| 487 | https://historysoa.com/items/show/487 | The Author, Vol. 14 Issue 02 (November 1903) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+14+Issue+02+%28November+1903%29"><em>The Author</em>, Vol. 14 Issue 02 (November 1903)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1903-11-02-The-Author-14-2 | | | | | 29–56 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=14">14</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1903-11-02">1903-11-02</a> | | | | | | | 2 | | | 19031102 | Che Hutbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vou. XIV.—No. 2<br />
<br />
NOVEMBER 2ND, 1903.<br />
<br />
[PRICE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER :<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS :<br />
AUTORIDAD, LONDON.<br />
<br />
SN at a<br />
<br />
NOTICES.<br />
<br />
——— +9<br />
<br />
OR the opinions expressed in papers that are<br />
KF signed or initialled the authors alone are<br />
responsible. None of the papers or para-<br />
graphs must be taken as expressing the opinion<br />
of the Committee unless such is especially stated<br />
to be the case.<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of 7he Author<br />
that the cases which are from time to time quoted<br />
in The Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of the<br />
Society, and that those members of the Society<br />
who desire to have the names of the publishers<br />
concerned can obtain them on application.<br />
<br />
—<br />
<br />
List of Members.<br />
<br />
Tue List of Members of the Society of Authors,<br />
published October, 1902, at the price of 6d., and<br />
the elections from October, 1902 to July, 1903, as<br />
a supplemental list, at the price of 2d. can now be<br />
obtained at the offices of the Society.<br />
<br />
They will be sold to members or associates of<br />
the Society only.<br />
<br />
Ss<br />
<br />
The Pension Fund of the Society.<br />
<br />
THE investments of the Pension Fund at<br />
present standing in the names of the Trustees are<br />
as follows.<br />
<br />
This is a statement of the actual stock ;<br />
<br />
VoL. XIV.<br />
<br />
the<br />
<br />
money value can be easily worked out at the current<br />
price of the market :—<br />
<br />
Cope Soe hs £1000 0 0<br />
<br />
<br />
<br />
<br />
<br />
Tic@al Moats: 2.0... iii 500 0 0<br />
Victorian Government 3 % Consoli-<br />
dated Inscribed Stock ............... 291 19 11<br />
War Doan. 201 9 3<br />
Total 3... ou, 993 Se?<br />
Subscriptions.<br />
1903. £ sd.<br />
Jan. 1, Pickthall, Marmaduke 010 6<br />
» Deane, Rey. A. C. 010 0<br />
Jan. 4, Anonymous 0 5 0<br />
» Heath, Miss Helena 0 5 0<br />
5 Russell, G. H. ts 1 50<br />
Jan. 16, White, “Mrs. Caroline 0 5 0<br />
» Bedford, Miss Jessie 0 5 90<br />
Jan. 19, Shiers-Mason, Mrs. 0 5.0<br />
Jan. 20, Cobbett, Miss Alice ; 0p 0<br />
Jan. 30, Minniken, Miss Bertha M.M. 1 0 0<br />
Jan. 31, Whishaw, Fred. . 0. 10 0<br />
Feb. 3, Reynolds, Mrs. Fred 0 5 O<br />
Feb. 11, Lincoln, C. . 0 5 0<br />
Feb. 16, Hardy, J. Herbert . 0 5 O<br />
» Haggard, Major Arthur . 0 5 0<br />
Feb. 23, Finnemore, John 0 5 0<br />
Mar. 2, Moor, Mrs. St. C. . 1 0. 0<br />
Mar. 5, Dutton, Mrs. Carrie 015 6<br />
Apl. 10, Bird, Cp. - 0.10 6<br />
Apl. 10, Campbell, Miss Montgomery . 0 8 0<br />
May Lees, R. J. : Sd 20<br />
5 Wright, J. Fondi : 0 5 0<br />
Donations.<br />
<br />
Jan. 3, Wheelright, Miss E. 0 10.6<br />
» Middlemass, MissJean . ~ 0-100<br />
<br />
Jan. 6, Avebury, The Right Hon.<br />
The Lord . : as)<br />
» Gribble, Francis 010 0<br />
Jan. 13, Boddington, Miss Helen . 010 6<br />
30 THE AUTHOR.<br />
<br />
£ 2. d.<br />
Jan. 17, White, Mrs. Wollaston 110<br />
» Miller, Miss E. T. . 0 5 O<br />
Jan. 19, Kemp, Miss Geraldine 010 6<br />
Jan. 20, Sheldon, Mrs. French 0 5 0<br />
Jan. 29, Roe, Mrs. Harcourt i 010 O<br />
Feb. 9, Sherwood, Mrs. , : 010 6<br />
Feb. 16, Hocking, The Rev. Silas 1170<br />
Feb. 18, Boulding, J. W. . 010 6<br />
s, Ord, Hubert H. 010 O<br />
Feb. 20, Price, Miss Eleanor 010 0<br />
» Carlile, Rev. J.C. . 010 0<br />
Feb. 24, Dixon, Mrs. . 5 0 0<br />
Feb. 26, Speakman, Mrs... 010 0<br />
Mar. 5, Parker, Mrs. Nella 010 0<br />
Mar. 16, Hallward,N.L. . 110<br />
Mar. 20, Henry, Miss Alice . - 0-6 0<br />
» Mathieson, Miss Annie . - 010 0<br />
<br />
» Browne, T. A. (“ Rolfe Boldre-<br />
wood”) ; : _ 1 tb 0<br />
Mar. 23, Ward, Mrs. Humphry . -10 0 0<br />
Apl. 2, Hutton, The Rev. W. H. 2 0 0<br />
Apl. 14, Tournier, Theodore ; 0 5 0<br />
May King, Paul H. . : - 010 0<br />
es Wynne, Charles Whitworth .10 0 0<br />
» 21, Orred J. Randal : Jl 20<br />
June 12, Colles, W. Morris . .10 0 0<br />
» Bateman, Stringer . . 010 6<br />
> Anon . i 0 5 0<br />
» Mallett, Reddie 0 5 0<br />
Oct. 27, Sturgis, Julian . 50 0 0<br />
<br />
The following members have also made subscrip-<br />
tions or donations :—<br />
<br />
Meredith, George, President of the Society.<br />
Thompson, Sir Henry, Bart., F.R.C.S.<br />
Rashdall, The Rey. H.<br />
<br />
Guthrie, Anstey.<br />
<br />
Robertson, C. B.<br />
<br />
Dowsett, C. F.<br />
<br />
There are in addition other subscribers who do<br />
not desire that either their names or the amount<br />
they are subscribing should be printed.<br />
<br />
Se oe es<br />
<br />
FROM THE COMMITTEE.<br />
<br />
—_-—~>—+—_<br />
<br />
AT the first meeting of the Committee held after<br />
the vacation, at 39, Old Queen Street, fifty-two<br />
