https://historysoa.com/files/original/5/526/1913-03-01-The-Author-23-6.pdf 1140c78d8170b4c4b9d2743f1a0532bc 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 The Author Description An account of the resource A digitised run of the Society of Authors' monthly periodical, The Author, 1890–1914, made available together for the first time. Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&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) 1913-03-01 Volume 23 Issue 6 Pages Page range in volume 157–186 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19130301 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin The Huthbor. Monthly.) (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR WALTER BESANT. Vou. X XILI.—No. 6. Marca 1, 1913. [Price SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. —____—_e——_e—__ NOTICES. — ++ TCR the opinions expressed in papers that are signed or initialled the authors alone are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production 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 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 89, Old Queen Street, Storey’s Gate, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIII. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. SO THE SOCIETY’S FUNDS. —_——>— + “Tj YROM time to time members of the Society } desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other matter closely connected with the work of the Society. (2) The Pension Fund, This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. THE PENSION FUND. —+ N January, the secretary of the Society I laid before the trustees of the Pension Fund the accounts for the year 1912, as settled by the accountants. After giving the matter full consideration, the trustees in- structed the secretary to invest a sum of £300 in the purchase of Buenos Ayres Great Southern Railway 4°% Extension Shares, 1914, £10 fully paid. The number of shares pur- chased at the current price was twenty-five and the amount invested £296 1s. 11d. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,764 6s., details of which are fully set out in the following schedule :— Nominal Value. £ 6s. a Local Loans ......-seeeeeeree 500 0 0 Victoria Government 8% Consoli- dated Inscribed Stock .......- 291 19 11 London and North-Western 3% Debenture Stock ........-+-- 250 0 O Egyptian Government Irrigation Trust 4% Certificates ......-- 200 0 0 Cape of Good Hope 33% Inscribed Stock 6... 20sec ee ec teens 200 0 0 Glasgow and South-Western Rail- way 4%, Preference Stock .... 228 0 0 New Zealand 34% Stock........ 247 9 6G Irish Land 23°% Guaranteed Stock 258 0 0 Corporation of London 23% Stock, 1927—57.....--.- sees 4388 2 4 Jamaica 34% Stock, 1919-49 .. 18218 6 Mauritius 4°% 1987 Stock ...... 120 12 1 Dominion of Canada, C.P.R. 33% Land Grant Stock, 1938 ...... 198 38 8 Antofagasta and Bolivian Railway 5% Preferred Stock ........-- 237 0 O Central Argentine Railway Or- dinary Stock ..........-.0+-. 232 0 O $2,000 Consolidated Gas and Electric Company of Baltimore 44° Gold Bonds ........-++-- 400 0 0 250 Edward Lloyd, Ltd., £1 5% Preference Shares .......-.. 250 0 O 55 Buenos Ayres Great Southern Railway 4°% Extension Shares, 1914 (fully paid) ..........-- 550 0 O 3 Central Argentine Railway £10 Preference Shares, New Issue.. 80 0 0 THE AUTHOR. PENSION FUND. —+—~ + Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October 1, 1912. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. anccooooooesosescoesosesoo Subscriptions. 1912. £ eg Oct. 2, Todhunter, Dr. John. 1 6 Oct. 10, Escott, T. H. S. : - 0 8 Oct. 10, Henderson, R. W. Wright 0 5 Oct. 10, Knowles, Miss M. W. . 0 3 Oct. 11, Buckley, Reginald . 0-5 Oct. 12, Walshe, Douglas 0 10 Oct. 12, “‘ Penmark” . : 0 10 Oct. 15, Sinclair Miss Edith . 0 10 Oct. 16, Markino, Yoshio Lot Oct. 20, Fiamingo, Carlo 0 5 Oct. 29, Henley, Mrs. . : ta Nov. 8, Jane, L. Cecil . 0 5 Nov. 14, Gibb, W. 0 6 Dec. 4, De Brath, S. . : 0 5 Dec. 4, Sephton, The Rev. J. 0° 5 Dec. 4, Cooper, Miss Marjorie 0 10 Dec. 7, MacRitchie, David 0.5 Dec. 11, Fagan, James B. 1 0 Dec. 27, Dawson Forbes 0 10 19138. Jan. 8, Toynbee, William (in addi- tion to his present sub- scription). 010 0 Jan. 9, Gibson, Frank . ; 0 5 8 Jan. 29, Blackley, Miss E. L. 0 5 0 Jan. 31, Annesley, Miss Maude 010 6 Feb. 6, Rothenstein, Albert . 0 7G Feb. 10, Bradshaw, Percy V. 010 6 Donations. 1912. Oct. 2, Stuart, James . ‘ 1 £ Oct. 14, Dibblee, G. Binney . - 0 16 Oct. 14, Michell, The Right Hon. Sir Lewis, C.V.O. 5 5 Oct. 17, Ord, H. W. . : Ce Oct. 20, Yorke-Smith, Mrs. . > @ & Nov. 10, Hood, Francis . = . 0 2 Nov. 20, Kennard, Mrs. N. H. 5 0 Dec. 4, McEwan, Miss M. S. 0 10 Dec. 4, Kennedy, E. B. 0 5 Dec. 11, Begarnie, George . «0 3 Dee, 11, Tanner, James T. 3 8 Dec. 11, Toplis, Miss Grace . 0 5 esos oooeses 89S oad Dec. Dec. ZT Dec. 9G Dec. a Dec. >» Jan. 6 «CJ an. sl Jan. Jan. . Jan. s— Jan. 5 Jan. ist Jan. is Jan. isu Jan. , Jan. 5 G Jan. fs& Jan. [| Jan. | Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Jan. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. Feb. THE AUTHOR. COMMITTEE NOTES. —+~>—+ 14, Watson, Mrs. Herbert A. . 14, French, Mrs. Warner 17, Smith, Miss Sheila Kaye . 17, Marras, Mowbray 27, Edwards, Percy J. . 1913. 1, Risque, W. H. 1, Rankin, Mrs. F. M. 2, Short, Miss L. M. 2, Mackenzie, Miss J. 2, Webling, Miss Peggy 3, Harms, Mrs. EH. 8, Church, Sir Arthur, K.C.V.O., ete. 4, Douglas, James A. 4, Grant, Lady Sybil 6, Haultain, Arnold 6, Beveridge, Mrs. : 6, Clark, The Rev. Henry 6, Ralli, C. Searamanja . 6, Lathbury, Miss Eva . 6, Pryce, Richard 7, Gibson Miss L. 8. 10, K. : : 10, Ford Miss May 12, Greenstreet, W. J. 14, Anon . : 15, Maude Aylmer 16, Price, Miss Eleanor . 17, Blouet, Madame 90, P. HH. andM. K. .. 22. Smith, Herbert W. . 25, Anon, . ; : 27, Vernede, R. E. : 29, Plowman, Miss Mar ; 29, Todd, Miss Margaret, M.D. 31, Jacobs, W. W. 1, Davy, Mrs. E. M. 8, Abraham, J. J. 4, Gibbs, F. L. A. 4, Buckrose, J. E. : 4, Balme, Mrs. Nettleton . 6, Coleridge, The Hon. Gilbert 6, Machen, Arthur : 6, Romane-James, Mrs. ; 6, Weston, Miss Lydia . : 14, Saies, Mrs. F. H. (in addi- tion to her subscription) 14, Maunsell, A. E. Lloyd 14, O’Higgins, H. G. . 15, Stephens, Dr. Ricardo 15, Jones, Miss E. H. 17, Whibley, Charles — CH OOOu COPE OH OH ONHOOCOOCHH OHM COCO OPO WOORNWH ooocooo eceoocece _ _ or or Or Or C1 © jal oO Or & Or 09 Or Cr bo Oo ee te — Ane eH AHF COCK ONF NHK OOC RH SH Or _ Ot Ore OLS cooocoocoF cococoooaoooaocooanoascooocosooocosoecece|ce|ces ooococo ASTAADSS HE February meeting of the Committee was held at the Committee Room of the Society, 18, Queen Anne’s Gate, S.W., on the 8rd ult. The committee dealt first with elections. Thirty-three members and associates were elected, bringing the total elections for the year—that is, for the two months of 1913—up to sixty-seven. The committee accepted, with regret, resignations for the past two months, to the number of thirty-two. At the beginning of the year the resignations are, naturally, more numerous than during other periods, and the number is not unreasonable considering the size of the Society, nor above the number for the corresponding two months of last year. The solicitor then reported on the cases that had passed through his hands. In the first case the defendant had agreed to pay the amount of the debt and costs. The second, referring to a claim for dramatic fees, had been withdrawn by the plaintiff on the death of the defendant, and the solicitors’ charges had been defrayed by the member concerned. The next two cases related to unsatisfied judgments. In the first, the solicitor reported that he had obtained a sum of £10 and was still pressing the defendants for the balance, but was doubtful whether anything more would be recovered. In the second, after considerable difficulty, the defendant had been found and had undertaken to pay the debt by small instalments per week. Two _instal- ments had already been paid. Of two actions for accounts and money against a publisher, one had been settled, where the claim was for a small amount. In the second, an arrange- ment had been made for the payment of the sum due, under the personal guarantee of one of the directors of the company, and_ the solicitor hoped that the matter would be satisfactorily carried through. Against another publisher there were two claims. In _ one, the author had received part of the money he had paid towards the production of his book on the understanding that the contract should be cancelled, and that he should be free to deal elsewhere. In the second, as the solicitor remarked, there was the usual struggle to get the publisher to produce the book approximately in accordance with his contract. In a claim against a music pub- lisher, as no reply had been received, the solicitor was instructed to proceed at once, 160 Three claims against another firm had been delayed owing to the fact that the representa- tive of the firm was abroad, but on the repre- sentative’s return to England, immediate action, it was decided, would be taken. The solicitor then reported a case between a composer and an English music publisher which had been settled without going into Court. The publisher had undertaken to withdraw all the offending copies and to deface the plates. Some difficult questions arising under the Copyright Act were next reported by the solicitor. The questions arose under the mechanical contrivances sections of the Act. The committee decided that nothing could be done until one of the members was willing to allow the Society to take action on his behalf. As the point in question is likely to arise very shortly, it will soon, no doubt, be possible for the Society to carry through a test case. The solicitor reported at length on a question of alleged libel arising out of a review. After a careful consideration and on the opinion of the Society’s lawyers, the committee decided that it would be impossible to support the member in an action. The secretary then placed one or two disputes before the committee for their consideration. ‘The committee decided to take up a case of the infringement of dramatic rights, but in a case of infringement of an author’s book rights in Canada, they instructed the secretary to interview the author and discuss matters with him, as the case seemed likely to involve the Society in expense which the committee hardly felt justified in incurring. Another case of alleged infringement of copy- right in England the committee decided to take up, subject to the solicitors’ opinion on the evidence being in favour of an action. The next question was one of some impor- tance. The editor of a magazine received a contribution from one of the members of the Society. He published it without any refer- ence before publication to the author as to terms, and after it had been published sent the author a cheque, and, at the same time, a printed receipt which stated that the cheque was in full payment for the copyright. Other cases closely allied were also brought before the committee. Certain editors, it appeared, were in the habit of sending cheques, the endorsement of which purported to convey the copyright of the article to the paper, in spite of the fact that a contract made before publica- tion provided for the trarsfer of the serial rights only. The committee felt that the THE AUTHOR. matter was of considerable importance, as many authors in need of money, rather than — take action and run the risk of having their contributions refused in the future, endorse the cheque. This has the same effect as signing the form of receipt mentioned in the first instance. In either event the authors are pre- vented from re-publishing their work in book form without the sanction of the proprietors of the magazines or papers. The secretary was instructed to raise the whole matter in The Author, but before doing so, the committee decided to communicate with certain papers that are accustomed to issue cheques bearing on their backs the receipt form in question, in order to obtain, if possible, their views on the position. In the last case, a case of dispute between an author and a printer, the committee gave instructions as to the line of settlement. The next matter before the committee was an important question of copyright between Great Britain and the United States. Mr. E. J. MacGillivray had been asked to explain to the committee his view of the situation ; this he did, in full detail. The committee under- stood from their correspondent in America that the issues had been referred to the Foreign Office, and it was accordingly decided that the chairman, with the secretary and Mr. MacGillivray should communicate with the Foreign Office on the matter, but that, before any appointment was sought, a minute of the proposed representation of the Society's — views should be sent to all members of the ~ committee in order that the chairman of the — Society might be fully instructed as to the line — to adopt. p The secretary reported that, in accordance — with the decisions come to at the last meeting, he had addressed to the editors of various important papers and magazines a letter settled by the chairman of the Society, raising _ the question of payment of contributions on acceptance or within a reasonable time — from acceptance. The secretary reported the receipt of valuable answers to the letters sent — out, the editors in question recognising the — difficulties of the situation and the views of the committee. The committee decided to wait further replies, and then to consider the line of action to be taken. It is hoped to make | some authoritative declaration on the subject in The Author. At the suggestion of the Composers’ Sub- — Committee, the Committee of Management — decided to send a circular to British composers, — dealing with certain important questions — arising out’of the transfer of their copyrights, — iby TOME jade. THE AUTHOR. and with the forms of contract placed before them by music publishers—this with a view to combined and effective action. The secre- tary read a letter which had been approved by the Composers’ Sub-Committee, and it was agreed that it should be sent. It was decided to invest £150 out of the Life Membership Account, the amount to be added to the Capital Fund. The committee passed the Annual Report, which had been circulated to them during the month of January. The accounts and financial statement had been delayed owing to the fact that the accountants had not completed the audit, and it was decided that this should be circulated at the earliest possible moment in order that the Report might then be printed. A question raised by a member of the com- mittee as to the Society charging a commission on all moneys obtained by legal action was considered, and the committee decided to refer it to the Council. The question of a new advertisement con- tract was next discussed, and the secretary was instructed to settle the form of contract and carry it through as soon as possible. It was decided to give the League of Authors in the United States all possible assistance, but the committee regretted that they were unable to accept an offer of interchange of membership between the two Societies. A question was raised as to the sale of cheap edition rights by American publishers, and it was decided that if any member should bring forward a clear case, the committee would, under legal advice, fight the matter in the American Courts. Papers forwarded by a Danish Literary Agency and by the Dutch Society of Authors were considered and noted for the benefit of members of the Society. The committee have to thank Mrs. Went- worth James for a donation of £2, contribution to the Capital Fund, paid out of a sum of £10 recovered during the month by the Society on her behalf. ——_ + Dramatic SuB-COMMITTEE. Tur second meeting of this sub-committee was held on Friday, February 21, at 13, Queen Anne’s Gate, S.W. After the signing of the minutes of the previous meeting, the sub- committee considered