita’s”’ last novel, “ An Old Rogue’s Tragedy.” “Peace, the Angel’s Song,” from the poem of “The Light of the World,” by Sir Edwin Arnold, has been set to music by Blanche Eryl, the nom de plume adopted by Mrs. Alfred Phillips, whose songs have been sung by Mr. Santley and other singers of note, and whose books are before the public. Mrs. Phillips also wrote the first African National Anthem, for the Sultan Seyyid Burgarsh, of Zanzibar. She has taken a nom de plume to avoid confusion with others of her name who are writing since she first published. Messrs. Novello and Co. are bringing out her new song. At the annual conference of the Retail News- agents’ and Booksellers’ Union, held in Liver- pool, Mr. Charles Olley, of Belfast, president, referred to the sixpenny copyright novels, with which, he said, a host of publishers had over- flooded the market. Already, however, he observed in the fickle public taste a turn in * favour of larger print and better paper; and he expressed his belief that shilling editions would be a greater success and much more remunerative. The committee of the William Black Memorial Fund have decided that the memorial shall take the form of a beacon light to be erected, at a cost of about £800, at Duart Point, near the Lady Rock, on the coast of Mull. The Commissioners of Northern Lights have agreed to maintain the light after the beacon is erected. Lady Dilke has written a book entitled “ French Painters in the Highteenth Century,’ which will be published in the autumn by Messrs. Bell. It will be illustrated with upwards of seventy repro- ductions of selected pictures, many of which from private collections have never been reproduced or exhibited in public. Dean Farrar has completed a work called “True Religion,” which will be published shortly by Mr. 8. T. Freemantle. A new edition of the prose writings of Mr. Kipling has been projected by Messrs. Macmillan, to consist of ten volumes at the uniform price of 6s., which will appear one at a time at short intervals, beginning at once with ‘“ Plain Tales from the Hills.” Mr. Kipling has purchased from Messrs. Newnes the copyright of ‘“ Depart- mental Ditties,’ which was originally published in 1885 by Messrs. Thacker. Lord Edmond Fitzmaurice has undertaken to write the authoritative biography of the late Earl Granville. Mr. Andrew Lang is translating “The Homeric Hymns,” for publication by Mr. George Allen. The book will contain plates, which have been taken chiefly from Greek sculptures. The humorous “Interviews with Mr. Miggs,” which have appeared in the Pall Mall Gazette, will be published in book form by Messrs. Samp- son Low. ‘The author of the papers is Mr. Alex- ander Stuart. Mr. F. P. Dunne, the creator of ‘‘ Mr. Dooley,” is to writea series of articles on English life for publication both here and in America. Mark Twain and the Hon. Sir Spencer Walpole were together the guests of the Authors’ Club at dinner on June 12. The famous humourist pro- poses to bequeath to posterity a book containing absolutely frank and truthful portraits of “persons of importance” of his day, which shall be published a hundred years after his death. Mr. R. Andom has written a sequel to his story “We Three and Troddles,” which will be pub- lished in the autumn under the title of “ Troddles and Us—and Others.” a a NE I  THE AUTHOR. 33 Miss Frances Gerard has a book on Ludwig II. of Bavaria almost ready for publication by Messrs. Hutchinson. Mrs. Hodgson Burnett is at work on a new novel for publication in the autumn. Mr. Guy Boothby’s new story, “The Woman of Death,” will be published by Messrs. Pearson in the summer. Other works of fiction which are announced include “In Full Cry,” by Mr. Richard Marsh (White); “Bonnie Maggie Lauder,” by Alan St. Aubyn (White) ; “A Woman’s Witchery,” by Mr. H. E. Curran (Lawrence and Bullen); ‘The Magic of the Desert,’ by Mr. W. Smith-Williams, a new writer (Blackwood). Two months hence the biography of Sir John Millais will be ready. Among the correspond- ence in the work are letters from the Queen. New details about the Pre-Raphaelite Brother- hood will be given. Reminiscences will be con- tributed by Sir George Reid, Sir William Rich- mond, Sir Noel Paton, and Mr. Val Prinsep ; and a feature will be made of the illustrations to the book. A life of the Emperor Nero, which will be fully illustrated from authentic sources, is being written for Messrs. Methuen by Mr. B. W. Henderson, Fellow of Merton College, Oxford. Mr. W. R. Sorley, Professor of Moral Philo- sophy at the University of Aberdeen, is writing for