new members and associates were elected. This<br />
election the Committee consider most satisfactory.<br />
The total number of elections for the current year<br />
amount now to 164. The full list of the month’s<br />
elections is printed below.<br />
<br />
A good many small matters that had been col-<br />
lecting during the vacation came up for considera-<br />
<br />
tion, but no very contentious business. The<br />
settlement of the date for the unveiling of the<br />
memorial to Sir Walter Besant was postponed<br />
until after the return of Mr. Frampton, the<br />
sculptor, from abroad. Due notice will be given<br />
to all members when the details are fixed. It was<br />
decided to invest a further sum of £90 of the Life<br />
Membership Account in the purchase of War Loan.<br />
This raises the Society’s investments to consider-<br />
ably over £800. Should no unforeseen claim be<br />
made on the Society’s resources owing either to<br />
the loss of some action or expenditure on behalf<br />
of some other matter in which the Committee feel<br />
bound to uphold the principles of the Society, the<br />
Reserve Fund ought before the end of next year to<br />
amount to close upon £1,000,<br />
<br />
The Committee decided to undertake the stamp-<br />
ing of songs at the ordinary charge for such work<br />
on behalf of those musical composers who are<br />
members of the Society. This action will no<br />
doubt be of considerable convenience to sony<br />
writers. There were one or two small cases<br />
before the Committee. It is, however, inexpedient<br />
<br />
at the present time to declare the action of the<br />
Committee.<br />
<br />
—-——+<br />
<br />
Cases.<br />
<br />
SINCE the last month’s issue of the cases placed<br />
in the hands of the Secretary sixteen further disputes<br />
taken up on behalf of members have to be recorded.<br />
Hight referred to the return of MSS.; of these five<br />
have been successful; the MSS. having been sent to<br />
the office and returned to the author. The editors<br />
in all cases have shown themselves anxious to assist<br />
the Society’s efforts. In one of the other three<br />
cases diligent search has been made, but no<br />
evidence that the MS. reached the office exists, so<br />
although the editor has done what he could the<br />
author has no legal claim. In one of the other two<br />
a letter written by the Secretary has been returned<br />
through the dead letter office, and it has been found<br />
impossible to trace the person to whom the MSS.<br />
were sent. he final case has only been taken up<br />
during the last few days, and no answer has as yet<br />
been received.<br />
<br />
In two instances the copyright of members has<br />
been infringed.<br />
<br />
An author’s song was republished, together<br />
with music, by Messrs. Chappell & Co., who received<br />
the song with the music from the composer, and<br />
published it in ignorance of the fact that there was<br />
any copyright existing. As soon as their attention<br />
was drawn to the matter, without demur they paid<br />
the sum required by the author, and agreed to<br />
publish his name on all future copies.<br />
<br />
The second case dealt with the infringement of<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
i<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 31<br />
<br />
the copyright in a dramatic piece by the publica-<br />
tion of the same in story form, incident for incident,<br />
with nearly all the minor details complete. The<br />
story was issued by a well-known publishing house<br />
as a penny novelette. It would be impolitic to<br />
make any further comment on this case at present,<br />
but we hope to insert a statement in 7’e Author at<br />
a later date.<br />
<br />
On four occasions the Secretary had to ask for<br />
accounts which had not been rendered in accordance<br />
with the clause inthe agreement. These have been<br />
forwarded in due course and satisfactorily settled.<br />
One matter was for money and accounts. This<br />
has been completed by the rendering of the accounts<br />
and the payment of the amount. Another claim of<br />
money for articles published has now been amicably<br />
arranged. Lastly, a case has arisen where an<br />
author paid a sum for work to be finished by a<br />
certain date. The work has not been done in<br />
accordance with the contract, and the Secretary<br />
has the matter in hand to see that the contract is<br />
properly carried out. It is hoped that it will not<br />
be necessary to take legal proceedings.<br />
<br />
Of the cases mentioned in the last issue only<br />
three are still unfinished. One refers to a demand<br />
of a member against a paper in India. Owing to<br />
the difficulties of correspondence, and the length<br />
of time that must elapse between each letter, the<br />
matter is still left open, but the Editor of the paper<br />
in question has replied to the Secretary’s demand,<br />
and no doubt a reasonable settlement will be come to.<br />
<br />
Another case is against the firm of Messrs.<br />
Romeike and Curtice, the well-known press cutting<br />
agents.<br />
<br />
A member of the Society, who lives abroad,<br />
wrote to these agents asking that an album of<br />
cuttings referring to a book he had lately pub-<br />
lished should be forwarded to him, at the same<br />
time enclosing their fee.<br />
<br />