the question of the agenda for the Conference of Dramatists. The committee decided, however, to defer the settle- ment of the date till the next meeting, as also 161 the agenda. It is hoped that before that meeting a satisfactory issue may be come to in regard to the Managerial Treaty. A circular referring to the Collection Bureau was ordered to be set up in type, that it might be discussed finally at the next meeting, with a view either to circularising the dramatic section, or to printing it in The Author, for the benefit of members of the Society. The question of foreign agents then came forward, and the arrangement of the terms on which the agents appointed should conduct the business of the Society was considered. The secretary read letters he had received from the agents, and he was instructed as to the terms of his replies. He was also instructed to write to the Society of Dramatic Authors in Berlin. Mr. Walter Jordan, the agent of the Society in the United States, had forwarded to the Society’s office lists of plays produced by the stock companies in America. These lists the secretary submitted to the meeting, and the secretary was instructed to go through them as soon as they arrived and, in those cases where he saw English authors’ works being pro- duced, to write to the authors, if they were members of the Society, enquiring whether the performances had been authorised or not. The dramatic cases were then discussed. The secretary reported that the Committee of Management had taken up a case of alleged infringement of copyright on behalf of one of the members. Another case was reported of a difficulty experienced by a member of the Society with an agent in Hungary. As none of the members of the sub-committee could give any information about the gentleman in question, the secretary was instructed to make what enquiries he could on_ behalf of the member through the Society’s Hungarian lawyers, and to report. The third case was one of alleged plagiarism of one of the members’ plays by a play by another dramatist. The member concerned put before the sub-com- mittee a full statement of the resemblances between the two plays, and a report on the position was read to the sub-committee. The sub-committee decided to refer the matter to the solicitors of the Society, and to request them to report their views on the case to the next meeting of the Committee of Management, with a recommendation that the Committee of Management should take the matter in hand, if the solicitors’.opinion was favourable to the member’s claim. The consideration of the dramatic pamphlet was adjourned to the next meeting. 162 ComvosErs’ SuB-COMMITTEE THE Composers’ Sub-Committee met at the committee room of the Society of Authors, 13, Queen Anne’s Gate, on Saturday, Feb- ruary 8, at 11 o'clock. After the reading of the minutes of the previous meeting the agenda were considered. The first matter before the sub-committee was Messrs. Curwen’s agreement. A letter which had been received from the firm, in answer to certain comments submitted to them by the sub-committee, was considered. The sub-com- mittee came to the conclusion that Messrs. Curwen’s desire to have entire control of the performing rights and mechanical instrument rights could not be approved, and instructed the secretary to write to Messrs. Curwen accordingly, pointing out the reason for the sub-committee’s conclusions. They further instructed the secretary to point out that as the agreement had already been published in The Author as approved by the sub-committee, it would be necessary to insert in The Author a statement of the sub-committee’s inability to accept the agreement in its new and altered form. The next question related to an agreement from another publishing house which had been offered to one of the members of the Society, and it was decided to publish a criticism of the document in a future issue of The Author. The secretary then read a circular letter which had been approved by the Committee of Management, and which it was decided to send round to composers—both those who were, and those who were not members of the Society. Suggestions were made with a view to enabling the secretary to obtain for the circular the widest possible circulation. It is hoped to send to at least 500 composers, in order, if possible, to obtain a strong com- bination of composers to act in unison for the benefit of the profession. The secretary reported the result of an action taken by the Committee of Management for a composer, against a. music-publishing firm. The result had been entirely satis- factory, and the secretary mentioned that he had received a letter of thanks from the composer concerned. ‘A letter from the Society's solicitor dealing with certain difficult points arising under section 19 of the Copyright Act was read, and the secretary explained that the Committee of Management would be willing to consider taking action in a case when one was pre- THE AUTHOR. sented, in order to obtain the opinion of the Courts on the points raised. Another agreement from a publishing house dealing with American rights was read, and it was agreed to ask a representative of the firm to call and discuss the questions arising out of it with the sub-committee. —— + Cases. Durine the past month twenty-two cases have passed through the secretary’s hands. It is as well to mention from time to time that these cases are matters in which the secretary actually intervenes between the author and the publisher, editor, or manager, and not those cases on which the secretary only gives advice to the member. Demands for the return of MSS. have been the most numerous. Of these the secretary has dealt with ten. In four cases the MSS. have been returned, in two cases the editors have given every assistance in their power, but have been unable to find the MSS., and no further action has been possible owing to the fact that legal evidence has been wanting. Of the four remaining cases two have only recently come to the office, and in the other two no answer has as yet been received. There have been six demands for money. Of these three have been successful and cheques have been paid. The other three are ina satis- factory state. In two of the cases there has been a slight dispute as to the amount, but cheques have been promised as soon as the figures have been settled, and in the last case, although a cheque has not been received, a date has been fixed for payment. In three cases out of four demands for accounts, the accounts have been rendered. The fourth is still in the course of settlement, the publisher having promised the returns within the next week. One dispute on an agreement has been settled, and one complicated question of moneys due on accounts is in the course of favourable negotiations. There are very few cases left over from former months. ‘There is no matter which has not either been placed in the hands of the solicitors or concerning which replies have not been received from the opposite party and a settlement promised. —— THE AUTHOR. 163 Elections. Barnes-Lawrence, Ash- ley ; Blake, Ernest Blunt, Reginald . _~ Bradshaw, Percy V. Brooks, H. Jamyn : Brown, R. Cuthbert . Crawford, Albert Ed- ward Bredin L Finck, Hermann : Foxwell, A. K., M.A. Lond. Greenaway, Mrs. O. C.-. y7 Greene, Harry Plun- kett ; : ‘ Harding, Ernest Charlton Harington, Miss Ethel . Hinton, Arthur Jones, E. Hasler Korbay, Francis . Lawrence, Margery Menzies, Mrs. Stuart of Wood Hall O’Mara, H. M. S. : Quirke, Helen M. L. (Ellen Svala) 7 Rothenstein, Albert . Round, Mina (Maurice Reynold). Sargent, Miss Maud E. . Schlenssner, Miss Ellie Simpson, Mrs. Katha- rine. Vernon, George . ‘ Silton Rectory, Zeals, Wilts. 12, Carlyle Man- sions, Chelsea, S.W. 87, Dacres Road, Forest Hill, S.E. Savage Club, Adelphi Terrace, W.C. 14, Devonport Street, Hyde Park, W. 71, Carlisle Road, Eastbourne. 207, Adelaide Road, N.W. 19a, Wellesley Road, Harrow - on - the - Hill, Middlesex. 42, West Cromwell Road, Earl’s Court, S.W. 48, Iverna Gardens, W. 1, Hartington Road, Chorlton-cum- Hardy, Manches- ter: 14, St. John’s Wood Road, N.W. Portalegre, Portugal. 47, Devonshire Street, W. Eversleigh, Wol- verhampton. Crickett Court, Il- minster. Swanage, Dorset. 17, Yarrell Mansions, Queen’s Club Gardens, W. Savile Club, 107, Piccadilly, W. 11, rue d’Artois, Paris (8 emi). Chasefield, Grove Road, Havant, Hants. 44, Rosslyn Hill, Hampstead, N.W. Piazza S. Barto- lomeo degli Ar- meni 8-2, Genoa, Italy. Vickers, John H., B.A. Offley Grove, New- port, Shropshire. Weston, Miss Lydia ~. 28, Gwydyr Man- sions, Hove, Sus- sex. a BOOKS PUBLISHED BY MEMBERS. 4 While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the oftice by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. AGRICULTURE. RursaL DENMARK AND ITs Lessons. By H. River Haaearp. New Edition. 8 x 54. 335 pp. (The Silver Library.) Longmans. 33s. 6d. Ture Utiiry Poutrry Crus YEAR Book AnD REGISTER. Edited by A. A. Strrone. 72x 5. 114 pp. 68z., Lincoln’s Inn Fields. ART. Tue BritisH ScHoout. An Anecdotal Guide to the Britisk Painters and Painting in the National Gallery. By E. V. Lucas. 63 x 4}. 264 pp. Methuen. 2s. 6d. n. Tue Yrar’s Art, 1913. Compiled by A. C. R. CartEr. 74 x 43. 598 pp. Hutchinson. BIOGRAPHY. A Littie Sister. By Maurice Lanprievx. Translated from the Third French Edition by Leonora L. YORKE Surrn. 7: x 5. xvii +303 pp. Kegan Paul. 5s. n. DEVOTIONAL. Tue Way oF Victory. By JEAN Roperts. 2s., 1s., 6d. Tur Emancipation or Woman. By JEAN ROBERTS. Mowbray. ls. DRAMA AND ELOCUTION. Peur Gyxt. By Henrik Issen. A New Translation by R. Exuis Roperts. 7} x 54. xxix + 254 pp. Martin Secker. 5s. n. Passers-By. A Play in Four Acts. By C. Happon CHamBers. 6} x 5. 139 pp. Duckworth. 2s. Five Onu-Act Prays: The Dear Departed, Fancy Free, The Master of the House, Phipps, The Fifth Command- ment. By S. Houcuron, author of Hindle Wakes. 7; x 42. 111 pp. Sidgwick & Jackson. 1s. 6d. n. EDUCATIONAL. Wuere Epvcation Fars. By Preston Were. With an Introduction by the Rigur Hon. Lorp SHEFFIELD 74 x 5. 114 pp. Ralph, Holland. 1s. n. FICTION. Tur Ware Case. By Gerorce Pisypett. Methuen & Co. 6s. Our Own Country. By Lovurse Sracpoote Kunny. Dublin: James Duffy, Ltd. 2s. Nevertuetess. By Isapen Smrrx, author of Mated, The Minister's Guest, etc. Alston Rivers. 6s. 164 Joux CHRISTOPHER. JOURNEY’S Enp. By Roman Rottanp. Translated by GILBRET CANNAN. 7Z Xx 5. 540 pp. Heinemann. 6s. Tue BeLoveD ENemy. By E. Marta ALBANESI. 73 x 5. 323 pp. Methuen. 6s. Swirr Nick or THE YorK Roap. By GEORGE EpGAR. 73 x 5. 412 pp. Mills & Boon. 6s. Skipper Anne. A Tale of Napoleon’s Secret Service. By Maran Bower. 74 x 5. 316pp. Hodder & Stough- ton. 6s. East or THE SHapows. By Mrs. Husurt Barcvay. 73 x 5. 304 pp. Hodder & Stoughton. 6s. PaRENTAGE. By Guapys MENDL. 72 x 5. 308 pp. Chapman & Hall. 6s, CHILD oF THE Storm. By H. Riper HaGGARD. 72 Xx 5. 348 pp. Cassell. 6s. An Arram or Sats. By J. C. Snairu. 74 x 5 351 pp. Methuen. 6s. Concert Prrcu. By Frank Dansy. 7} X 43. 380 pp. Hutchinson. 6s. Tue Lirtir Grey SHor. By P. J. BREBNER. 74 x 5. 312 pp. Hodder & Stoughton. 6s. Tue Peart Stringer. By Praay WEBLING. 7j X 5. 313 pp. Methuen. 6s. THe Lapy oF THE Canartes. By Sr. Jonn Lucas: 7k x 5. 346 pp. Blackwood. 6s. New WINE AND OLp Borries. By ConsTANCE SMEDLEY. 74 x 43. 307 pp. Fisher Unwin. 6s. A Master or Deception. By RicHarpD MaRsH. 336 pp. Cassell. 6s. Tur Hovsr oF THE OTHER WORLD. 7% Xx 5. By VioLtet TWEE- DALE. 7% x 5. 320 pp. John Long. 6s. dipary’s Career. By Parry Truscott. 7} x 5 305 pp. Werner Laurie. 6s. Her Srcrer Lire. By Rosurr Macuray. 7} X 5 312 pp. F.V. White. 6s. Puyiiipa Fouts Mz. By Mary L. PENDERED. 73 X 5. 286 pp. Mills and Boon. 63. No Otner Way. By Louis Tracy. 7} X 9. 318 pp. Ward Lock. 6s. Tun LANE THAT HAD NO TuRNING. By GILBERT PARKER. 260 pp. (Sevenpenny Library.) 6} x 44. Hodder & Stoughton. Tu ExpLorrs or BRIGADIER GERARD. By A. Conan Doyie. (Cheap Reprint.) 6} x 44. 334 pp. Smith Elder. 1s. n. Vurtep Women. By MarMapUKE PICKTHALL, 7} X 5. 320 pp. Nash. 6s. Wo,. By Mavrice Drake. 7} X 5. 316 pp. Methuen. 6s. Hetexa Brerr’s Carzer. By Desmond CoKE. 7] X 9. 320 pp. Chapman & Hall. 6s. Her Convict Huspanp. By Marte Connor LEIGHTON. 73 x 5. 320 pp. Ward Lock. 6s. HISTORY. France. By Cecrs Huaptam. 8} X 5k. 408 pp. (The Making of the Nations.) Black. 7s. 6d. n. MILITARY. BrermsH Batrues: Crucy. By Hrare BELLoc. 64 x 44. 113 pp. Swift. 1s. n. MUSIC. A Coxcisp History or Music. For the Use of Students. By the Rey. H. G. Bonavia Hunt, Mus.D., F.R.S.E. New and Cheaper Edition. 63} x 4. 184 pp. Bell. 28. n. THE AUTHOR. NATURAL HISTORY. A History or British Mammats. By Geratp E. H. BarRett- HAMILTON. Part XIII. 10. x. Oe pp. 313—360. Gurney & Jackson. 2s. 6d. n. POETRY. Porms. By JosEpHINE V. Rows. Lynwood. 2s. 6d. n. POLITICAL. Tur Lorps or THE Devit’s Panavise, By G. SIDNEY PATERNOSTER. 7% x 5. 327pp. Stanley Paul. 5s.n. 7% x 5. 224 pp. REPRINTS. Tur Dynasts. By Tuomas Harpy. Parts I. and II. xvi + 404 pp. Part IV. 423 pp. (Wessex Edition.) 9 x 53. Macmillan. 7s. 6d. n. each. SCIENCE. Voucanozs. Their Structure and Significance. By T. G. Bonney, Sc.D., LL.D. Third Edition. 379 pp. _6s. n. Tus INTERPRETATION OF Rapium. By F. Soppy, F.R.8. Third Edition. Revised and Enlarged. 284 pp. 6s.n. Herepity. By J. A. THomson. Second Edition. 667 pp. 9s. n. (The Progressive Science Series. 8} x 53. Murray. THEOLOGY. Tur Lieut or Inpra. By Haroup Beasiy. A New and Revised Edition of ‘Other Sheep.” 74 x 43. 224 pp. Hodder and Stoughton. Is. n. TOPOGRAPHY. Gattant Lirree Waxes. Sketches of its People, Places, and Customs. By JEANNETTE Marks. 7} X 0- 189 pp. Constable. 5s. n. ——_+— > o—_—__ LITERARY, DRAMATIC, AND MUSICAL NOTES. —+—< + — Messrs. Macmillan & Co. announce the pub- lication in April of the first two volumes of the “‘ Bombay Edition of the Works of Rudyard Kipling,” containing all the author’s writings, verse and prose, newly arranged and cor- rected by himself. The edition, which will be limited to 1,050 copies, will occupy twenty- three volumes, and the first of every set will be autographed by Mr. Kipling. Two volumes will appear every two months until the edition is complete. The price will be one guinea net per volume, and the work will only be sold as a whole. The same firm are the publishers of Mr. Maurice Hewlett’s ‘‘ Helen Redeemed and Other Poems,” a volume of verse mainly concerned with classical subjects; the prin- cipal poem occupies half the book, which concludes with fourteen sonnets and some fragments. 