publication by the same firm an “ Introduc- tion to Political Philosophy,” which will treat of leading principles and their connection with par- ticular questions. A Stevenson manuscript, believed to be the original shape which “ Dr. Jekyll and Mr. Hyde” assumed in the novelist’s mind, will be sold on July 5 at Sotheby’s auction rooms. It is entitled “ Markheim,” and consists of thirty small quarto pages, all in the novelist’s handwriting. The “ Perverse Widow,” by A. W. Crawley- Boevey, is a book which may appear intended only for those who are interested in the Boevey and allied families of Flaxley Abbey, Gloucestershire. The lady, however, who plays the principal part in the work has a wider claim to interest, imasmuch as she is the reputed widow who was courted by Sir Roger de Coverley: the reasons for believing that she was the lady in Addison’s mind are pointed out by the author. The book is published by Longmans at the price of 42s. net. ‘telling effect. FROM THE AMERICAN PAPERS. OND-STREET, the Paternoster-row of New B York, is gradually being forsaken by pub- ? lishers, who are moving “up town” to the Fifth Avenue district. Dodd, Mead, and Co., who are one of the latest to move, give as their reason the fact that their speciality is fine and rare editions, and the new location is near the centre of wealth and culture, amid the abodes of those who appreciate the luxe in literature and are able to pay for it. M. F. Mansfield and A. Wessels are also taking their businesses into this region, where in a few years the public lbrary will be erected; and the fact that the Grand Central Station is near at hand makes the site a valuable and appropriate centre for booksellers and publishers, but particularly to those who have a retail department. Mr. Henry Baldwin, of New Haven, Conn., has for the past seven years been engaged on a stupendous undertaking—the “Library Ameri- cana.” Some account of this project was pub- lished lately in the New York Tumes. It is the outcome of a convention of the patriotic societies of America, held in Chicago in 1891, which appointed Mr. Baldwin Custodian of American History, with his duty to collect all additional facts and verify, so far as possible, all present facts which in any way affect the history of America. While the “ Library Americana ” will remain the property of the patriotic organisations of America, it may become the nucleus of the much agitated University of the United States in its department of American history. It begins with events in prehistoric America, going back to the supposed Chinese landing. Every tact from that time to the present day will be verified if possible. Every sort of question is treated—law, genealogy, biography, wars, calamities, celebra- tions, everything which has a bearing, direct or indirect, upon America, as well as topics wherein America is found to have a bearing upon the history of other countries. Not only accounts of events, but illustrations, cartoons, editorial comments from many pens have been preserved and placed in logical order. The Spanish-American War is dealt with in every detail. Letters from famous men to famous men, of noted personages to the beloved members of their family, love letters of long ago, form other volumes, and it is through this corres- pondence that much information is gained, and new sidelights are thrown upon the characters of some of the greatest men and women in history. That all possible additions may be made to the library and information unearthed, the chain- letter system has recently been made use of with The letters are usually sent to  54 members of patriotic societies or people specially interested in historical and literary matters, with the request that they in turn write another to friends. The letters ask for old newspapers, books, autograph letters, manuscripts, or any like contribution, Another interesting detail is that the great “Library Americana” is to be cata- logued in different colours, each colour to desig- nate some special topic. OBITUARY. HE Rev. Dr. W. Garden Blaikie, Pro- fessor of Theology in the Free Church of Scotland from 1868 to 1897, who died in Edinburgh on June 10, in his eightieth year, was editor for successive periods of the Mree Church Magazine, the North British Review, the Sunday Magazine, and the Catholic Presbyterian. The book by which he will be remembered.is probably his biography of David Livingstone, but his optimistic “ Better Days for Working People” was exceedingly popular, and he wrote also a biography of the Free Church founder, Chalmers, and many expository volumes, and contributed many notices to the “Dictionary of National Biography.” Dr. Norman Kerr, the great authority on inebriety, and the author of over a score of books on the subject of alcoholism, died at Hastings on May 30. Pe BOOKS AND REVIEWS. (In these columns notes on books are given from reviews which carry weight, and are not, so far as can be learned, logrollers.) PPRECIATIONS anp ApprxEssrs DELIVERED BY Lorp Rosepery, edited by Charles Geake (Lane, 5s. net), “a valuableand permanent addition to the library of British oratory” (Daily Chronicle), will be welcomed, says the Daily News, ‘‘by all who care for the study of calture and politics.’”’ There is in the volume “ statesman- ship, lofty, nobly patriotic, unselfish, and inspiring states- manship of a kind more imperatively needful to-day than in any period of the century.” MatTtTHEwW ARNOLD, by George Saintsbury (Blackwood, 23. 6d.), the first volume in a new series designed to supplement the well-known ‘‘ English Men of Letters,” is not for the general reader, says the Daily News, being “ not sufficiently expository,” and ‘' sometimes too recondite. It is rather written by a critic for critics,” and “ on the ira Professor Saintsbury’s judgments seem to us to be sound.” Letters or Bensgamin Jowsrt, M.A., Master of Balliol College, Oxford, arranged and edited by Evelyn Abbott, M.A., LL.D., and, Lewis Campbell, M.A., LL.D. (Murray, 16s.) will delight readers of Jowett’s ‘' Life,” says the Daily News, the letters, which range over a great THE AUTHOR. variety of topics, being as “‘ characteristic of Mr. Jowett, as instinct with his shrewd, kindly wisdom,” as any similar compositions of his. One of the valuable elements in this collection, observes the Daily Telegrarh, is ‘the record of Jowett’s friendships, so keenly felt, so resolutely main- tained throughout all his life.’ ‘‘ We are grateful to the editors of these interesting letters,’ remarks the Spectator, “though we feel that they would scarcely reveal much of Jowett’s personality to those who did not already know him,” “The collection is rather for those who wish to ascertain owatt’s viavs on ec:rtvin large public ques- tions,” says the Daily Chronicle. Literature says the letters on European politics ‘disclose a side of Jowett’s character and a range of his intellectual interests which will for most readers possess the charm of complete novelty.” Francesco Crispi, by W. J. Stillman (Richards, 7s. 6d.), is described by the Daily Telegraph as “‘a most important contribution towards the proper understanding of the present state of Italy.” “It is true,” says the Daily Chronicle, ‘‘that Mr. Stillman frankly criticises Crispi’s methods and temper, but, in so far as his policy is con- cerned, Crispi stands forth in this volume as perhaps the wisest and most upright statesman of the century.” Litera- ture describes it as ‘‘ devoid of those personal touches which make biographies live,” but as being “ impartial, judicious,” and containing valuable information as to Italian politics. James RusseLL Loweut AnD His Frienps, by Edward Everett Hale (Constable, 16s.), ‘“‘ forms a welcome postscript to Mr. Lawrence Lovell’s biography,” says the Daily News, the aim of the book being to furnish a review of the last sixty years among literary and scientific people in Boston and its neighbourhood, though among these Mr. Lowell of course takes a prominent place. ‘‘ Those who knew Lowell best and admired him most will have good reason to be satisfied with the sympathetic, but not indiscriminating portrait which is presented of him in these pages.” While it will hardly supply the place of the biography of Mr. Lowell, says Literature, we can from this work “ construct a fairly complete picture of the author of ‘A Fable for Critics’ at the beginning of his career, and of the singer of the great Commemoration Ode in middle life.” It is beauti- fully illustrated, and a good index, says the Daily Telegraph, “adds to its value as a picture of an important period in New England history and of the famous men who made it.” Tur Human Macuine, by J. F. Nisbet (Richards, 6s.), is permeated by a philosophy very much the same as that of Lamettrie, says Literature, and while the author ‘‘ does not advert to arguments which have convinced some of the scientific authorities whom he reverently cites that the materialistic theory is a faulty explanation of the world,” the essays are bracing reading, and ‘‘an excellent antidote to much unpleasant twaddle.” Henrik Issen; BJORNSTJERNDE BJORNSON (Heinemann, 10s. net) critical