Not having received the album our member<br />
communicated with the Secretary, who wrote to<br />
the firm on his behalf on May 27th Jast, and on<br />
the 8th of June received an answer as follows :—<br />
<br />
“ DEAR S1Rx,—In reply to your letter of the 27th ult.,<br />
re the albums of Mr.L.W. We have ascertained that they<br />
were completed and in error sent to Zanzibar.<br />
<br />
‘We. are extremely sorry for this, and have communi-<br />
cated with Mr. W. We will at any expense procure<br />
duplicate cuttings, mount them, and despatch next week.<br />
<br />
“ Yours faithfully,<br />
“ ROMEIKE and CURTICE.”<br />
<br />
No explanation was given as to why the album<br />
was sent to Zanzibar when the member resides in<br />
Spain. Nor, in spite of this statement and of<br />
several subsequent letters written to the firm, has<br />
the album as yet been forwarded. As late as<br />
October 21st the Secretary received a letter from<br />
our member saying that it had not come to hand.<br />
<br />
_ The third case is for money due for articles pub-<br />
lished in a well-known weekly ladies’ paper. Here<br />
owing to the fact that the member of the Society<br />
lived abroad, there was some difficulty ; but the<br />
Secretary obtained from the editor, ‘after some<br />
little correspondence, a cheque on account and<br />
a promise that the matter would be finally arranged<br />
when the member returned to England and was<br />
able to send in a formal account.<br />
<br />
os<br />
<br />
October Elections.<br />
“ Airam ” : ; :<br />
Armstrong, T. P. . - 126.<br />
S. W.<br />
<br />
Baden - Powell, Major- 32, Princes Gate, SW.<br />
<br />
General R. 8S. S., O.B.<br />
Barker, H. Granville<br />
Barrett, Frank<br />
<br />
Queen’s Gate,<br />
<br />
Thwaite Rectory, Han-<br />
worth, Norwich.<br />
Beldam, George William. Boston Lodge, Brent-<br />
<br />
ford.<br />
Bell, R. S. Warren . 12, Burleigh Street,<br />
Strand, W.C.<br />
Bishop, John . “ Avington,” Hunger-<br />
ford.<br />
Blake, J. P. Bass ‘“‘Danesdale,” York<br />
Road, Southend,<br />
Essex,<br />
Boulton, Miss Helen M. . Seend, Melksham,<br />
Wilts.<br />
Briscoe, John Potter - 38, Addison Street,<br />
Nottingham.<br />
Burrows, Prof. Montagu. 9, Norham Gardens,<br />
; Oxford.<br />
<br />
Carnegie, Mrs. Lindsay Kimblethmont, Ar-<br />
(Chameleon) broath, N.B.<br />
<br />
Clark, Arthur S. 109, Park Side, Wood-<br />
ford Green.<br />
<br />
109, Park Side, Wood-<br />
ford Green.<br />
<br />
Cock, Mrs. Alfred(#. Cock) 2, Tregunter Road,<br />
<br />
The Boltons, S.W.<br />
Keningale Ardat, Southall.<br />
<br />
Clark, Mrs. Janet .<br />
<br />
Cook, Mrs.<br />
<br />
(Mabel Collins)<br />
Curry, Commander E. Naval and Military<br />
Hamilton Club, Piccadilly, W.<br />
<br />
Dale, T. F. New Club, 4, Grafton<br />
Street, W.<br />
<br />
Daly, Charles . 31, Drayton Park, N.<br />
<br />
“ Paul Danby ”<br />
<br />
Dutton, T. D. Springhall, Sawbridge-<br />
worth, Herts.<br />
<br />
Escott, T. H.S. . . 33, Sackville Road,<br />
<br />
Hove, Brighton.<br />
Francis, Miss Rose (Ruby Burnham, Norton,<br />
<br />
Lynn) King’s Lynn.<br />
<br />
<br />
32<br />
Godard, John George<br />
<br />
Graves, Charles L. .<br />
Harrison, Frederic .<br />
<br />
Hartley, Miss Elizabeth .<br />
<br />
Hawkins-Ambler, G. A. .<br />
Hodgkin, Thomas .<br />
Jennings, J. G.<br />
<br />
oJ. MY . : :<br />
Kendal, John (Dum Dum)<br />
<br />
Laverack, The Rev. F. J.<br />
<br />
Legge, W. Heneage<br />
<br />
—tLuceas, FE. V. .<br />
<br />
Mallett, Reddie<br />
Mark, H. Thiselton<br />
Parsons, E. B.<br />
Pierpoint, A. E.<br />
Romanes, Miss Ethel<br />
<br />
“Prior Salford” . ;<br />
Smith-Dampier, Miss N.<br />
<br />
Stanton, Vincent Henry .<br />
Stephens, Lucy H. G.<br />
<br />
Symons, Arthur<br />
<br />
Taylor, Harold<br />
<br />
Turner, Samuel<br />
<br />
Wharton, Leonard Cyril<br />
(Ignoramus)<br />
<br />
Wilson, Andrew<br />
<br />
THE AUTHOR.<br />
<br />
7, Radleigh Gardens,<br />
Brixton Hill, S.W.<br />
Athenzeum Club, S.W.<br />
Elm Hill, Hawkhurst,<br />
<br />
Kent.<br />
<br />
16, Adair House, Oak-<br />
ley Street, Chelsea,<br />
S.W.<br />
<br />
30, Rodney Street,<br />
Liverpool.<br />
<br />
Barmoor Castle, Beal,<br />
Northumberland.<br />
The Wardenry, War-<br />
<br />
minster, Wilts.<br />
<br />
2, Eliot Place, Black-<br />
heath, S.E.<br />
<br />
211, New King’s Road,<br />
Parson’s Green, S.W,<br />
<br />
Raymer, near Lewes,<br />
Sussex.<br />
<br />
Harlyn Bay, near Pad-<br />
stow, N. Cornwall.<br />
Owens College, Man-<br />
<br />
chester.<br />
41, Guildford Street,<br />
Russell Square, W.C.<br />
La Martiniere College,<br />
Lucknow, India.<br />
Pitcalyean, Wigg, Ross-<br />
shire.<br />
<br />
Twyford House, near<br />
Winchester.<br />
<br />
Trinity College, Cam-<br />
bridge.<br />
<br />
Trawsmawr Newydd,<br />
Carmarthen.<br />
<br />
134, Lauderdale Man-<br />
sions, Maida Vale,<br />
N.W.<br />
<br />
Hampden House,<br />
King’s Cross, N.W.<br />
<br />
Haslemere, Orleans<br />
Road, Upper Nor-<br />
wood, 8.E.<br />
<br />
Brunswick House,<br />
<br />
Gayton Road, Har-<br />
row.<br />
<br />
110, Gilmore<br />
Edinburgh.<br />
<br />
Place,<br />
<br />
_Two members alone do not desire publication<br />
either of their name or address.<br />
<br />
LITERARY, DRAMATIC, AND MUSICAL<br />
PROPERTY.<br />
<br />
ER ee ee<br />
I.—Dumas Translations.<br />
<br />