00 ab th E 100 Ye HE OE > a : We ors Seog re ¢ *- Ser pe i Sang int sa Sa poe Gath oe ~ ee THE AUTHOR. Messrs. Macmillan have also recently pro- duced ‘ Portraits and Speculations,” a col- lection of essays by Mr. Arthur Ransome on literary and artistic topics; “ Highways and Byways in Somerset,” Mr. Edward Hutton’s contribution to the Highways and Byways Series ; and “‘ The Reef,’ Mrs. Edith Wharton’s new novel, the scenes of which are chiefly laid in France. Mr. Arnold Bennett’s new novel, ‘“‘ The Regent,” is published by Messrs. Methuen & Co. “The Faith of All. Sensible People,” by Mr. David Alec Wilson, is appearing this spring through the same firm, at the price of 2s. 6d. net. Miss Ellen Key’s latest work is a survey of the feminist question in its entirety, and is published by Messrs. G. P. Putnam’s Sons under the title of “‘ The Woman Movement,” with an introduction from the pen of Mr. Havelock Ellis. The author includes in her book a statement of what she considers to be the new phase upon which the feminist move- ment is entering, in which the claim to exert the rights and functions of man is less impor- tant than the claim of woman’s rights as the mother and educator of the coming generation. A second edition of Professor Charlton Bastian’s ‘‘The Origin of Life,’ with an important appendix and two new plates, is published by Messrs. Watts & Co. at 3s. 6d. A French translation of the same work, by Professor L. Guimet, is appearing through M. Lamertin, of Brussels. Mr. Herbert Jenkins, Ltd., is about to pro- duce an anonymous book entitled ‘* National Revival, a Restatement of Tory Principles,” with a preface by Lord Willoughby de Broke. It is claimed for this that it re-affirms the vital principles of Conservatism, and appeals eloquently to the Conservative elements in the nation to rally round a new ideal of patriotism, a new conception of national policy; that it vindicates the Conservative conception of the Constitution, and develops a Conservative doctrine of social reform, which provides a real alternative to the panaceas of Radical-Socialism; and that it gives to patriotic Englishmen of every class a new confidence, a new inspiration, and a new hope. Mr. A. Abram has brought out, through Messrs. George Routledge and Sons in England and Messrs. KE. P. Dutton & Co. in the United States, a book on “‘ English Life and Manners in the Later Middle Ages,” with 77 illustra- tions from contemporary prints reproduced from MSS. at the British Museum, &c. In an 165 appendix of over 50 pages a detailed list of authorities is furnished. The price of the English edition is 6s. Father Sebastian Boden has written the preface to “A Little-Sister,”’ translated by Miss Leonora L. Yorke-Smith from the French of Mgr. Maurice Landrieux, Vicar-General of Rheims. Messrs. Kegan, Paul, Trench, Tritbner & Co. are the publishers. Messrs. Hutchinson & Co. publish on the 4th inst Mr. Philip W. Sergeant’s “ Little Jennings and Fighting Dick Talbot: a Life of the Duke and Duchess of Tyrconnel.”’ This is an attempt to do justice, late in the day, to James II.’s great Irish Viceroy and his wife, who have suffered heavily in the past from the “‘ Whiggishness”’ (as the late Mr. Andrew Lang expressed it once) of the muse of English history. The work is in two volumes and is illustrated with 17 portraits. The same publishers have added to their Colonial Library Mr. F.. Bancroft’s “ The Veldt Dwellers,’ which appeared in 6s. form last October and has gone through six editions. They are now bringing out a sequel to this Anglo-Boer War story, under the title of “Thane Brandon.” Mr. Bancroft has dis- posed of the American rights of both “ The Veldt Dwellers’? and ‘‘ Thane Brandon” to Messrs. Small, Maynard & Co. Mrs. Mary Gaunt brought out last month, through Mr. T. Werner Laurie, her new novel, ‘“‘ Every Man’s Desire,” a story of life in West Africa, a part of the world with which she is well acquainted. She has started for an expedition through unknown China, after a visit to her brother-in-law, Dr. Morrison, in Peking. A second edition has appeared of Mr. C. E. Gouldsbury’s ‘‘ Life in the Indian Police,” of which the publishers are Messrs. Chapman & Hall. The same firm last month, published Miss Violet A. Simpson’s new novel, “ The Beacon Watcher.”’ Mr. James Baker, F.R.G.S., has published, through the Bodley Head, “Austria: Her People and their Homelands.’’ The book is illustrated with forty-eight pictures in colour, and is issued at 21s. net. Messrs. Longmans announce that they have in preparation a limited issue of a book by Mr. J. G. Millais, the son of the artist and a well-known naturalist, on ‘“ British Diving Ducks.” It will be published in two quarto volumes, and is intended to afford a complete history of all the species of diving ducks that are indigenous in or visitors to the British 166 Isles. The illustrations will be on an un- usually elaborate scale. Messrs. Ralph, Holland & Co., have issued a book entitled ‘‘ Where Education Fails,” by Mr. Preston Weir. Additional interest is lent to the work by the fact that the introduction is contributed by Lord Sheffield, better known among educationists as the Hon. Lyulph Stanley. Mr. G. Sidney Paternoster has published, through Messrs. Stanley Paul & Co. at the price of 5s. net, “ The Lords of the Devil’s Paradise. The grim story of rubber collec- tion in the Putumayo.” The author has been for twenty-two years connected with Truth. He has collected the stories of the witnesses and collated the evidence. In this book he tells the story in its entirety. “ Rita’s ’ new novel, “‘ A Grey Life,” is a romance of Bath in the seventies and eighties— a period not hitherto touched on by authors writing of the famous City of Waters. A brilliant Irish adventurer is the central figure of the tale. The publishers are Messrs. Stanley Paul. The same firm has just produced Mr. Rafael Sabatini’s ‘‘ The Strolling Saint,’ the imaginary memoirs of Augustine, Lord of Mondolfo, at the time of the Italian Renaissance. Miss Annesley Kenealy’s “The Poodle Woman,” is the first of a Votes-for-Women series of 6s. novels from the same house. ““'The Poodle Woman ”’ is a love-story, as well as an attempt to answer the question, What do women want ? Messrs. Stanley Paul are also the publishers of four novels—Mr. Hamilton Drummond’s «¢ Sir Galahad of the Army”; Miss Theodora Wilson Wilson’s ‘A Modern Ahab”; Miss May Wynne’s “The Destiny of Claude ” ; and Mr. Charles McEvoy’s “‘ Brass Faces ””— and of Mrs. Edith Cuthell’s ‘A Vagabond Courtier.’’ In the last-named biography, Mrs. Cuthell returnsto the period of her‘* Wilhelmina, Margravine of Baireuth.” In it she tells, from his letters and memoirs, the story of Baron von Péllnitz, courtier of Frederic I. of Prussia, Frederic William, Frederic the Great, the Princess Palatine, the Duchesse d’Orléans, and several other European royalties. Messrs. Mills & Boon have published a new novel by Miss Mary L. Pendered. It is called ‘‘ Phyllida Flouts Me,” and is a country comedy, laid in Northamptonshire. The hero is a farmer, and the villain turns out to be a woman! Phyllida is the heroine, who reads THE AUTHOR. poetry, while her father worships roses, and her mother runs the farm. She “* flouts ”’ her true lover and takes up with an engaging — artist who proves exceedingly disappointing, But all ends as well as library readers expect. Messrs. Mills & Boon are also the publishers _ of Mr. George Edgar’s ‘‘ Swift Nick of the York Road,” a story of the romantic type, dealing with life on the highway, its hero being ~ Swift Nick Nevison, who really made the journey to York for which Dick Turpin got the credit. Mr. Richard Marsh’s new novel, “* A Master of Deception,” is issued by Messrs. Cassell & Co. Mrs. E. W. Savi’s “The Daughter-in-Law ” (Messrs. Hurst & Blackett) has its scene laid in India, a country with which the author displays a thorough acquaintance. Mrs. Savi has also had a complete story, of which the title is ‘‘ The Saving of a Scandal,”’ accepted by the editors of The Red Magazine. : Messrs. Holden & Hardingham, who brought out Miss Edith Kenyon’s Welsh novel, “ The Wooing of Mifanwy,” will follow this in May with another from the same pen, entitled, ‘*The Winning of Gwenora.” Miss Beatrice Kelston is the author of © ‘Seekers Every One,” the publishers being — Messrs. John Long, Ltd. The story deals with — a girl driven by disappointed love to go upon the stage. Miss Peggy Webling last month had a novel, “The Pearl Stringer,’ published by Messrs Methuen. Mr. Max Rittenberg has three books appear ing this year. A first novel, called “Th Mind-Reader,”’ will be brought out in April - by Messrs. Appleton both in London and in_ New York. A second book, a story of public school life with the title of ‘‘ The Cockatoo,” — is to be published in May by Messrs. Sidgwick & Jackson. Another novel, the title of which — is not definitely settled, is scheduled for September by Messrs. Methuen in London, and Messrs. Appleton in New York. : Mr. S. B. Banerjea, author of ‘‘ Tales of Bengal,” ‘‘ Indian Detective Stories,” ete., 1s writing a romance dealing with modern” crime, the scene of which is laid partly in England and partly in Sweden. The hero falls in love with a girl, who firmly refuses to marry him, as she is ‘“‘ wedded to a sacred cause,” which she will not disclose. A riv appears on the scene, and the two decide upon a novel plan of settling their difference. They fall, however, in the clutches of th “‘ wickedest man on earth,’? who has resolved to commit the most revolting crime that THE AUTHOR. human being can think of. The two rivals resolve to thwart his scheme. What they do, under what circumstances they discover their lady love, and what becomes of the “ sacred eause ’’ are, so far, the secret of the author. Mr. Banerjea is also translating an Oriental tale, which, in his opinion, almost resembles the *“‘ Arabian Nights ” in its breadth of con- ception and flight of imagination. It is small in bulk, but makes very entertaining reading for both young and old. : Early in March Messrs. Ouseley will publish Mr. Harry Tighe’s new novel, “‘ A Watcher of Life.” The book opens with a sketch of life in a modern French country house. From there it takes the reader to Paris, London, Surrey, and the South Austrian Tyrol, de- picting houses and scenes well known to the author. We learn from the ‘‘ Poetry Bookshop,” of 35, Devonshire Street, Theobalds Road, that owing to the exceptional demand for “ Geor- gian Poetry, 1911—12” (3s. 6d. net), pub- lished in December last, there has been much difficulty in the prompt execution of orders, and many of those who were anxious to obtain copies of the first edition have been unavoid- ably disappointed. The second edition is exhausted. A third edition is ready, and all orders can now be promptly executed. Last month, at Glasgow, Mr. William Miles gave the fourth of his recitals from the poetical works of Mr. Mackenzie Bell. Like its pre- decessors, the recital was well attended and successful. Mr. Clifford King has had the satisfaction, rare for a writer of verse, of seeing his **Poems’’ (Messrs. Kegan Paul, Trench, Triibner & Co.) run into a fourth edition. Mr. E. Hamilton Moore’s ‘“‘ An Idyll and Other Poems,” published by Messrs. Melrose, is a collection very varied, both in subject and in manner of treatment. The principal feature is a series of octosyllabic verses in sonnet form. Mr. H. Osmond Anderton’s ‘‘ The Song of Alfred” (Messrs. Constable) is an epic dedi- cated ‘To All the Folk of All the Britains,” and tells in ballad measure the story of the first true King of England. Miss Josephine Rowe subdivides her “Poems”? (Messrs. Lynwood & Co.) under the heads of Irish Lays and Lyrics, Poems of Human Nature, London Lays, Poems of Passion, Poems for Children, and Poems of Nature. One or two have already appeared serially. Miss Gertrude Robins’s collection of plays, ‘Makeshifts and Realities,’ has been pub- 167 lished in a fourth and revised edition by Mr. Werner Laurie at 1s. net. ‘* A Woman of Imagination” is a four-act play, written by Lloyd St. Clair and privately printéd. It deals with the influence of a young woman upon her surroundings—which include a middle-aged, money-making husband. In “ Living Music’ Mr. Herbert Antcliffe endeavours to indicate the main currents of modern music (in its more serious aspects), while disclaiming any intention of providing a complete guide to the tendencies and in- fluences now at work. In small compass the author covers a great deal of ground, and the volume is a worthy addition to the Joseph Williams Series of handbooks on music. We note that in The Churchman for January Mr. Antcliffe had an article on ‘ Congrega- tional Singing,’ and in the February West- minster Review one on Franz Liszt. Miss Josephine Riley’s ‘‘ Notes of Lessons on Pattern Drafting’ (Sir Isaac Pitman & Sons) is a volume with numerous plates, addressed to the Schools of the Dominions, and dealing with the teaching of needlework. Generally speaking, the book includes lessons in pattern-drafting and cutting-out, graduated for all classes. The author aims at presenting a recognised system which, correlated with art, can be earried from class to class; based on the latest requirements of the Board of Education. Last month was published. by Messrs. Methuen, ‘‘ Health through Diet,’”’ by Kenneth G. Weis, L.A.C.P. Lond, M.B.CS5. Eng., with the advice and assistance of Alexander Haig, M.A., M.D. The sub-title of the book shows that it is ‘‘a practical guide to the uric-acid-free diet, founded on eighteen years of personal experience.” Mr. E. J. Solano edits ‘‘ The Imperial Army Series of Training Manuals,’ written by officers of the regular Army, and published by Mr. John Murray, at 1s. each. Of these manuals, four have been issued, on Physical Training (senior and junior courses), Drill and Field Training, and Signalling; and others are announced on Musketry, Field Engineering, Camp Training, and First Aid. Those who have read Mr. Jeffery Farnol’s “The Broad Highway ” will welcome an illus- trated edition at the price of 10s. 6d. The illustrations are by G. E. Brock, and the book will make a sound present. Yet another monthly review is on the market at the moderate price of 1s. net. The English Review was the first. Now the British Review follows; does it intend to outstrip its rival ? 168 In the prospectus it is stated, “ The outlook will be imperial ; whilst all sides will be given impartial hearing, combined with fearless candour in proclaiming facts. Literature and criticism will be treated from the newest stand- points.” This latter statement is reassuring, for the present treatment of literature and criticism needs some revision. Mr. Eveleigh Nash published last month a volume by Clare Jerroldon “ The Married Life of Queen Victoria,” in which both the Queen and her Consort are shown “according to contemporary information and impressions, rather than in the purely and impossibly idealistic way of the various lives written upon them.” Professor Geddes has written, ‘‘ The Masque of lLearning’’—a medieval and modern pageant of education throughout the ages. which is to be produced in the Great Hall of the University of London on the evenings of March 11, 12, 18, 14 and 15, under the general direction and stage managership of Mrs. Percy Dearmer. Tickets may be obtained of Messrs. Chappell & Co., and of the Masque Secretary, Crosby Hall, Chelsea. We regret that, owing to an oversight, we omitted to mention a book published last summer by Mr. Allen Fea, through Mr. Eveleigh Nash. It was entitled ‘‘ Old World Places,” and treated principally of the Mid- lands and the Fen Country. There were fifty illustrations to the work. DramarTIc. On January 24, at the Abbey Theatre Dublin, Mr. Sidney Paternoster’s play, “‘ The Dean of St. Patrick’s,’’ was produced for the first time, the Abbey No. 2 Company making a very good show in it. The aspect of Jonathan Swift which is presented in Mr. Paternoster’s work is the romantic Dean, the lover of Stella and Vanessa; and the story is made to end with the bringing of the news of Stella’s death to the broken-down wreck that once was so imposing a figure. The playwright has been very ambitious in his attempt to put Swift upon the stage, but he met with more than a small measure of success, whether or not his play is destined to be seen in London one day. In Mr. Jerome K. Jerome’s ‘“‘ Esther Cast- ways,” at the Prince of Wales’s Theatre, Miss Marie Tempest made a notable hit, and if the author cannot be said to have used a very novel theme, he certainly has worked out his plot in a manner calculated to show off his THE AUTHOR. leading lady to excellent advantage, and provided visitors to the Prince of Wales’s, with a good evening’s entertainment. a Mr. Edward Knoblauch, in collaboration with Mr. Wilfred Coleby, and with the assist- — ance of Mr. Cyril Maude in the title rile, has — tickled London with ‘‘ The Headmaster,” and — the only grievance which one can bring ~ against all concerned in the production is that the spectator at the Playhouse cannot make _ up his mind whether he is witnessing a farce or an idyll. But, whichever it is, it is vastly attractive, and has already added another to Mr. Knoblauch’s successes as a collaborator. Mr. Stanley Houghton’s “‘ Trust the People” _ was produced at the Garrick Theatre on ~ February 6, and within a few days we heard ~ that the Chancellor of the Exchequer had been — to see it, while the Speaker and the Colonial — Secretary had written to the author to con- — gratulate him on the success of the electioneer- _ ing scenes in the play. The leading part, the man of the people, who has risen to be Cabinet — Minister, was played by Mr. Arthur Bourchier. — Mr. H. V. Esmond produced his three-act — comedy, ‘‘ Eliza Comes to Stay,” at the — Criterion Theatre, on February 12, the Eliza — being Miss Eva Moore (Mrs. Esmond), and the — author playing hero. A capital start was ~ made, and, to judge by the first week’s houses, — a prosperous career seems in store for the play. — Mr. William Archer’s version of Ibsen’s — great historical drama, known in this country — as ‘‘ The Pretenders,’ met with a genuine — artistic triumph at the Haymarket on February 13. At the Comedy Theatre on February 15, ~ ““Lady Noggs, Peeress,’’ an adaptation by Miss Cicely Hamilton, from Mr. Edgar Jepson’s © novel of that name, was presented for the first time to a sympathetic audience. : Mr. Basil Gill has recently accepted a play, — which Mr. Tighe has written in collaboration - with Mr. Cecil Rose, and hopes to produce it — at an early date. a A new comedy entitled ‘‘ Her side of the House,”’ by Mr. Letchmere Worrall and Miss — Atté Hall, has been put into rehearsal at the © Aldwych, and will be produced on March 4. The Theatre in Eyre gave two performances on January 31 at Crosby Hall, More's” Garden, Chelsea Embankment, the selected pieces being “‘ The Veil of Happiness,’’ trans- — lated from the French of M. Georges Clemenceau (ex-Premier of France), ane ‘*Home from the Ball ’’—according to th Times report, “‘a quite charming little fane by Edith Lyttelton.” THE AUTHOR. PARIS NOTES. 