studies, by George Brandes, whom Litera- ture calls “the most authoritative critic of North-Hastern Europe,’ contains a study of Ibsen which that journal recommends “to all those who have preserved an open mind in presence of the great Norwegian dramatist,” and an essay on Bjérnson published by Dr. Brandes in 1882. Dr. Brandes, says the Daily News, “ devotes a great deal of space to the attempt to make clear the social theories of Ibsen, though we fear that his efforts will not always be attended with complete success,” but “no appreciation of Tbsen’s genius that has yet made its appearance in the English language can-compare for fulness and insight with this volume,” the translation of which by Jessie Muir has been revised by Mr. William Archer, who contributes a preface. Lovers of literature, says the Daily Telegraph,  CELE ook Te Ee fy THE AUTHOR. and of tbe modern dramatic movement in particular, will be amply repaid by a perusal of this book. Huneer, by Knut Hamsun, the Norwegian writer (Smithers, 4s. net.), “ simply as a study of hunger will not be surpassed,” and the spirit and individuality of the writer could not have been more “completely preserved than in George Egerton’s admirable translation,” says the Daily Telegraph. Tus RoMANCE or A Pro-ConsuL, by James Milne (Chatto, 6s.), consists of a “ personal life and memoirs of Sir George Grey.” Literature says Mr. Milne gives his readers “‘a very fair idea of Sir George Grey himself, though a very inadequate idea of the events in which he played his part,” and the Daily News says the charm of the book ‘‘is to be found in the graphic glimpses of his own life, given in Sir George Grey’s own striking phrases.” From Comte to Kipp, by Robert Mackintosh (Mac- millan, 8s. 6d. net.), a critical study of the various thinkers who have tried to build a sociology on a biological basis, is yaluable, says Literature, in “ that it contains a good many clever reflections on the details of the method of evolution, and on the nature and limitations of it when applied to human society.” Tur SoLrTary SUMMER (Macmillan, 6s.), by the author of “Elizabeth and Her German Garden,” “readable and delicately humourous ” as the first (Daily Chronicle) is even more charming than that book, says the Spectator. “ After reading it we are as ignorant of the nature and growth of plants as, we suspect, she is,’ but “she teaches us the positive value of intercourse with Nature, and the untold mischief of coming to love the fuss and turmoil of which our lives are perhaps inevitably full.” The “ autobiography of a cultured and cbservant woman” (Literature), “‘it is, says the Guardian, “ an admirable example of the desultory yet literary style of which some Jadies seem to possess the secret.” Lire AND NATURE IN THE ENGuLIsH Laxgs, by the Rev. H. D. Rawnsley (Maclehose, 5s.) is described by the Spectator as ‘“‘a very pleasant volume by one who knows and loves what he is writing about.” ‘ We could imagine no more charming companion to any meditative Lake visitor,” says the Daily Chronicle, than this collection of sketches by a true and close observer of thecountry. ‘‘ His descriptions of the shepherds’ meetings are full of humour and skilful description.” Avuraority anp ARcHmOoLOGY, Sacred and Profane, edited by David G. Hogarth (Murray, 16s.) is a volume of more or less popular essays by writers of obvious com- petence, containing the results of recent archeological research in relation to biblical and classical literature. The Daily News describes it as “an excellent wor Pe Tue POLITICAL STRUWWELPETER, by Harold Begbie, illustrated by F. Carruthers Gould (Richards, 3s. 6d.) is good-tempered satire and harmless mirth, says the Daily News; ita personages “belong to the world of English politics, and both Mr. Gould’s drawings and Mr. Begbie’s bright and facile rhymes are devoted to fables in which these celebrities play conspicuous parts.’ The Chronicle speaks of the ‘‘extraordinary cleverness of Mr. Gould’s disciplinary pencil.” ‘The most serious politician,” says Literature, “ will hardly maintain his gravity wherever he may open the book.” Aurrep THE GREAT, edited by Alfred Bowker (Black, 58s. net) gives a noble “idea of this emancipator of his country and true founder of the English nation,” says the Daily News. In this “series of contributions by the nine 55 distinguished writers whose names are set forth on the title page,” there is, says the Daily Chronicle, something to suit every taste, “for though not all its readers will be able to appreciate the occasional bits of Anglo-Saxon and Latin, the greater portion is written in a thoroughly lucid and attractive form.” Lapy Lovisa Stuart (Douglas, 7s. 6d.) is a volume of selections from the manuscripts of this friend of Sir Walter Scott’s, which has been edited by the Hon. James A. Home. A memoir of John, Duke of Argyll and his family occupies about half the book; there are four letters of Scott’s and eight or ten of Lady Louisa’s, the former being described by Literature as delightful, with ‘‘ here and there a touchingly beautiful allusion to the sorrows of his old age.” Tye Ciry oF THE Sout (Richards, 5s. net), poems, is not, says the Daily Telegraph, ‘“‘ an essay in the art of writing verse; it is work of a remarkably high order, and reveals the temperament of a poet who writes because it is in him to do so.” ‘All through the book one comes upon lines which are astonishing in their beauty and their distinction.” Tur Open Roan, by E. V. Lucas (Richards, 5s.) a little book of selections to provide ‘‘ companionship on the road for city dwellers to make holiday,” is above the average of its kind, says the Guardian; and “ strikes a note of modernity,” says Literature “ which will not fail to please readers who complain that the compilers of anthologies are too fond of following a beaten track.” A Hisrory oF AMERICAN CHRISTIANITY, by Leonard Woolsey Bacon (Clarke, 10s. 6d.), is welcomed by the Spectator as a work “aiming at, and for the most part attaining, an appreciation of the best in diverse schools of religious thought, in their growth and their present con- dition, and as thus calculated to aid the better under- standing of America by the English people.” Literature says itis “excellently arranged and written.” Rorert Rarkes: THe MAn anp His Worx,’ edited by J. Henry Harris (Arrowsmith, 7s. 6d.), has auch biographical value, says Literature, including much evidence drawn from the recollections of Gloucester residents who knew Raikes. A Srupy or WAGNER, by Ernest Newman (B. Dobell, 12s.) is criticised by Literature, which says that the Wagnerian theory of the complete domination of the poet (in the relation between music and poetry), ‘‘ has had such an influence upon his successors and upon the musical thoughi of our day that we are glad to welcome a fearless exponent of the opposite theory.” Tur CoLuMN AND THE ARCH: Essays on Architectural History, by William P. P. Longfellow (Sampson Low, 108. 6d.), cannot fail to be extremely interesting to any reader cf artistic taste, says the Daily Chronicle. “ The subject is treated in a suggestive and unhackneyed manner.” Literatwre describes it as ‘“‘a work of real technical value.” Tus GAME AND THE CANDLE, by Rhoda Broughton (Macmillan, 6s.), is described by the Guardian as “ mainly a study in her usual style of human passion; in this case one in which the salient points are intense egotism and folly’; and ‘‘there is scarcely a character who does not seem to have been put as it were ina pillory for the reader’s edification and amusement.” I, THov, AnD THE OTHER Onn, by Mrs. Amelia E. Barr (Unwin, 6s.), is ‘a sweet and tender love story,” says the Daily Telegraph; ‘‘no more charming romance of the kind has been told in recent years,” the book carrying with it “ something of the fragrance cf an old-world garden.” The  56 THE excitement of the days of the Reform Act of 1832 is effectively used, remarks the Daily Chronicle, “and the book as a whole is pleasant and refreshing.” Tp DOMINION OF DREAMS, by Fiona Macleod (Constable, 6s.), consists of tales whose essential quality, says the Spectator, which “gratefully welcomes” them, is “ that they are of no time, neither conscientiously up to date nor elaborately out of date. The scene is laid for the most part in the Western Highlands, but, beyond a stray minister, the characters are all of the humblest class.” Literature speaks of “the extreme beauty and subtlety of Fiona Macleod’s writing,’ and says she sees the Gael through a mist of old tradition, and the volume ‘deals exclusively with the folk who hover on the indeterminate strip of space that separates sanity from madness.” ‘‘ There is poetry in all descriptions of scenes and periods, however strange and fantastic,’’ says the Daily Telegraph. GERALD FrtzGBRALD, by Charles Lever (Downey, 6s.), which appeared originally as a serial in the Dublin Univer- sity Magazine, but never saw the light in book form in Lever’s lifetime, is a plausible, romantic superstructure reared on a basis of fact, says the Spectator. The picture which he gives us of the sottish Pretender (Charles Edward) ‘redeemed