Duar Sir,—We understand that your issue of<br />
October 1st contains some criticisms of the fees<br />
which are paid to the translators of our new edition<br />
of the novels of Alexandre Dumas, and we hope<br />
that you will in justice to us insert the following<br />
statement.<br />
<br />
An arrangement was made by us with the editor<br />
of the series, by which he undertook for a certam<br />
fee, suggested by himself, the translation of the set<br />
of novels. He offered to find competent assistants,<br />
and he proposed that we should leave the matter<br />
in his hands. We had no reason to doubt his<br />
competence or his fairness, and an arrangement<br />
was made that he should deliver to us the trans-<br />
lated books and pay his assistants out of the fees<br />
which were received from us. Shortly after the<br />
agreement was made we heard, much to our<br />
surprise, that the editor was paying his colleagues<br />
a sum very much lower than the sum which we<br />
paid him. We at once wrote to him protesting<br />
against the division of the fees, and pointing out<br />
to him that the sum he was paying was far too<br />
low. We insisted upon a higher remuneration,<br />
and in order to make things easier for him and<br />
fairer for his staff, we agreed to pay his contributors<br />
a further sum after the sale of a certain number of<br />
copies of each novel. We hold ourselves personally<br />
responsible and we shall see that such payment is<br />
made when the time comes. The correspondence<br />
is at your disposal.<br />
<br />
You will, we are sure, acquit us of any desire to<br />
induce men or women to translate books at unfair<br />
prices. We have always endeavoured to act fairly<br />
to authors, and we are bound to say that we<br />
are surprised that you should by suggestion call<br />
<br />
our fairness into question without having made -<br />
<br />
inquiries from us concerning the facts on which<br />
you comment.<br />
We are, dear sir,<br />
Yours faithfully,<br />
Mertuvuern & Co.<br />
<br />
—+——+<br />
<br />
II.—The Case of a Lost MS.<br />
<br />
THIS case was heard, by consent, before T.<br />
Willes Chitty, Esq., one of the Masters of the<br />
Supreme Court, in August last.<br />
<br />
The plaintiff was an author, the defendant Mr.<br />
John Long, a publisher, and the action was brought<br />
to recover damages for the detention of a manu-<br />
script of a book written by the plaintiff, entitled<br />
“The New Lorelei.”<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
It appears from the evidence given before the<br />
Master that the plaintiff had written several books,<br />
mostly on historical subjects, and also some short<br />
stories for magazines.<br />
<br />
On the 16th September, 1902, the author called<br />
at the offices of Mr. John Long, taking with her<br />
a typewritten manuscript of a novel which she had<br />
written, consisting of 50,000 words, called ‘The<br />
New Lorelei.” The original manuscript was de-<br />
stroyed after the typewritten copy had been made.<br />
<br />
The author offered the manuscript to a gentle-<br />
man whom she believed to be Mr. John Long, who<br />
stated that he would submit it to his reader, and<br />
let her know the result.<br />
<br />
On the following morning she received a letter<br />
from the defendant acknowledging the receipt of<br />
the manuscript, and at the foot of the letter were<br />
the following words :—<br />
<br />
* Note-—Every care will be taken of works<br />
entrusted to Mr. Long, but he cannot be held<br />
responsible for their loss in transit by fire or<br />
otherwise. Authors should keep copies of their<br />
works.”<br />
<br />
Until the receipt of this letter the plaintiff said<br />
she had never heard of the condition mentioned<br />
in the note. Not having received any communi-<br />
cation from Mr. Long, she wrote to him on the<br />
5th December, 1902, asking what decision he had<br />
come to with regard to the manuscript, and on the<br />
6th December received a reply from Mr. Long<br />
saying, “I beg to acknowledge the receipt of your<br />
letter, which shall be duly considered.”<br />
<br />
Again on the 26th January, 1903, another letter<br />
was written inquiring as to Mr. Long’s decision<br />
about the manuscript, to which an answer was<br />
received dated the 28th January, saying that the<br />
letter was receiving Mr. Long’s attention.<br />
<br />
On February 5th, 1903, Mr. Long wrote the<br />
following letter to the plaintiff :<br />
<br />
“THE NEW LORELEI.<br />
<br />
“We find this MS. was returned to you on the 6th<br />
November last ‘per London Parcel Delivery Company.<br />
Will you kindly make enquiries your end?”<br />
<br />
The manager of the London Parcels Delivery<br />
Company was called at the hearing and stated that<br />
no parcel was ever delivered to the company by<br />
Mr. Long addressed to the plaintiff. Eventually<br />
it was admitted on behalf of the defendant that no<br />
one could be called to prove that the manuscript<br />
had been delivered to the company. Mr. Long’s<br />
reader gave evidence to the effect that the manu-<br />
script had been sent to him by Mr. Long to read ;<br />
and he had returned it to Mr. Long with his<br />
comments upon it.<br />
<br />
Mr. W. Oliver Hodges (instructed by Messrs.<br />
Field, Roscoe & Co.) appeared for the plaintiff,<br />
and Mr. Barton (instructed by Messrs. Rivington<br />