2 ee ry E que demande la Cité,” is a little : ) 2 volume containing twenty causeries, by M. Raymond Poincaré. The .vesf President of the Republic informs the young sen men of to-day what their country expects of od them, and explains to them the working of ‘sev French social life. It is a book to be read “1 9% by Frenchmen and foreigners alike, for in it . a4 the author explains clearly much that should _4 « be known concerning the State, the Constitu- ‘act tion, the President of the Republic, the Minis- vt ters, the Chamber of Deputies, the Senate, ed the Budget, Taxes and Military Service. e4 No one is better qualified for giving this ‘sola information than M. Raymond Poincaré. ~ 6H He was elected Deputé at the age of twenty- “ove. seven, Minister of Education when thirty-two, ed) then Minister of Finances, Senator, Rappor- / 9) teur Général du Budget. He has been a Member 4 i, of the French Academy for some years, and ee was elected President of the Conseil des #iailf Ministres in 1912, and President of the French 99%) Republic in 1913. T ‘The book of the month, which everyone ef 4) is now reading is “La Mort,” by Maurice $58M Maeterlinck. It came out some little time # 02) ago as a serial, and now that it is in volume ma) form it promises to be as much read as “The Treasure of the Humble.” ‘Ta Maison brile,’? by Paul Margueritte, is another of the clever novels by this author, the theme of which is the question of divorce. In “ Les Fabrecé ” we had an excellent example of solidarity, and saw all the members of the family sacrificing their own interests for th> general good. In “La Maison brile,’’ the husband is unhappily married, but, for the sake of his two children, he will not repudiate his wife. Finally, in order to marry again, he decides to ask for a divorce, but his wife will not consent to this, until she finds it is to her interest. The story is an interesting one and is cleverly handled. “Les Sables mouvants,’’ by Collette Yver, is another novel by the author of “‘ Princesses de Science.” Most of this writer’s books are written with some special purpose. In this one a curious psychological study is given to us, but the book is too crowded. ‘There is matter enough for two or three stories con- tained in one. “Le Duc Rollon,” by Léon de Tinseau, is a story which opens in the year 2000 and the scene is laid in Washington. The book is a curious one and not at all in the usual style of this author. 169 “ Pernette en Escapade” is a distinctly adventurous story by Charles Foley. Per- nette, as the title indicates, is one of the emancipated. She goes as far as she can in her adventure, and the situation becomes dramatic. The story is told in a_ bright, amusing way. La Fontaine has been very much in vogue this winter. M. Faguet has been lecturing on him, and M. Louis Roche gives a most interesting ‘volume entitled “‘ La Vie de Jean de La Fontaine.’”’ We have a full account of him as a child, and as a man, and, after reading this book, much that had seemed almost incomprehensible in his life is explained. “Au Chevet de la Turquie,’ by Stephane Lauzanne, is an account of a recent journey to Constantinople. The author had forty days’ experience of the struggles of a dying Empire. ‘De la Plata a la Cordillére des Andes ”’ is the title of Jules Huret’s second volume on the Argentine. No better guide than M. Huret exists for the exploration of foreign countries. In the books he has written on America and Germany we are accustomed to strict impartiality and accurate information. He is a conscientious writer and a keen observer, and, while preparing his books he does not neglect the one essential thing for the subject he has undertaken, namely, to study it himself before writing on it, and this study, for M. Huret, usually means long months of exile in the country about which he intends to write. As a result of this thoroughness, the books he gives us are trustworthy documents, which will remain as landmarks in the history of nations, supplying information as_ to the physical, political, and human aspects of the countries described. “ [’Kpitre au fils de loup,” by Bahiou ‘lah, the founder of Bahaism, has been translated from the Persian into French by M. Hippolyte Dreyfus. “Le Fils de Loup,”’ was the name given to the High Priest of Ispahan, on account of his cruelty. Under the form of an open letter, Bahiou’llih explains to him the object of his mission, and reminds him of the chief events of his troubled life. It was the last work written by this prophet of a religion which claims to embrace all religions (as the keynote to Bahaism is universal fraternity). In 1892, Bahiou’llah died at St. Jean d’Acre. There is a fairly large group now in Paris of disciples of this prophet, and the members of the group are of all nationalities. “‘ Saynetes et Farces ”’ is the title of a little volume by M. Maurice Bouchor, which will be of great service for amateur theatricals. 170 “ Alfred Tennyson,” by M. Frédéric Choisy, is a remarkable study of the works and per- sonality of the English Poet Laureate. The author's object is to give the French reader a clearer idea than he has hitherto had of a poet who is comparatively little known in France. Among the more interesting articles in the Reviews lately are the following ones in the Revue hebdomadaire, “‘ Les Effets d’une Per- sécution sur la Vie d’une Eglise,” by Georges Goyau; “Un Lorrain (M. Raymond Poin- caré),’’ by M. Louis Madelin, and in the Figaro an excellent article by André Beaunier on “ Pere et Fils,” the translation of “ Father and Son,” by Edmund Gosse. We learn with great pleasure that Brazil has now decided to join the Berne Convention. The late M. Edouard Sauvel was largely instrumental in bringing this about. He was seconded by M. de Lalande, French Minister in Rio, and thanks are due to the Senator Guanabara for presenting the proposition to the Brazilian Congress and getting the Bill through within a year. A curious legal case has just been tried in Italy. Sardou’s play, ‘“* Fédora,” was given in Paris in 1882, but was not published in France until 1908. In 1883 Sardou authorised M. Bersezio to put on the stage an Italian translation of ‘“ Fédora.” The drama was printed and published in Italian in 1892 by Messrs. Treves. In 1889 Bersezio retroceded his rights to Sardou, and after Sardou’s death, his heirs transferred the Italian rights in “Fédora”’ to M. Riceardi for a period of twenty-five years, dating from January 1, 1910. In August, 1911, M. Lombardi put on Bersezio’s translation in Rome, at the Adriano Theatre. M. Riccardi claimed an indemnity. The case was tried, and the verdict was in favour of M. Riccardi. M. Lombardi claimed that ‘‘ Fédora’’ was in the domaine public, and that, by virtue of other special laws, he had a right to use this translation of Bersezio’s. The case was brought before a higher court. By virtue of the law of 1882, the Court maintained that Bersezio, having fulfilled all the formalities necessary, and then having retroceded his rights to Sardou, and M. Riccardi, having arranged with the heirs of Sardou, he alone had the right to use the translation in question. M. Lom- bardi has, therefore, lost his case. Maurice Donnay’s play, in four acts, ‘* Les Eclaireuses,’’ has been, and still is, a great success at the Comédie Marigny. At the Vaudeville, Sacha Guitry’s play, THE AUTHOR. > ‘La Prise de Berg-op-Zomm,’ bill. ‘“‘La Femme Seule,” is being given at the Gymnase, and at the Variétés, “‘ L’Habit vert,” a comedy in four acts, by M.M. Robert de Flers and Gaston A de Caillavet. is still on the > Autys HALLARD. “Ce que demande la Cité.” “La Mort.” (Fasquelle.) “La Maison brile.” (Plon.) “ Les Sables mouvants.” (Calmann-Lévy.) “Le Duc Rollon.” (Calmann-Levy.) “Pernette en Escapade.”’ (Tallandier.) “La Vie de Jean de La Fontaine.” (Perrin.) ** Au Chevet de la Turquie.” (Fayard.) “ De la Plata 4 la Cordillére des Andes.” “ L’Epitre au fils du loup.” (Hachette.) (Fasquelle.) (H. Champion.) THE COLONIAL BOOK TRADE. i? is very flattering to The Author to know that its renown has gone round the world and back again. Towards the end of last year certain articles were published in its columns dealing with Colonial copyright. One of these was re-published in the enterprising periodical known as the Publishers’ Weekly in the United States. This got into the hands of the editor of a periodical called The Bookfellow, published in Sydney, Australia, and the editor has devoted some two pages to traversing the statements made in the article that originally appeared in The Author. He begins by denying the following statement that ‘‘ English works—in comparison with American—do not get a fair circulation on the Colonial markets.” In answer to that he states as follows :— “* Speaking for Australia and New Zealand, this is untrue ; every bookseller will agree with us that this is untrue ; statistics will prove it to be untrue. Look at the contrast between Australian imports from Great Britain—value in 1911 £618,043 ; and from America—value 1911 £53,668. ‘Works’ means general literature; and nearly all general literature that we sell is published in Great Britain. Tf what is meant (but not said) is fiction, the statement is still untrue; English novels in comparison with American do get a fair circulation on the Australian market. They get the lion’s share of the circulation; there is no doubt whatever about that.” We are very glad to print this statement, but still wonderful stories are told of the energy and push of the American book agent. The editor then turns from general literature to novels, thinking apparently that the Society of Authors and The Author represent writers of fiction only, and he gives some facts about the Australian book trade that are worth reprinting :— THE AUTHOR. “ A bookseller usually has to leave the first purchase of books to his London agent—simply because most books cannot be shown round at the Australian distance on or before publication. The bookseller himself remains an active controlling foree; he orders a likely seller in advance of publication, or if he gets insufficient stock of what looks a likely seller, he cables at once for a fresh supply. All the time he is on the look-out for steady sellers with the hope of a long run. Unluckily most English novels are not sellers—to our sorrow. They are worth about the number of copies the London agent sends ; and then ‘ it isn’t worth re-ordering.’ That isn’t the fault of the bookseller ; it’s the fault of the books.” He continues with a statement headed “‘ DIFFERENCE IN ‘ CoLoNIAL’ PUBLISHERS.” ‘Tt is quite correct to say that some London publishers are worth, for ‘ Colonial’ sale, a lot more to an author than are others. Some publishers simply drop their novels on the market ; if they sell, welland good ; if they don’t sell, the publisher makes his profit on the average. Others circulate a few review copies. Others really push every book with the aid of local agents; and these, we may modestly say, supplement agents’ visits to the trade— which, because of the vast extent of territory to cover, can only be made annually or semi-annually—by advertising to the trade in The Bookfellow. It stands to reason that these pushing publishers in relation to our trade are the best for authors who have an eye to ‘ Colonial royalties.’ The publisher who keeps his goods before trade and public all the time pushes many a languid or reluctant bookseller to purchase. Booksellers aren't infallible, and sometimes they turn down a book which, when it is pushed by the publisher, turns up trumps. So that, on this head, there is some truth in our author's complaint. But it is the business of his publisher, not of booksellers, to see that his book gets the fullest Australasian publicity. And if his publisher doesn’t do that, and he values his ‘ Colonial ’ royalties, the cure for his complaint is not to abuse the bookseller, but to change his publisher.” This latter paragraph certainly contains some valuable information for the benefit of the members of the Society. It now remains to discover, if possible, those publishers to whom the editor of The Bookfellow makes reference. But the statement on which all these articles have been written is still true, that the Colonial sales in proportion to the English sales are not as large as they should be. Colonials are better buyers of books because there are fewer and in some cases no lending libraries. The returns on the accounts should therefore show a better proportionate result. Why don’t they ? ——_—___-_+-—¢— DRAMATISATION OF NOVELS AND PUBLICATION OF PLAYS. + Important AMERICAN DECISIONS. HE Report of the Register of Copyrights in the United States for the vear 1911—1912 contains two important eases, which more particularly concern the 17i interests of British dramatic authors and novelists owing to the change in the law effected by the Copyright Act, 1911. Under the Act the public performance of a play is no longer equivalent to publication, and_ the novelist is given the exclusive right of dramatis- ing his novel. These changes in the law are very material to the American cases reported below, which were decided before the new Copyright Act came into operation. The question in the first case is one which may arise under the English law, namely, whether the manufacturer of films, for produc- tion by cinematograph of scenes taken from a novel, has infringed the copyright of the novelist, who has the exclusive right of dramatising his work. The second case calls attention to the fact that British authors resident in England are entitled to protection in respect of unpublished works by the common law in the United States ; while by the English Copyright Act the common law rights are abolished, and the statute gives no protection to American authors resident in the United States in respect of their unpublished works. The abrogation of the common law rights has a serious effect, since the public performance of a play no longer amounts to publication according to English law; and the so-called “ copyright performance ”’ of a play in England will not confer the statutory right which attaches to a published work. The American dramatist must print and publish his play in order to acquire statutory copyright in England, but the English dramatist is entitled to protection in the United States without publication. Karem Co. v. Harper Bros. This was an appeal by the Kalem Co. against an order restraining an infringement of the copyright in the novel “ Ben Hur” by the late Gen. Lew Wallace. The appellant com- pany were manufacturers of films, which were used in cinematograph reproductions, and they employed someone to read the novel and to write a description of certain scenes, which might be reproduced in cinematograph exhibi- tions. They took photographs of these scenes and manufactured films, which they advertised under the title ‘‘ Ben Hur.’’ They then sold the films, and public representations were given of these scenes in cinematograph exhibitions. It was contended that, as authors have the statutory right of dramatising their novels. the representation of the scenes, which was founded upon a dramatisation of the story, was an infringement of the author’s copyright. 172 On the other hand, it was urged on behalf of the appellant company that an attempt was being made to extend copyright to ideas, as distinguished from the words in which those ideas were clothed, and further that they had not infringed the copyright, because they did not exhibit the pictures, but merely made the films and sold them. The Court held that the novel was dramatised by what the appellants had done, for drama may be achieved by action as well as by speech. Action could tell a story, display all the most vivid relations between men, and depict every kind of human emotion, without the aid of a word. A novel might be drama- tised by pantomine, and it made no difference whether the effect was produced by living figures, or mechanical means, or reflection from a glass. The essence of the matter was not the mechanism employed, but that the spectators saw the incidents of the story or the story lived. Further, the appellants had invoked by advertisement the use of their films for dramatic reproduction of the story, and that was the purpose for which the films were made. If they did not contribute to the infringement it would be impossible to do so except by taking part in the final act. The appellants had infringed the copyright in the novel and the appeal was dismissed. FERRIS v. FROHMAN. In this appeal Mr. Ferris claimed the statutory copyright in the play entitled “ The Fatal Card,” by Mr. Haddon Chambers and Mr. B. C. Stephenson, who were British sub- jects resident in London at the time of its composition in 1894, The play was performed in London on September 6, 1894, and had not been copyrightea by the authors in the United States. Mr. Frohman acquired American rights under an agreement, and the play had been represented by him in the United States. Mr. George McFarlane made an adaptation of the play and assigned his rights to Mr. Ferris, who copyrighted it in August, 1900, and repre- sented it in the United States. The adapted play contained the essential features of the original play, though it differed in various details. On behalf of Mr. Frohman it was contended that, as the performance of the play in England was not publication, the authors had not lost their common law rights; and that it was not necessary to comply with the statutory provisions for the protection of the copyright. THE AUTHOR. Butit was argued that the English authors being domiciled in England were not entitled to common law rights in the United States, and that Mr. Ferris having copyrighted his adapta- tion of the play in America was the owner of the statutory copyright. The Court held that the authors of the “Fatal Card’? had a common law right of property and were entitled to protection against its unauthorised use in the United States. The common law right was not lost by public performance of the play, which was_ not equivalent to publication. The play had not been printed and published, and the statute did not deprive the authors of their common law right. The adaptation of the play was a piratical composition, and Mr. Ferris could not secure the fruits of piracy by copyrighting it under the statute. The judgment of the Supreme Court of Illinois, which had decided against the claim of Mr. Ferris, was affirmed. Haroitp Harpy. —_—_—__—_.——e____ RIGHTS IN UNPUBLISHED MANUSCRIPT. ++ CANADIAN Law SvIT. (Published by permission of the editor of the “* Publisher's Weekly,” U.S.A. LAWSUIT of considerable interest to both publishers and authors has just been decided by the High Court of Justice of Ontario. In effect, the case is a sequel to an earlier case which was fully re- ported in the Publishers’ Weekly of October 28, 1911. Briefly, an author, Dr. W. D. LeSueur, of Ottawa, was invited to prepare a life of William Lyon Mackenzie for the “ Makers of Canada” series, published by Morang & Co. Through the courtesy of the Mackenzie family, he was allowed access to a collection of papers and documents left by Mackenzie and, with the assistance of this material, compiled his biography. When his manuscript was sub- mitted, however, it was found that he had taken such a prejudiced view of the subject that it was deemed inadvisable to publish his work in the series, and another life was pre- pared in its place. Doubtless influenced by the Mackenzie family, Morang & Co. refused to return the manuscript to Dr. LeSueur. The latter sent back the money which had been paid him in the first instance and brought suit against the THE AUTHOR. ‘ide publishers for the recovery of his property. 4 The case was carried from court to court, and 22. was finally decided in favour of the plaintiff -~by the Supreme Court of Canada in October, “61911. The Court directed that Morang & Co. of should forthwith hand over the manuscript to 6 the author. 4 Following the return of the manuscript Mr. 5 £G. G. S. Lindsey, grandson of Mackenzie and 2m custodian of his papers, took steps to prevent ~ ej its publication by Dr. LeSueur. He brought ‘i suit against him to compel him to deliver up ii all extracts from and copies of any manu- “to, scripts, books, papers, writings, and docu- ‘gg; ments of every kind, obtained from the ‘sal Mackenzie collection, and to restrain him from i4gq publishing them or causing them to be pub- sei lished. This case has just been heard, and ) judgment in favour of the plaintiff delivered on idsl January 9. a ‘Tt seems to me clear,” said Mr. Justice @ Britton in rendering his decision, ‘* that the lq plaintiff (Lindsey) and the late Charles Lindsey q) (plaintiff's father) supposed that the defen- <6 dant (LeSueur) intended to write of William I Lyon Mackenzie as one of the men in Canadian sid history who can fairly be called, speaking "45 colloquially, as one of the ° Makers of Canada.’ 7% The conduct of the defendant and what he 2 said warranted the plaintiff and Charles uJ Lindsey in so thinking. I must find as a fact 4 that the defendant gave the plaintiff and 3 Charles Lindsey to understand that the views * and feclings of the defendant towards Mac- ed kenzie were friendly, and that his attitude in | presenting Mackenzie to the public was a fair °f@ one, that he had no bias against Mackenzie, ‘es and that-he had no feeling or opinion which »# would prevent him, as a writer, from truly 2#/@ presenting the facts and circumstances of 1 Mackenzie’s life and character. The defen- 4b dant, in my opinion, intended that the plaintiff bes and Charles Lindsey should believe as they vb. did in reference to defendant’s feeling and 46 attitude. - “At the time of defendant’s arrangement with the plaintiff, the defendant did hold strong views against Mackenzie. At that time the defendant intended to write the life of Mackenzie on other than conventional lines. ‘He intended to write of Mackenzie, not as one of the ‘ Makers of Canada,’ but as a ‘ puller- down,’ as was stated during the trial. “J am of the opinion, upon the evidence, that the defendant made use of the Mackenzie collection of books and papers other than was in accord with the understanding between him and the plaintiff and Charles Lindsey. 173 The use was made contrary to the wish, and contrary to what was known to be the wish, of the plaintiff's father. It is inconceivable upon the facts that either Charles Lindsey or the plaintiff would have permitted access to the Mackenzie papers had either known or supposed that such manuscript as the defen- dant produced would have resulted. It is plain to me that the defendant knew that he could not have obtained access to the collec- tion had he revealed his true feelings or declared his real intention. : ‘“No question of copyright is involved. It is a question of getting access to the house of another and using the property therein for personal purposes, different to what was con- sented to by the owner.” W. A.C. —_—_——_—_+—_>—_o—__—__ THE SORROWS OF A FREE-LANCE. —+—<—+— HIS subject has been tackled before, but every day competition gets keener, and the “‘ sorrows” greater; a few hints may help ‘‘ would-be ” writers. The free-lance offers something for sale, the supply of which far exceeds the demand ; no editor requires any free-lance, every free-lance requires some editor, what is more, requires many editors if he is to make a living with his pen. Strikingly uncommon, clever people compel attention—there is always room on the top—but these mostly are annexed by editors, becoming members of the staff of well-known papers, or their work is commissioned. They sueceed ; but they cease to be typical free- lances. Now, each person should ask himself, if he really has something to say, and if he is prepared to face obstacles and rebuffs, endless anxiety, and disappointments in order to say it. If he thinks he can make an easy living by free-lancing, he is much mistaken; it is quite possible for a free-lance to have contri- buted to over thirty publications, included among thenumber being Is. and 6d. magazines, and yet not make a net income of £40 a year. If anyone wishes, let him try and see for him- self whether the game is. worth the candle. The most important thing of all is for him to find out what the character of the paper is, and what the views of the editor are, also what regular contributors he has already working for him, and what subjects he has already dealt with. All this “scouting,” is very difficult, and constitutes the “via erucis ”” of * 174 whoever tramps Grub Street with something to sell. Advertisements increase daily, the staff does a good deal of the letterpress, agencies supply endless illustrations, topical subjects take up much space, so that it becomes hard for even a willing editor to squeeze in the work of a new free-lance, unless by doing so he believes he is enhancing the worth of the magazine he edits. It is a question of the survival of the fittest amongst the too numerous publications, the editor must make his paper pay, and is forced to snuff out all mediocrities from its pages. There are only three ways of reaching the powers that be :— 1st. Sending manuscripts by post. 2nd. Interviewing the editors. 3rd. Writing a_ preliminary suggestions. The first is the worst system. It is as easy to get MSS. sent at random, accepted for publication, as it is for a blindfolded man to hit a target ; only a crack shot succeeds. The second is arduous labour; for the editors have no time to spare, detest being interviewed, do not require contributions, and resent being cross-questioned as to what they do want. They look upon the person carrying a pile of manuscripts as.one generally looks at a hawker, sometimes with pity, generally with irritation. The third is, to my mind, the less thorny path ; if no answer is received, one can take it for granted that contributions are not required, or that what one offers is unsuitable; if any subject appeals to the editor, he is almost sure to ask for the article to be submitted to him ; it also has the advantage of placing twenty or thirty subjects before his notice. This could not be done ina brief interview ; and if method number (1) were adopted, it would entail a fearful postage expense to the author in manuscript and a fearful loss of time to the editor. If once a subject is asked for, a careful study of the style of the publication should be made by reading a few back numbers. An idea must be formed as to what class of people it eaters for; every paper caters for a different public. The same subject would have to be dealt with entirely differently, if meant for a ls. magazine, or a 3d. rag. But—and here the “‘ sorrows ”’ come in, if the article does get accepted, the author must wait and see when it gets published and how and when he gets paid for it; he will often have to send in his account or solicit payment repeatedly. When he receives a cheque in any other profession, letter with THE AUTHOR. his troubles would be at an end ; not so with th free-lance. At the back of the cheque he wil find: ‘All British rights,’ ‘* Copyright,’ ** Artist’s rights,’”’ “‘ All author’s rights,” “* Al rights,’ ‘‘ Serial rights,” and many mor assertions of “rights”? for which he has no bargained for, and which he only vaguel understands. If he signs the cheque he ma land himself into no end of trouble in th future ; if he does not sign, or alters the wordin of the cheque, he cannot get payment ; asserts himself, or in any way ruffles the editors, he never will be allowed to contribut to their papers again, so that he is hemmed in on every side. As matters now stand, the author is always at a disadvantage. Of course. a good agent could overcome all these difficul- ties, but where are “‘ good ”’ agents to be found ?. More often by going to them one only gets more sorrows. Be not deceived—financially free-lancing is a poor game against uneven odds; morally—well—to me at least, it has been very well worth while. A FREE-LANCE. ee MAGAZINE CONTENTS. — + Bookman. Charles Reade. By Lewis Melville. George Saintsbury. By Thomas Seccombe. A French Study of Chaucer. By W. H. Hudson. Bookman Gallery. Mr. Maurice Baring. By Robert Birkmyre. ENGLISH. Phoneties and Poetry. By Lascelles Abercrombie. Copyright and the Case of Coleridge Taylor. By Dr.8. Squire Sprigze. Under the Collar. FoRTNIGHTLY. Greek Drama: The Dance. By G. Warrett Cornish. The Aims and Dutiés of a National Theatre. NATIONAL. A Great Artist and his Little Richmond, K.C.B. The Early Years of Madame Royale. Critics. By Sir Wm. _ By Austin Dobson. - SCALE FOR ADVERTISEMENTS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT,] e Front Page £4 0 0 Other Pages <6 O38 Halt of a Page ... «= 110-9 Quarter of a Page « O16 6 Highth of a Page ins ae ane ae Le Single Column Advertisements perinch 0 6 0 Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for Twelve Insertions, All letters respecting Advertisements should be addressed to J. F. Be.mMont & Co., 29, Paternoster Square, London, B.C. ae THE AUTHOR. HOW TO USE THE SOCIETY. —— & VERY member has a right toask for and to receive HK 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. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel's opinion without any cost to the member. Moreover. where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 9. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinary solicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4, Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers : (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on bebalf of members. This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9, The subscription to the Society is £1 1s. per annum, op £10 10s. for life membership. ————_—_+—_+___—_ WARNINGS TO THE PRODUCERS OF BOOKS. oo ERE are a few standing rules to be observed in an agreement, There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper vrice can be 175 obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society. : Il. A Profit-Sharing Agreement (a bad form of 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 without the strictest investigation. (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. Therefore keep control of the advertisements. (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. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. 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 the truth. From time to time very important figures connected with royalties are published in 7he Author, 1¥. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. Allother forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The 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 tothe author. Weare advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. —_——_—__+—__+—___—_ EVER sign an agreement without submitting it to the ce ges ~ N Secretary of the Society of Authors or some com- 2, It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of in three or more acts :— (a.) Sale outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills, dramatic contract for plays 176 (0.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts, Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. : (c.) Sale of performing right or of a licence to perform on the basis of royalties (2.c., fixed nightly fees). I'his method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4, Plays in one act are often sold outright, but it is better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event. It is extremely important that the amateur rights of one-act plays should be reserved. 5, Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance. 7, Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable, ‘They should never be included in Hnglish agreements without the author obtaining a substantial consideration. 9, Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative: that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. —__+—_—>—_ _—_____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. —— CENARIOS, typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. THE AUTHOR. DRAMATIC AUTHORS AND AGENTS. —_— oe * RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. —-—~>——_______ WARNINGS TO MUSICAL COMPOSERS. —_——— + ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ee ee ge STAMPING MUSIC. The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society's safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble. ———_—+-9 + THE READING BRANCH. mga EMBERS will greatly assist the Society in this branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS, includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea. ~~ e REMITTANCES. The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only. THE AUTHOR. COLLECTION BUREAU. ———+ up : i a Society undertakes to collect accounts and moneys T due to authors, composers and dramatists. : 1. Under contracts for the publication of their .2d70% works. © 2, Under contracts for the performance of their works a, Dae and amateur fees. . ae 3. Under the Compulsory Licence Clauses of the Copy- , right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments ;— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the mie office, the expenses are more than covered, the Committee ie of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ———_——__+ > CHANGE OF ADDRESS. —— > Ox and after March 1, 1913, the Society’s Offices will be at No. 1, Central Buildings, Tothill Street, Westminster, S.W. GENERAL NOTES. —— + CHANGE OF ADDRESS. Ow1nc to the great increase in the Society’s work, it has been necessary to remove into larger offices. On and after March 1, the Society—and its recent established Collection Bureau—will occupy rooms at No. I, Central Buildings, Tothill Street, Westminster, 5.W GENERAL MEETING. Tyr Annual General Meeting of the Society —notice of which, with the Annual Report for 1912, will be sent to all members and associates during the current month—will be held on Thursday, April 3, at 4.30, at the rooms of the Society of Arts, 18, John Street, Adelphi, W.C. Avuruors, DRAMATISTS, AND CHARITIES. Ir is a common experience of authors to receive requests for the contribution of gratui- 177 tous literary work, to be published in some annual or other production on behalf of charities. While we have nothing to urge against the charities for which these appeals are made, we do wish to suggest to authors that there are more direct and more advan- tageous ways of supporting a charity than by acceding to these requests. If the author is really interested in, and anxious to help the charity, it is far better that he should make a donation to its funds than that he should give gratuitous literary work to be published in an annual very often run by one man under no effective control. In the former ease, the author is reasonably sure of the charity getting the benefit of his benevolence, but in the latter he has no such guarantee. There are always expenses attaching to these projects, with the result not infrequently that very little is left for the cause for which the project was started. Moreover, it is not a good thing for the public to get accustomed to the fact that authors are in the habit of contributing literary work for nothing. Associated with this question of gratuitous contributions from authors to literary annuals is the question of the terms given by dramatic authors to amateur societies for the per- formances of their works. Dramatists are con- stantly being asked to consent toa reduction of fees on the ground that the performance is to be given for the benefit of some charity. Here, also, our advice to the dramatist is to refuse the request, but to send a donation direct to the charity. By adopting this course he will be sure of the charity getting the full contribution, and will have the satisfaction of knowing that he is not lowering the standard rate for his work. $$ ——__—_ THE JUMP OF THE CAT. —-——— > a letter which, at the request of Mr. John Long, Manager of Messrs. John Long, Ltd., was published in The Author for Feb- ruary, 1913, the following statement occurs :-— “Phere is no bigger gamble in the commercial world than publishing as, after all, it is really a toss of the coin which way the cat will jump.” It seems, however, that we need not toss the coin, because it is quite clear from the beginning which way the cat will jump. The quadruped, however agile, can only jump one way, while the other ways are fenced off. LD 17% The following proposal from Messrs. John Long, Ltd., was placed before a member of the Society, whose leave we have for its reproduction :— [copy.] 12, 13 & 14 Norris STREET, Joux Lone, Limirep, HAYMARKET, Publishers. Lonpon. 15th May, 1912. DEAR ,—I have received my reader’s report on this and, on the whole, it may be considered favourable. The MS., however, would have to be revised in parts where you are too profuse. This could be dealt with later on. You have not yet that hold on the public as would induce me to advise my firm to undertake the entire risk in publishing the book; therefore, we could only entertain publication conditional to your contributing towards the expenses. Authors now-a-days must have a sufficient public to warrant a publisher running the whole risk in producing and publishing his work. With regard to the amount you should contribute towards th expenses. We should mention that, if you can give u a really good book and will at the same time sink £500, we feel sure we can ensure a permanent demand for all you write. It would be a good and sound invest- ment and one which we feel sure you would not regret. With respect to this £500. The integral portion of it would be spent in advertising, and a handsome royalty would be paid to you on all sales. If you think well of the suggestion, we shall be pleased to lay before you the whole scheme. We feel certain you can write, and there is no reason why you should not gain a footing, but at the same time you must be prepared for a fair outlay in order to secure a sound literary foundation. Very truly yours, (Signed) Joun Lone. On receipt of this proposal, the author, for whom Messrs. John Long had already pub- lished one book, enquired for further details, to which request the following letter is a reply. An alternative scheme was also submitted, but the one which follows was especially advocated :— [cory.] 12, 13 & 14 Norris StREET, JoHN Lone, LIMITED, HaAyYMARKET, Publishers. Lonpon. 30th May, 1912. DEAR ,—I have your letter of the 24th inst. and now set forth the alternative terms upon which my firm is prepared to publish the above : (1) That you pay to us the sum of £500 (£250 when you sign the agreement and £250 when the work is in type) in consideration of which we should produce the book in the best style, publish at the outset at the nominal price of 6s. per copy, advertise in the leading London, Provincial and possible Irish newspapers to a sum not less than £400 (full details of the expenditure of which would in due course be submitted to you) and pay to you every six months the following royalties :— (a) 1s. 6d. per copy on all sales of the English 6s. edition. (6) 3d. per copy on all sales of the special cheap colonial edition. (c) 74 per cent. of the nominal published price on all sales of any other cheap edition or editions. THE AUTHOR. (d) 75 per cent of the net profits derived from any sale of the American copyright. (e) 75 per cent. of the net profits derived from any sale of the foreign rights. : (f) 75 per cent. of the net profits derived from any sale of the serial rights. In the event of your accepting these terms, it must be understood that we have the first refusal of the next srx new novels you MAy write suitable for publication in 6s. volume form. Should we accept one or all of them, it or they would be published at our entire expense, we paying to you royalties as over :— (a) 20 per cent. of the nominal published price on all : copies sold of the English 6s. edition. (b) 3d. per copy on all sales of the special cheap colonial edition. (c) 10 per cent. of the nominal published price on all sales of any other cheap edition or editions. (d) 50 per cent. of the net profits derived from any sale of the American copyright. (e) 50 per cent. of the net profits dervied from any sale of the foreign rights. (f) 50 per cent. of the net profits derived from any sale of the serial rights . .. Very truly yours, (Signed) Joun Lona. Now, what do the terms of this proposal amount to ? Suppose 1,500 copies of the book to be printed at the outset, and 1,000 copies to sell. The publisher will then obtain :— zs Profit on cost of production (put at £100). : : ge 8 1,000 copies at 1s. 9d. (1s. 6d. per copy going to the author). 87 10 £117 10 In addition to this solid pecuniary gain, the firm obtains the enormous advantage pro- vided by the author’s expenditure of £400 in advertising. Such advertising would be sure to bring to the publisher’s firm a reputation among new writers unfamiliar with the con- ditions which produced it. It is true that the publisher denies that he gets from the trade as much as 3s. 3d. a copy, but it may be taken for granted that this figure is correct and represents a fair average price all through. The result, then, on the sale of the first 1,000 copies, is to give to the publisher a profit of £117 10s. without in- volving him in any risk, and to the author, who receives ls. 6d. a copy, a loss of £425. The cat is jumping the publisher’s way. Take the matter a little further. 3,000 copies, or, say, 3,300, to cover odd copies, are printed and 3,000 sold. It is possible, then, that the cost of produe- tion may over-run the £100 in the publisher’s hands by £20. That is, that it may cost £120 to produce an edition of 3,000. THE AUTHOR. SS. On 3,000 copies at 1s. 9d. (the author still taking 1s. 6d.) will produce for the publisher Less £20 balance cost of pro- duction : : : 262 10 20 (0 £242 10 It may be as well to add that £120 leaves a 6: good margin for the cost of such an edition. i The result to the publisher is a total profit i of £242 10s., and an enormous advertisement “o) for his firm. The author, on the other hand, will have i made :— Cost of production and advertise- £ ment - : ‘ ‘ 5 3,000 copies at 1s. 6d. . . 2 Loss : 3 i Therefore, the comparative result will be :— g Profit to publisher . : , 242-10 Loss to the author . ; ~ 275-0 The obstinate cat still jumps the publisher’s Sway. It is really unnecessary to + tration further, for it is evident that the carry the illus- publisher, as he is getting for every copy a clear profit of 1s. 9d. (less only the excess cost of production beyond £100), whereas the author, after paying £500 in the first instance, | is getting 1s. 6d., the publisher, meanwhile, , deriving, in addition, both with the public and + with certain kinds of journals, all the benefit © to his firm of wide advertisement paid by the @ author. The author, having diagnosed the jumping proclivities of the cat, refused this proposal, but after some months, the following letter the publishers — [copy.] 12, 13 & 14 Norris STREET, HayMARKET, LoNnDON. 9th December, 1912. DEAR .—The sales of were not sufficiently encouraging to warrant our undertaking the entire expenses of placing this work effectively on the market : therefore, before handing it to our reader for his approval, we shall be glad to know whether you are prepared to contribute towards the expenses, and in that event what amount? I fear your last book, publshed by us, suffered through the smallness of your contribution, necessitating our moving cautiously with the advertising : moreover, the appearance of another work of yours about the same time militated against its success. In the event, therefore, of our approving the above, and you are prepared Joun Lone, LimiveD, Publishers. in respect of another work was received from - 179 to put up money, it would go forth under the _ best auspices. Awaiting your reply. Very truly yours, (Signed) Joun Lone. The author, by this time, a good judge of cat athletics, refused to put up any money, when Messrs John Long & Co. wrote the follo wing letter — [copy.] 12, 13 & 14 Norris STREET, HAYMARKET, Lonpon. 