from insignificance by his romantic past, and of his train of needy hangers-on, is true enough in spirit, while Lever’s familiarity with Italian society of all grades lends verisimilitude to the setting of thestory. The canvas is crowded with historic personages, including Alfieri, Madame Roland, and Mirabeau, and even where the portraits deviate most widely from authentic records, they are invari- ably endowed with energy and vivacity of expression.” As a story it will “add little to Lever’s fame,” says Literature, “but there are in it some excellent pieces of writing.” THE SATELLITE’s Stowaway, by Harry Lander (Chap- man, 3s. 6d.), is a “high-spirited and readable book.” (Spectator) which will captivate ‘all novel readers who love the sea, and do not object to a certain amount of coarse- ness in language and brutality in treatment—a coarseness, be it understood, which is never really base or of evil repute.” WHEN THE SLEEPER Wakgs, by H. G. Wells (Harpers, 6s.), is the story “of a man who falls into a cataleptic trance of over 200 years’ duration, and awakes to find himeelf, not only a kind of museum curiosity, guarded like a treasure, but also the heir to untold wealth, in a new and strange world.” The Daily News says that ‘‘Mr. Wells beats Jules Verne on his own ground,” while the Guardian describes it as “‘an enthralling effort of imagination,” “vivid and bizarre as a powerful nightmare.” Aw IpugR IN OLD FRANCE, by Tighe Hopkins (Hurst, 6s.), is a series of essays, “graphic pictures of old French life, which will be equally interesting to the ignorant and the well-informed,” says Literature. ‘‘We have seldom read a more charming book of its kind.” SILENCE Farm, by William Sharp (Richards, 6s.) paints for us “ with no little success,” says the Daily Telegraph, country scenes in the Lowlands with strong, characteristic figures of farmers and farm labourers amid changing aspects of sky and lands.” ‘The story, painful as it is, is exceedingly well told,” and “leaves a clear and artistic impression on the mind.” The chief character is a rank egoist and sensualist. “The story is powerful and tragic,’ says the Daily News. Tue Arm oF THE Lorp, by Mrs. Comyns Carr (Duck- worth), is a “‘ powerful and lurid story,” says the Daily News, and, apart from its tragic intercst, ‘“‘ a careful study of certain phases of religious belief.” AUTHOR. Lesser Destinizs, by Samuel Gordon (Murray, 6s8.), is described by the Daily Chronicle as “ a most careful study of the language, tone, and manners of the lower strata of London’s working folk.” The book is “reasonably read- able,” says Literature, “and might even be popular if the atmosphere were somewhat lees sordid.” No recent author that the Spectator has come across ‘has reproduced with greater skill and spirit the rough chaff and badinage in which the London street-arab notoriously excels.” ‘“ There is far more knowledge of human nature in Mr. Gordon’s book than in the works of those who excel him in the vigour of their realism.” Tue Inpivipua.ist, by W. H. Mallock (Chapman, 6s.), as a work of art, says Literature, suffers by the preposses- sions of a writer with a social purpose.’ The Daily News describes the novel as “of course a very clever book”— an acidulated, but not on that account less amusing, satire,” in which the author “is very sarcastic about ‘ settlements’ in general, and he is specially unkind to poor Bloomsbury.” The Daily Chronicle says that the book smacks of the eighties, but that “here and there are some: clever touches and some acute observations,” while the Daily Telegraph finds it ‘a merely brilliant social satire.’”” The Spectator says the book exhibits a polished style, an eres observation, a sense of beauty, and a vein of genuine satire.” Onz Poor Scrupuez, by Mrs. Wilfred Ward (Longmans, 6s.), is a “thoroughly interesting, well-written novel” (Daily Chronicle), the characters of which are a house-party of a cousin or two, a man and a girl, and a literary man. ‘* The picture she draws of an old Catholic home and family is excellent,” says the Daily Telegraph, the Spectator finds it “singularly interesting and stimulating,” while the Guardian, besides praising the work as wholesome, and “ far above the average in cleverness and interest,” remarks that ‘‘in a day when all the serious novels are of agnostic tendency, it is delightful to have to speak of one in which religious faith and principle are made to triumph over the snares of the world and the flesh.” “THE AUTHOR SCALE FOR ADVERTISEMENTS. 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