& Son) appeared for the defendant.<br />
<br />
33<br />
<br />
On behalf of the defendant it was contended<br />
that—<br />
<br />
(1.) The defendant was a gratuitous and involun-<br />
tary bailee and only liable for gross negligence,<br />
<br />
(2.) The onus of proving negligence lay on the<br />
plaintiff, and the mere loss of the manuscript by the<br />
defendant was not evidence of negligence.<br />
<br />
(3.) By the terms of the note to the author of<br />
September 16th, 1902, the defendant was absolved<br />
from all liability.<br />
<br />
To these points it was replied on behalf of the<br />
plaintiff that—<br />
<br />
(1.) The defendant having received the manu-<br />
script for the purpose of submitting it to his reader<br />
with a view to seeing whether he would accept it<br />
for publication took the case out of the category of<br />
gratuitous bailees, because the bailment was for the<br />
benefit of both parties.<br />
<br />
(2.) The bailment being for the benefit of both<br />
parties the onus lay on the defendant to show that<br />
the loss occurred without negligence, which he had<br />
failed to do.<br />
<br />
(3.) The terms mentioned in the letter of 16th<br />
September were not mentioned when the defendant<br />
received the manuscript, and could not afterwards<br />
be forced upon the plaintiff; and further, if! the<br />
defendant wished to absolve himself from the<br />
negligence of his servants he must do so in clear<br />
and unambiguous terms, which the note did not do.<br />
<br />
The Master gave judgment for the plaintiff for<br />
£20 with costs, and observed that he would give<br />
the defendant every facility should he desire to<br />
appeal from the decision.<br />
<br />
<br />
<br />
A writer ina weekly newspaper, Zhe Sphere, has<br />
commented on this case, suggesting that the<br />
decision, if legally sound, on which he throws<br />
doubts, was morally unjust, and criticising the<br />
action of our committee in taking up the matter.<br />
<br />
We are confident that our members after reading<br />
the preceding summarised report will consider that<br />
the committee were fully justified in bringing the<br />
case into Court.<br />
<br />
A publisher is a man of business—or at any rate<br />
a man engaged in business—and as such is (as it<br />
happily proved) in some cases legally bound and in<br />
all cases morally bound to deal with property<br />
entrusted to him with ordinary business care.<br />
When he has failed to do so he will not improve<br />
his position in the eyes of the public by making an<br />
attempt which he cannot sustain by evidence, to<br />
shift his responsibility on to others.<br />
<br />
What would the feelings of the anonymous writer<br />
in Zhe Sphere be, if a watchmaker with whom he<br />
had left his watch for repair after long delay failed<br />
to produce it ? Would his higher morality prevent<br />
him from making any claim in respect of the loss ?<br />
<br />
<br />
34 THE AUTHOR.<br />
<br />
III.—Copyright Infringement in Germany.<br />
<br />
The following particulars may be of interest to<br />
English authors :—Miss Henriette Jastrow, a<br />
German lady living in London, wrote a leading<br />
article, published in the Frankfurter Zeitung, under<br />
the heading, “‘ Made in Germany : a word to German<br />
manufacturers.” A little later she received from<br />
the secretary of the Allgemeine Schriftstellerverein<br />
(German Society of Authors) a letter, informing<br />
her that her article had been reprinted in extenso<br />
by the General-Anzeiger fiir LElberfeld und<br />
Bremen, and that, unless she had given express<br />
permission, such re-publication was an infringement<br />
of the law, for which she could demand compensa-<br />
tion. Having taken legal advice, Miss Jastrow<br />
handed a statement of her case to the public prose-<br />
cutor, requesting him to take action.<br />
<br />
That official replied that her article, not “being<br />
instructive, nor technical, nor entertaining,” did not<br />
fall under the provisions of the law, of which,<br />
therefore, its reproduction was not an infringement,<br />
<br />
Miss Jastrow, on the advice of her solicitor,<br />
appealed to the higher court, submitting that her<br />
article was instructive, technical, and also enter-<br />
taining, and the higher court instructed the public<br />
prosecutor to take proceedings.<br />
<br />
On the commencement of the proceedings the<br />
editor of the offending paper wrote to Miss Jastrow,<br />
informing her that he threw himself at her feet,<br />
and offering to pay her for the article if the pro-<br />
ceedings were dropped.<br />
<br />
Judgment was given against the editor, who was<br />
ordered to pay a fine to the State of 30 marks,<br />
and a “ Busse,” or damages, to Miss Jastrow of<br />
100 marks (£5).<br />
<br />
The Schriftstellerverein has arranged with a<br />
press cutting agency to receive notice of the re-<br />
publication of articles written by members of the<br />
Society, and the names of the republished articles<br />
are printed in the Society’s organ, Die Feder.<br />
Members who observe unauthorised reprints of<br />
their own articles can obtain from the office of<br />
Die Feder a copy of the offending paper, and can<br />
then apply for payment. If this is not obtained<br />
on application, the Society will initiate proceedings.<br />