18th December, 1912. DEAR ,—I have your letter of the 16th inst., and regret to find you have not sufficient faith in your own work to be willing to contribute towards the expenses of publication : consequently, I have no alternative than to return the above to you which I do herewith, registered. T shall be glad if you will acknowledge the receipt of the MS. The output of fiction nowadays is such that unless an author is prepared to contribute handsomely towards production, publication, advertising, etc., he stands but a poor chance of gaining the public ear. Any new author who can write good sterling stuff of the popular sort, and is prepared to sink say £500 in his first and second books, would be assured of a permanent public for practically all time. I think the days have gone when merit is recognised without the aid of capital. Personally, were I an author and felt I could produce work of the popular order, and could put up a few hundred pounds, I should not hesitate for a moment to place my work with an up-to-date publisher and entrust to him the publication of all I might write, thereby ensuring that he would naturally take an interest in me. Very truly yours, (Signed) Joun Lone. We have published these letters as a warning to our members. We beg them to read all the advice given in the letter from Messrs. John Long, Ltd., of December 18, 1912, carefully, and act with equal care in a directly opposite sense. We strongly advise them not to put up a few hundred pounds,” in the belief that booming the publisher and themselves will have any solid result. We urge them on no account to entrust to the publisher the pub- lication of all that they may write. JoHn Lone, LimitEep, Publishers. ~—>—+ THE LETTERS OF AN ORDINARY AUTHOR. Collected and edited by Joun HasLetre. Mains CorTraGE, SANTOLLER, Bucks. To H. Venables, Esq. My Dear Harry,—lI see in your letter, which has just come to me, the replica of your- self—short but cheery. You tell me that you 180 feel very fit. I never doubted it, and never shall. You are one of those happy people born fit, and when you come to die—the sense of infinity makes me reckless—you will be fit for it. I have not the same luck, but, thank heaven, I am not of those who feel a grudge against the possessor of “‘ rude health.” I can understand the point of view, but it is not mine. But why, oh why! does your letter tail off with that ghastly phrase, simply reeking of commerce? You ask, ‘‘ How is business ? ” Do you not find that the dentist, the architect, even the art photographer, resents any refer- ence to business. Customers must be clients, and we are all artists nowadays. I forgive you, but the point rankles. Our craft, in its vocal form, before it found its profits curtailed by the demands of the paper manufacturer and the printer, is the oldest on earth. It antedated music, I believe, with the possible exception of the sinfonia domestica; in point of time it had (as our American cousins would say) painting ‘“‘ beat to a frazzle.’”” Beware then of the irritable artistic temperament, which demands a sense of reverence in other people. I should much like an explanation of the idea fixed in the mind of the average person— that author of the party system, and the cult of the conventionally unconventional, and other absurd things. The beginner venturing on the realms of music must have gold galore poured into the palms of teachers, conserva- toires and instrument makers; he must devote years to the study of his art, and hours per diem to the practice thereof. The painter must move from the class where he is taught to make straight lines, through the dreary paths that wind about the immobile antique, to the wider freedom of the life-class, before he can paint—and then sometimes he cannot paint ! But the writer is supposed to spring full-armed into being, his only tools a pen and some paper, with the possible addition of a dictionary. With these, without practice, in the course of a month, he is expected to produce master- works, books written in ‘clear, nervous English,”’ if the phrase means anything ; books which combine an ingenious and original plot with clever characterisation. Worse, he is supposed to sell these books, at the first offer, to a publisher whose first idea is to make money, and who has seen only too often the fervid dreams of young authors crystallise in disappointing sales, and a residue of unsaleable ** remainders.” The death of a first-born man-child may bring acute sorrow to the hearts of some; the achieve. THE AUTHOR. return of a first novel deals a shrewd blow to the unfortunate literary aspirant, but worse— more dreadful than any blow, is the remark of the candid friend. It has many variants, but the form is fixed. “YT think authorship is a very precarious career.” There you have it straight in the face. Like — the sufferer from toothache, the author need ~ never look for sympathy from his friends. When the public acclaims you, when your books sell by the oft-repeated edition, then you may be taken seriously. Never before. There is your dear old uncle, who says blandly, “Pleasant hobby—very. Keeps you’ occu- pied, you know!” Don’t we all dream of killing that uncle. and burying him in uncon- secrated ground. Precarious career, but useful as a hobby. Good heavens! Is the young doctor a man with a fixed and settled income? Can the dentist calculate his percentage of teeth? Are not music lessons retailed by very competent performers at fifteen shillings a term? Yet no one scoffs because you announce that you intend to enter these professions. On the contrary, you elevate your family by your resolve, you bring a breath of culture into a very ordinary household. As a lover of failures, I have adopted a medico, who has had, so far, no other patient. When speaking to him the other day, I asked him if his people ever grumbled at his delay in succeeding. He laughed, and said that they, of course, knew it took time to make a start, and he was prepared to hold out for three years at least. But we, poor authors, must build Rome in a day, or be scoffed at for incompetent workmen. The Hebrews were driven to make bricks without straw, but no one contended that their bricks were the equal of those which contained straw. This miracle we are expected to No wonder that we sometimes yearn for the taskmasters of Egypt, while we strive to please candid friends, sceptical publishers, and that weird body, the public. But you were asking about my work, and I have only developed grumbles. Let me see. Within the past month I have finished a novel. I think the idea is good; I am certain the plot is not original, but the treatment is, I hope, fresh. This manuscript cost me tenpence in - postage, which includes the necessary stamps for return if unsuitable. I have begun to keep accounts, my dear Harry, and for postage L ~ have allowed ten shillings! Why is this, you _ ask ? Well, I think it always better to discount misfortune. If the tenpences in ten shillings THE AUTHOR. succeed in wafting the manuscript to_book- form, I shall count them well spent. If they do not succeed, the half-sovereign shall serve for a gilded tombstone beneath which the battered relic may lie in peace. Since the departure of the Well-Beloved, I have written three short stories. Two went well from the beginning, but the third almost taught me to swear. These confounded maga- zine editors must be fanatical lovers of the “fair sex.” They demand with extraordinary unanimity that a woman should figure in every tale. Now, despite the sententious Frenchman, a woman does not. So you can imagine my despair when it becomes necessary to pitchfork a female into a place where she does not fit. But you spoke of work, and that, in the idea of one’s friends, does not mean output but successes. Apparently you do not work on the stories which fail to sell. Learn, then, that I have done one piece of work—i.e., sold a story—in two months. The editor of The Wherry must have felt expansive of mood. He offered me one pound per thousand words, which meant three pounds for the tale. And this for “‘ World Rights ” ! One good idea gone, and the noble sum of three pounds in hand ; the possible germ of a full-length novel bartered for sixty pieces of silver. But there was worse to come ! May pariah dogs sit on the grave of the editor of The Wherry! He wants me to alter the ending. He says my heroine is not womanly enough. I must make her womanly by cutting out all the art and all the originality of the story. He did not say so, but I do. I must make her fit in with the ridiculous pre- conceived ideas of a million fatuous people. For three pounds I must not only barter my idea, but also my artistic conscience. And I have done it. You, who know how much bacon and eggs are encompassed by sixty shillings, will understand and forgive me. Some day, when I am famous, the editor of The Wherry will send an emissary to beg me for a short story, and I shall kick that man off my doorstep. Meanwhile, I am muzzled. Write soon again, to enquire gently after my art. Good luck to you. Your friend, R. WYVERN. II. Mans CoTraGE, SANTOLLER, BUCKS. To Messrs. Spillikens and Feuilleton. Literary Agents. Dear Strs,—I have received your letter of yesterday’s date, informing me that the editor 181 of The Daily Craze has returned my serial story, as unsuited to the columns of his paper. Also, I note what you consider the weak points in the story. My difficulty is this: these points are the best bits of work in the tale, the most artistic, the most human. Iam afraid I cannot undertake to rewrite the story, as you suggest. It is a very difficult business to fit new cloth into old garments. You complain that the heroine does not occupy the limelight all the time. I agree with you, but I don’t see why she should. Then there is the question of a curtain for the first instalment. I never feel comfortable when composing such phrases as “A wild cry rang out” or “*Curse you, my children!’ he hissed,”’ but, having done it, I cannot see what more in gore and disaster the editors wish from me. : I must, I suppose, agree with you, that my writing lacks “* ginger.” I don’t affect judicial ignorance, but confess that I am not attracted by ginger. Itis avery nice thing in its own place, no doubt, but hardly claims a place in literature. Of course, I quite understand that you are doing your best to advise me, with a view to increasing the saleability of my work. I have to thank you for many a useful hint. But there are some things I cannot do, and writing ultra-sensa- tionalism while my tongue is out of my cheek is one of those things. Let a story have a plot by all means, but don’t let the plot engulf and destroy the story. I wish I could get some editors to believe that the best policy. Please try my serial with the Morning View, which seems to publish a better class of stuff, and I will try to do another serial on the lines you suggest. Herewith I am sending you three short stories. Two are all right ; the third is—well, it is possible. I hope you will be able to screw a little more out of the editor of The Wherry next time. If one gets into the pound-per-thousand-word groove, it is very difficult to get out of it. The firm have plenty of cash at the back of them, and trade, I think, on the poverty of the beginner, who is afraid to refuse any offer for fear of having the manuscript returned. I suppose you have not heard yet about my novel? I know they must be pretty busy, but you might give them a look up, and see how the roots are getting on. ; I have an idea for a series of short stories. The hero is not a polished rogue, and he is not a private detective, so, perhaps, you may 182 think it a forlorn hope. But I intend to go on, and will let you have the M.S. in due course. Thanking you for your letter, I remain, Yours truly, R. WYVERN. oe THE “ SHORT STORY” WRITER. os AM anxious, and have been for some time, to say a few words in defence of that much maligned member of the literary fraternity, the “short story ’’ writer. I speak particularly of the hardworking journalist or magazine fiction writer, who has to augment his (or her) income, or possibly make it entirely, by what a certain section of people condemn either as “‘ piffle ”’ or, occasion- ally, as ‘‘ pernicious ”’ literature, but yet what the majority of the general public clamours for. I mean those who read the weekly periodicals. I finally made up my mind to write this article owing to a debate which I attended quite recently. The subject under discussion was “‘ Is Art for Art’s Sake a Worthy End for Human Endeavour?” The two gentlemen who carried on the argument were both intellectual men of much fluency and learning, and for some time the conversation was carried on a plane far above the heads of most of us. They attacked the question from what was termed the philosophical side. A third speaker, however, took a different tone, and brought the subject down to materialism and personalities; he tended to show that Art, by which in the ordinary sense I think we generally understand to mean music, literature, painting, sculpture, etc., could not, in the common interest of humanity. be carried on for it’s (Art’s) own sake. He said that before joining in the discussion he had obtained the opinion of many artists, writers, ete., and that the idea of following Art for Art’s sake had struck them as merely funny ! How could they exist? they asked. Were they not obliged, if they would live as worthy citizens, to keep themselves, their wives, and families, in comfort, and ‘“‘ owe no man any- thing.” Were they not compelled, if they wished to achieve this last, to cater for the general public, and give it what it asked, even though at times it went against their general inclinations ? Not one of these men had a private source of income—they were, therefore, dependent on their pen, or brush, to provide them with the necessaries of life. THE AUTHOR. The first two openers of the debate were frankly shocked at what they evidently thought a desecration of the muses, and the speaker who had descended to materialism (he is a “short story’ writer and spoke feelingly) got slated soundly. Now why ? I am aware that this is a much harried and grievous question amongst many, and that a great diversity of opinion exists. By a large number of deep readers and thinkers the magazines, penny papers, half- penny papers, and such like, are often con- demned as “pernicious” literature and regarded with contempt. I would defend these periodicals with all the ardour of which I am capable. Are they pernicious? Is their influence bad? Do they tend to cheapen Art? I don’t think so. I maintain that at no time and in no age has there been such a careful watch kept on the Press generally, on magazines, books, weekly and daily papers, in defence of their maintenance of a healthy and beneficial tone, and a condemnation of all that is unhealthy, immoral or bad, as there is now. All honour to those editors who run these papers, and who have themselves, in many instances, commenced their careers by free-lancing. The writers of these brief stories, or sketches, are often just beginning their career. They dream of great things! They hope for great things! But dreaming and hoping will not bring them glory, or fame, or pay for the necessaries of life. Many a young ambitious man would gladly prefer to set aside for ever the lighter vein, and the smaller things he is doing, and give himself up to his ideals, but he knows that those ideals may never reach fulfilment, and that it is his duty, as a citizen, very often as a father and husband, to do that. which comes easily to his hand, that brings grist to the mill. Let us suppose that we abolished the weekly ‘“‘ha’penny ”? which the drayman, the trades- man’s boy, and such like find of immense interest, and in which they follow up the stirring achievements of the professional foot- ballers, or cricketer, or detective, that they find between its pages. Supposing we did away for ever with the penny weeklies, the larger portion of which circulate in the middle classes, and a great many in the domestic servant circle. Should we tend to elevate the minds of the readers, and would they go for a higher form of literature because the lighter kind was beyond reach? No! I believe that the majority of them wouldn’t read at all. THE AUTHOR. Can we imagine the laundryman reading Thackeray, or the cook Shakespeare ? I give one instance which serves to show that the domestic class, at any rate, loves its “weekly,” and how useless it is to try to tear them from her. A maid of mine, who was with me for nearly two years, and who was intelligent and fond of reading, had the offer of the use of my library, a large one, com- prising all kinds of fiction. I also suggested a few books, not at all above her head, which I thought she would enjoy. During the two years that she was in my service, she borrowed one, and yet she spent money each week on literature of the penny order, and had a good deal of time during the evenings which she devoted to it. I think we must cater for minds on the lower plane as well as those on a higher. And if the lower and middle classes do enjoy, and do demand literature of the penny paper order, let us let them have it healthy, bright, clean, and amusing, with a good influence and motive pervading it. Such stories, I don’t care in what periodical they are issued, or how cheaply these periodicals are sold. must tend, to some small extent, to brighten those whose lives are often of the prosaic order, and both reader and writer will be the better, and not the worse, for having read and written them. After all, the greatest writers made small beginnings, and climbed the dizzy heights of suecess slowly and often laboriously. I would suggest a greater tolerance from those who claim to be judges of Art and Literature, and that they make themselves acquainted, by careful reading and observation, of those things which they too often condemn unheard and unobserved. Maup DOovuBELL. —ep-—<4e@ WRITERS’ AND ARTISTS YEAR BOOK.