It is expected that members whose path has been<br />
thus smoothed should pay 10 per cent. of the<br />
money received to the Society, or 50 per cent. if<br />
legal proceedings were taken by the Society.<br />
<br />
Observations upon the usefulness of the Society<br />
would be superfluous,<br />
<br />
CLEMENTINA BLACK.<br />
<br />
1<br />
<br />
IV.—Denmark and the Berne Convention.<br />
<br />
Tue King of Denmark has issued a decree<br />
notifying the fact that Denmark became one of<br />
<br />
the signatories to the Berne Convention of 1886,<br />
to the additional Act of Paris, 1896, and the<br />
Explanatory Declaration, as and from the Ist of<br />
July last.<br />
<br />
‘The law authorising this step was passed by the<br />
Rigsdag some time ago, but only came into force<br />
on the date above mentioned.<br />
<br />
Ho<br />
<br />
OUR BOOK AND PLAY TALK.<br />
<br />
——< 1+.<br />
<br />
ROFESSOR CHURCH, F.R.S., has just com-<br />
P pleted for the Board of Education the<br />
revision of his South Kensington Hand-<br />
books on ‘“ English Earthenware” and “ English<br />
Porcelain.” ‘hey have been out of print for a<br />
year. The professor has recently published, through<br />
Seeley & Co., a new edition of the “ Portfolio<br />
Monograph on Josiah Wedgwood,” which first<br />
appeared in 1894. The same publishers have also<br />
lately issued a third edition of this author’s<br />
“Chemistry of Paints and Paintings.” A supple-<br />
ment to his “‘ Food Grains of India” has also been<br />
published.<br />
<br />
A volume entitled “ Records and Recollections ”<br />
has been printed privately to the extent of forty<br />
copies only for relatives of Professor Church. It<br />
is an autobiography illustrated by photographs of<br />
miniatures of works of art, etc., but it includes a<br />
bibliography and a list of memoirs and papers.<br />
Copies have been presented to the Bodleian Library,<br />
the British Museum, and the Heralds’ College.<br />
<br />
Sir Norman Lockyer’s address “ On the Influence<br />
of Brain-power on History,” which was delivered<br />
before the British Association for the Advancement<br />
of Science at Southport, on September 9th, 1903,<br />
is to be published in volume form by Messrs.<br />
Macmillan & Co.<br />
<br />
Professor Bertram Windle, M.D., F.R.S., Dean<br />
of the Faculty of Medicine, University of Bir-<br />
mingham, has just finished a book on the “ Pre-<br />
historic Age in England.” It will appear shortly<br />
after Christmas by Messrs. Methuen. One of the<br />
principal features of this book is that it contains<br />
lists of the major objects, such as earthworks,<br />
arranged according to counties, and lists of the<br />
principal museums in which the minor objects can<br />
be seen. At the present time Professor Windle<br />
is engaged with Mr. F. G. Parsons on a work on<br />
the “ Myology of the Mammalia,” which he hopes<br />
to get out some time next year.<br />
<br />
A new volume in the Cambridge Historical<br />
Series is “ The Expansion of Russia” from 1815<br />
to 1900, by Francis Henry Skrine, I.C.S. (retired),<br />
author of “The Life of Sir W. W. Hunter,” etc.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
“The Expansion of Russia” has a copious biblio-<br />
graphy and index, and three coloured maps. Its<br />
price is 6s. nett. oe<br />
<br />
When Mrs. Craigie delivered her presidential<br />
address to the members of the Ruskin Society of<br />
Birmingham at the Priory Rooms, she took as her<br />
subject “ The Science of Life: Saint Ignatius and<br />
Tolstoi.” After confessing that the science of<br />
life was the most difficult subject in the world,<br />
Mrs. Craigie said, among other interesting things,<br />
that the philosophy of Saint Ignatius, reduced to<br />
its simplest form, was that man was made to serve<br />
God and save his own soul. Tolstoi, who had had<br />
exceptional opportunities for becoming disgusted<br />
with the pleasures of life and the rewards of fame,<br />
entreated men not to argue, not to analyse, but to<br />
dig in the fields. .<br />
<br />
Tolstoi found nothing but imperfections in their<br />
<br />
social organisations and immorality in their con-<br />
ceptions of life. Money was bad—was too evil<br />
even to be given away ; it must be destroyed, and<br />
work paid for with work. Those were paralysing<br />
ideas. Mrs. Craigie considered that much of the<br />
present discontent came from the artificial and<br />
unwarrantable importance of position. She saw<br />
nothing in enormous schemes of wholesale reform,<br />
but everything in attention to the individual.<br />
“ Miss Marie Corelli is at work on a new novel<br />
which is more than half finished, though it will<br />
not be published till next spring or summer. The<br />
authoress has sacrificed a considerable amount of<br />
time and money, besides giving a great deal of<br />
‘personal hard work, to the business of saving the<br />
, old buildings in Henley Street, Stratford-on-Avon,<br />
on the side of Shakespeare’s birthplace, from<br />
complete demolition,/and considers she has won<br />
a victory over the vandals by the statement. of<br />
facts in her pamphlet, “The Plain Truth of<br />
the Stratford-on-Avon Controversy” (Methuen.<br />
Price 1s.)<br />
<br />
She has saved some genuine Shakespearean<br />
property duly authenticated by old leases and<br />