* —— G is a pleasure once more to give the warmest of welcomes to “‘ The Writers’ and Artists’ Year Book.” The volume for 1913 differs in no way from that for 1912. except in having been carefully brought up to date, and it ought not to be necessary to say anything about its contents, as the very great value of the work and its very small price, should secure its being in the hands of every writer and artist. In it may be easily dis- * & The Writers’ and Artists’ Year Book, 1913.” and Charles Black, London, 1s. nett. Adam 18% covered where work of any kind can be placed; and it is not an exaggeration to assert that if work is saleable, ‘‘ The Writers’ and Artists’ Year Book” will show where a purchaser is to be found. Eg A CHRISTMAS GARLAND.” a YOME DAY, when I grow rich enough, I Ss am going to have an original carica- ture of Max Beerbohm’s. In the meantime I know of a shop where I can buy reproductions fairly cheaply ; and also I have ‘A Christmas Garland.” One may not quote from it because one would never stop quoting ; one cannot choose, because there is so little to choose between the berries woven in it. Yet if one were to sub- tract from the list of seventeen those who most easily lend themselves as victims, Henry James, Rudyard Kipling, Maurice Hewlett and George Meredith, the three I would take from the remaining thirteen for my own everlasting joy would be Mr. A. C. Benson, Galsworthy, and perhaps George Moore, and having chosen, there is nothing left to do but to quote. Of Percy in ~ Out of Harm’s Way,” Mr. A. C. B*ns*n speaks so :— ** And then, once more in his rooms, with the curtains drawn and the candles lit, he would turn to his bookshelves and choose from among them some old book that he knew and loved, maybe some quite new book by that writer whose works were most dear to him, because in them he seemed always to know so precisely what the author would say next, and because he found in their fine-spun repetitions a singular repose, a sense of security, an earnest of calm and continuity, as though he were reading over again one of those wise copy- books that he had so loved in boyhood, or were listening to the sounds made on a piano by some modest, very conscientious young girl, with a pale red pig-tail, practising her scales, very gently, hour after hour, next door.” In “Endeavour,” Galsworthy is crowned with his own “ faint salt flowers.” One lives with him tremulous-nostrilled in an atmosphere of vague scents and emotions, fleeting and poignant. ‘Tere were the immediate scents of dry toast, of China tea, of napery fresh from the *« 4 Christmas Garland. Woven by Max Beerbohm.” Tondon: William Heinemann, 6s. 184 wash, together with that vague supersubtle scent that boiled eggs give out through their unbroken shells. And as a permanent base to these there was the scent of much-polished Chippendale and of beeswaxed. parquet and of Persian rugs. To-day, moreover, crowning the composition, was the delicate pungency of the holly that topped the Queen Anne mirror and the Mantegna prints. “. .. Just at that moment, heralded by a slight fragrance of old lace and of that peculiar, almost unseizable odour that uncut turquoises have, Mrs. Berridge appeared. ‘““* What is the matter, Adrian ?’ she asked quickly. She glanced sideways into the Queen Anne mirror, her hand fluttering, like a pale moth, to her hair, which she always wore braided in a fashion she had derived from Pollaiuolo’s St. Ursula.” Only one more, from Mr. Belloc :— *«« This, too, I shall sing, and other songs that are yet to write. In Pagham I shall sing them again, and again in Little Dewstead. In Hornside I shall re-write them, and at the Scythe and Turtle in Liphook (if I have patience) annotate them. At Selsey they will be very damnably in the way. and I don’t at all know what I shall do with them at Selscy.” The rest is all in the book, and one of the books is with me. For the writing of it I thank Mr. Max Beerbohm very gratefully, WINIFRED JAMES. SAPPHO AND THE ISLAND OF LESBOS.* 1 HIS dainty little volumne should be in the library of every woman of letters ; if for no other reason, for the sake of the woman whom all ages have acclaimed as the queen of poetesses, about whom every woman who writes ought to know something, and of whom there is hardly anything, if any- thing, known which is not here recorded ;_ but also, we would add, for this reason that there are herein contained many things which every woman of good taste will read with so great pleasure and advantage, that she will wish the book to be not only among those which she has read, but also one of those which she has always near her. In the opening chapters Dr. Mary Patrick sketches the times, the contemporaries, and * Mary Mills Patrick, Ph.D. “Sappho and the Island of Lesbos.” With twenty-six illustrations. Methuen & Co. THE AUTHOR. the home of Sappho, and then proceeds to record everything that is at present’ known about herself and her writings, not omitting to deal with the various foolish things that have been at different periods related, without foundation, respecting the poetess and her friends. That all that is known should be so little is to be regretted; but whatsoever is known at present will be here found faithfully and pleasantly recorded, as well as, at the con- clusion of the volume, scholarly English trans- lations of all the extant fragments of Sappho— including the very important ones that have been recently discovered. These translations will make the volume valuable to those who are able to read the originals, for, as Dr. Mary Patrick rightly observes, to seize the exact meaning of Sappho is often a puzzling problem, and the translations are very well done. By no means the least interesting features of the little book are the illustrations. They repre- sent not only landscapes suggestive of the scenes amidst which Sappho lived, but also all the portrait busts that are of importance, as well as the much older portraits that exist upon coins. The few notes which follow the concluding chapter (we think that we should have liked better to have had them as foot- notes) may not appear to everyone to be of much importance ; but, in justice to Dr. Mary Patrick, it should be remarked that, for classical scholars, they immensely enhance the value of this excellent little monograph. ———— CORRESPONDENCE. ee ‘“*SraGE CopyRIGHtT.” Sir,—While thanking you for your kind and appreciative review ‘of ‘‘ Stage Copyright : At Home and Abroad,” may I ask the indul- gence of your columns for a few lines of explana- tion on the two points on which you make some reservations. With regard to the first point you remark: ‘‘ The author draws attention to the fact that assignment of copyright in a literary, dramatic, or musical work includes the rights of mechanical reproduction, and that this fact is one to be borne in mind, especially by musical composers. He should have added equally, if not more so, by dramatists, for it is almost impossible to conceive what may be the result of kinematograph production in the future.” But the chapter in which the passage in question appears in the book is one devoted entirely to mechanical reproduction by means of musical contrivances; and this sort of THE AUTHOR. mechanical reproduction is not so important to dramatists as to musical composers. In the chapter on Infringement a statement that an unconditional assignment of Copyright in a play “passes” the kinematograph rights is expressly made. As to point No. 2, you say that it is difficult to agree with the statement in the preface that ‘perhaps not so much has been done for the dramatists as for other classes of author ’’ [in point of protection against infringement and piracy]. My chief but not my only reason for this opinion was the way in which the special requirements of dramatic copyright are sub- ordinated to those of literary copyright in Section 11 of the 1911 Act, relating to summary remedies. When the Bill was introduced in 1910, I ventured to point out that all specific mention of unauthorised performance of a dramatic work had been neglected in this section. The omission was afterwards dealt with, but only by means of a clumsy and in- adequate clause inserted in Section 11 (2). One cannot but feel that the section as a whole was drawn in the interests of copies in print, and while it has full practical point in that respect, it is very far from being what it should be had the interests of plays in representation been similarly studied. I am, Yours faithfully, BERNARD WELLER. i EprrortaL CouRTESY. I. Srr,—One has no difficulty in recognising _ the weekly review whose methods (?) of doing business are described in the February Author by “The Worm That Turned.’’ It is cele- brated as one of our leading periodicals, not only in politics but in literature. We have seen what this amounts to, from a contributor’s point of view: let us examine the matter, for a moment, from the subscriber’s. I wonder whether any subscriber, paying his 6d. a week for this paper, has ever asked himself the significance of the editorial notice to which “The Worm” refers: has ever asked himself, I mean, what the notice stands for in regard not to the writer, but to the public ? Here is the notice :—‘* We beg to state that we decline to return or to enter into any correspondence as to rejected communications ; and to this rule we can make no exception. 185 Manuscripts not acknowledged within four weeks are rejected.” Could such a naive confession of sheer inertia appear, in a literary journal, in any other country but this? For its interpretation is plain. The editor candidly admits that he not merely does not want to encourage new writers with new ideas to send their work to him, but positively wishes to discourage them. Let other papers be at the trouble and expense of finding new talent, he is not going to. When they have unearthed a new man, this editor may perhaps condescend to write and ask him to contribute, not till then. In other words, his subscribers will never, never if he can help it, get the privilege of the first introduction to anything novel in literature. How do the payers of sixpences view this frank proclamation that—whatever other journal secures the fresh—theirs is safe to miss it ? I am, etc., Warp Muir. ee ed I, Dear Sir,—I have been much interested in the letter of “*‘ The Worm That Turned ” in your February issue, interested with that bitter interest which comes of fellow sufferings. I am quite sure that the experiences he enumerates could be multiplied by the score and still their total remain untold. I write for’a large number of magazines and weekly papers, and I can count on the fingers of one hand the offices from which to expect any sort of business promptitude or ordinary consideration. The year is not very old, but I have already the usual tale of complaints against editors and their like :— (1) A well-known London daily has taken verse from me for some time. I invariably enclose stamps when sending, but for some unfathomable reason the editor suddenly refuses to return my MSS. or to accept them. I write in vain. Silence is my reply, and my only conclusion is that contributors’ stamps are used for the private correspondence of the staff. (2) I received an introduction to the manager of an important Press agency; at an inter- view in London he expressed himself willing to consider my work; such was sent in, I received answer that one story was too short, but that if I lengthened it, it would prove acceptable and I might send a Christmas tale 186 as well. I gasped at the meagreness of the terms offered, but imagined it might be well to accept with a view to better results in the future. I lengthened the old tale and sent another. Both were returned after con- siderable delay with not even an apology. (3) At an interview with the editor of a popular magazine interest was expressed in my work and MS. was left. I afterwards received it back, ‘‘ declined with thanks,” and unstamped. These are but a few of the vexations in- flicted upon contributors by the carelessness and discourtesy of editors, and I have no doubt that every writer can adduce the like from bitter experience. When editorial methods are only commonly business-like, writers will have much to be thankful for. May that day speedily arrive ! Yours faithfully, ScRITTA. CoLONIAL PUBLICATIONS. Srr,—Referring to the articles on “ Colonial Publication ” it would seem that only through the business capacity of American publishers do English books obtain a fair circulation in the Dominions. To uphold our patriotism, it is suggested that Colonial publishers of energy should make direct contracts with English authors, if English publishers continue to show a supine indifference to general business interests. Some time ago I tried to arrange for the publication of a small book in Canada with a well-known publishing firm, recommended to me by a Canadian friend in a collateral line of business. My little book was not a sentimental novel or one likely to have a large or perhaps any appreciable circulation, but for special reasons I wished it to be published in Canada even if it failed. I wrote, therefore, a purely business letter describing the subject, asking the firm if they were willing to publish it, and if so on what terms. To this I received no answer. Think- ing that the letter might have gone astray, I wrote again, registering this and enclosing money for a registered reply. No answer has ever come. The firm have evidently not had the courtesy or enterprise to attend to an ordinary business matter. Anyone can see how such delay might be fatal to much hard work. THE AUTHOR. It so happens that it would not suit me to employ an American publisher. What is to be done ? There is also the question of the correction of proofs to be considered. How is this to be arranged at a great distance? How, too, if proof correction is left to the publisher, is an author to be certain that an American or Colonial compositor will not disfigure his book with American spelling? How, also, is the author to know what number of copies of his book may have been sold ? Publishers are not in business, one would imagine, for the fun of the thing, nor do they hire offices to have a pleasant place in whic to write letters or read MSS. ‘ It would seem that old mercantile methods —on the take-it-or-leave-it principle—are still at the bottom of many a publisher’s want of enterprise. Neither an American nor a German business man waits to have his mouth opened to receive a lollipop. He seeks to adapt himself to circumstances and does not despise small things, knowing that the general turnover at the year’s end is what he must keep his eye on. If a man has anything to sell, it is surely in his interest to find buyers, learn their wants, and create in them a desire for his goods, be they books or sugar. For this reason an ‘ Authors’ Publishing Association’? on purely business principles might be of decided use to English writers. I am, etc., Co-OPERATIVE PUBLISHING. S1r,—With reference to the letter on this subject in the January Author, I am entirely in accord with ‘“‘ Progress ”’ that it is time this question received serious consideration. How much longer are writers to waste the best years of their life in going from pillar to post, from publisher to publisher, in vain attempts to reach the reading public? On the other hand, how is a man of moderate means to bring out his book through a publishing house, at his own risk? In this connection, it would be well worth inquiring as to whether publica- tion could not be made less expensive for the author, in the way suggested by your corre- spondent. Yours faithfully, LEICESTER ROMAYNE. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 23 Issue 06 (March 1913) Subject The topic of the resource The Author, Vol. 23 Issue 06 (March 1913) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1913-03-01-The-Author-23-6 publications The Author