title-deeds, which would have been razed to the<br />
ground in April last but for her protest. The<br />
fight, however, which is not yet ended, has taken<br />
much of her time away from her usual work,<br />
though she has caught up with this considerably<br />
during her two months’ sojourn at Braemar. Here,<br />
_ ina quiet little cottage on “Chapel Brae,” which<br />
commands a magnificent view of the mountains<br />
and moors, she has been writing steadily, giving<br />
all her mornings to work and her afternoons to<br />
open-air exercise, and has so far proceeded with<br />
her new romance that she has commenced a second<br />
book, thus having two on hand at the same time.<br />
<br />
This double production, it will be remembered,<br />
she succeeded in when “ The Master Christian” and<br />
“Boy ” were published almost simultaneously.<br />
<br />
35<br />
<br />
Mr. George Gissing, who is in the South of<br />
France just now, has in hand a piece of historical |<br />
fiction which has cost, and is costing, him much |<br />
more labour than anything he has ever done. fit<br />
all goes well, it may be finished by the end of this<br />
year.<br />
<br />
4 Mr. William Le Queux has gone to the villa he<br />
<br />
has recently bought in the vineyards on the hill-side<br />
at Lastra, overlooking Florence, and is there hard<br />
at work on a new Italian romance of the cinque-<br />
cento, which piece of fiction he has been contem-<br />
plating for two years../He has lived in Italy many<br />
years, and has devoted all his spare time to research<br />
for the historical romance he is now completing.<br />
<br />
Next year Mr. Le Queux will figure largely in<br />
the newspapers and magazines. “The Closed<br />
Book” is the title of his new novel in Chambers’s<br />
Journal. A story called “ Who Giveth this Woman”<br />
is announced by Tillotson’s Syndicate. “Both of<br />
This Parish” will ran through the pages of the<br />
Morning Leader, while he has still commissions to<br />
complete during the forthcoming year for Cassell’s<br />
Magazine, The British Weekly, and Tit-Bits.<br />
<br />
Mr. Le Queux isa steady and industrious worker,<br />
who writes every word with his pen, hates the sound<br />
of a typewriter, and finds recreation in the study of<br />
medizval parchments, in the deciphering of which<br />
he is a recognised expert. His book, “ The Ticken-<br />
cote Treasure,” which deals with ancient documents,<br />
is one of the best selling books of last month.<br />
<br />
Mr. Stephen Gwynne’s new novel, “John Max-<br />
well’s Marriage,” which has been running through<br />
Macmillan’s Magazine, is to be published imme-<br />
diately by that firm. It treats of Irish life during<br />
the period 1760—80, the scene of action being<br />
Donegal.<br />
<br />
Mr. Stephen Gwynne has also written for Messrs.<br />
Macmillan a summary sketch called “ Landmarks<br />
of English Literature,” which is in type. A volume<br />
of fishing sketches, mainly written this summer,<br />
Mr. Gwynne hopes to publish next spring. He has<br />
also arranged to do “ Moore” in the English Men<br />
of Letters Series.<br />
<br />
Miss Sarah Doudney is busy with a novel which<br />
she expects to bring out in the spring. The title<br />
is “ One of the Few.” It deals with the inner life<br />
of a single literary woman, divided between her<br />
devotion to her profession and her tenderness for<br />
an old lover.<br />
<br />
Miss Doudney, who left Oxford last March, and<br />
is now living in a pleasant sunshiny house on Old<br />
London Road leading to Portsmouth, wishes it to<br />
be understood that she writes alone, and has never<br />
been associated with a co-worker.<br />
<br />
Miss Clara Linklater Thomson, whose “ Samuel<br />
Richardson” was published by Horace.Marshalt in<br />
<br />
<br />
<br />
<br />
36<br />
<br />
1900, and who also contributed a little ‘‘ Life of<br />
George Eliot ” to the Westminster Biographies in<br />
1901, has been devoting herself to the composition<br />
of school books. She has just published Parts I.<br />
and II. of “ A First Book in English Literature,”<br />
and is now engaged on Part V. of a “ First History<br />
of England,” of which four parts have appeared<br />
and are having a good sale. Miss Thomson is now<br />
acting as educational editor to Messrs, Horace<br />
Marshall. : 2<br />
<br />
Mrs. M. H. Spielmann’s “ Littledown Castle,” a<br />
volume of tales for young people, finely illustrated<br />
by jeading artists, is just out. 5<br />
<br />
Miss Lily Dougall’s new story is to appear first<br />
in serial form in Zemple Bar, beginning next<br />
January, and is entitled ‘The Harthly Purgatory.”<br />
Miss Dougall has left Montreal, and is now living<br />
in South Devon.<br />
<br />
Mr. Allan Fea’s new book, “ After Worcester<br />
Fight,” a companion volume to his “The Flight<br />
of the King,” is to be published very soon by Mr.<br />
John Lane. It will contain five contemporary<br />
accounts of Charles II.’s romantic adventures in<br />
1651, a lengthy introduction dealing with the early<br />
editions of Thomas Blount’s “ Boscobel,”’ with relics<br />
associated with the king’s escape, traditions,<br />
petitions, etc., and an appendix, including an<br />
enlarged and revised Carlos pedigree, and Colonel<br />
Carlos’s will, etc.<br />
<br />
There are upwards of fifty illustrations in “ After<br />
Worcester Fight,” including many portraits of<br />
Charles and his loyal supporters, and facsimile<br />
reproductions of the quaint illustrations in some<br />
rare editions of Blount’s work, with the author’s<br />
permission.<br />
<br />
Messrs. Edwin Davies & Co., publishers, Brecon,<br />
and Messrs. Quaritch, of London, have in the<br />
press a “‘ Life of Richard Fenton, K.C., F.A.S.,”<br />
the historian, by his grandson, Ferrar Fenton,<br />
F.R.AS., M.C.A.A., to precede a new edition<br />
of the “ Historical Tour through Pembrokeshire,’’<br />
with important additions both literary and artistic.<br />
<br />
A new children’s book by Mrs. Ernest Ames is<br />
just out (Grant Richards). It is called “Tim and<br />
the Dusty Man.” It is illustrated in colours, there<br />
being one large picture to each page. “The<br />
Tremendous Twins,” by this authoress, has gone<br />
well.<br />
<br />
Raymond Jacbern’s new books for children this<br />
season are ‘Three Rascals,’ published by<br />
Messrs. Macmillan, and ‘‘ The Scaramouche Club,”<br />
published by Grant Richards.<br />
<br />
Miss Christabel Coleridge did not undertake any<br />
original work while she was engaged on the life of<br />
Miss C, M. Yonge. She is now, however, writing a<br />
<br />
novel, which she. hopes may be completed early<br />
next year, and she continues to edit Friendly Leaves,<br />
the organ of the Girls’ Friendly Society.<br />
<br />
Miss<br />
<br />
THE AUTHOR.<br />
<br />
Coleridge also hopes to undertake some literary<br />
studies in the Arthurian romances and legends,<br />
<br />
‘A Lady of Misrule” is the title of the Rev.<br />
Henry Cresswell’s new novel. Messrs, Chatto and<br />
Windus are the publishers.<br />
<br />
John Bickerdyke has resigned his editorial<br />
appointment on The Field, with the object of<br />
returning to his first love, Fiction. His last and<br />
fifth novel, “The Passing of Prince Rozan,” had<br />
the misfortune to be published three weeks before<br />
war was declared, with the result that it had a<br />
greater success in the States than in its native<br />
country. Many authors suffered from the same<br />
cause.<br />
<br />
Austin Clare’s new book, “Court Cards” (F.<br />
Fisher Unwin) is a romance concerning the<br />
“Little Game played between England and<br />
Scotland at the close of Centuary 16.”<br />
<br />
Lovers of the occult and mystical will be<br />
interested to hear of a new magazine, devoted to<br />
these subjects, entitled Out of the Silence—now<br />
in its second year—edited by Miss F. Voisin, B.A.<br />
The October number contained the first instalment<br />
of “The Descent,” a poem by an experienced<br />
writer, for many years a member of the Author’s<br />
Society.<br />
<br />
Mr. Arrowsmith, of Bristol, is to publish imme-<br />
diately “A Patience Pocketbook Plainly Printed,”<br />
put together by Mrs. Theodore Bent. It is very<br />
small and compact, and is for the use of travellers.<br />
<br />
Mr. Arthur H. Holmes, author of “ Gumford,’”<br />
etc., has published through Mr. T. Burleigh, at<br />
<br />
‘2s. 6d., a volume of stories under the title of<br />
<br />
‘“ Light and Shade.”<br />
<br />
We have received a copy of a little publication<br />
which may be useful to some of our members. It<br />
is The Book Monthly, an illustrated record, guide,<br />
and magazine for booksellers, librarians and pub-<br />
lishers, book-buyers, readers and writers. It is.<br />
published: by Messrs. Simpkin Marshall, Hamilton,<br />
Kent & Co., Limited, at 6d. nett. Its list of “ New<br />
Books Nearly Ready,” and the classified catalogue<br />
of the noteworthy books, new editions, and reprints.<br />
of the month, meet a want, and that in a clear and<br />
concise form.<br />
<br />
Mr. Kipling’s “ The Five Nations” ranks high<br />
<br />
jamong the books recently published by members.<br />
|of our Society.<br />
<br />
Besides the popular edition, there<br />
is one on hand-made paper, limited to two hundred<br />
copies. There is also an edition of thirty copies.<br />
on Japanese vellum at five guineas nett.<br />
<br />
Mr. John Davidson’s new book (Grant Richards)<br />
entitled “The Rosary” is a miscellany of criticism,<br />
fable and parable, and other utterances in verse<br />
and prose. The Coronation Ode written for the<br />
Daily Chronicle is in it, also “ An Helogue of the<br />
Downs,” which appeared in the Anglo-Saxon.<br />
Review,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
“; We need only mention Mr. H. G. Wells’s<br />
“Mankind in the Making” (Chapman and Hall),<br />
which is attracting so much attention. It is<br />
being largely bought and widely read. We are<br />
sorry we cannot squeeze in even one extract from<br />
it. Chapter X., “ Thought in the Modern State,”<br />
has a particular interest for members of the Society<br />
of Authors.<br />
<br />
We note, among other books recently published<br />
by members, Miss Beatrice Harraden’s “‘ Katharine<br />
Frensham,” Mr. Stanley Weyman’s “The Long<br />
Night,” Mr. Fred Whishaw’s “A Splendid<br />
Impostor,” Mr. F. G. Aflalo’s “Fishes of Our<br />
Seas,” Mr. Neil Munro’s “ Children of Tempest,”<br />
the Hon. Maurice Baring’s ‘The Black Prince”<br />
(a volume of plays in blank verse), Mr. Robert<br />
Machray’s “ The Mystery of Lincoln’s Inn,” which<br />
has been running in 7ii-Bits: Miss Iza Duffus<br />
Hardy’s “ A Butterfly,” Major Arthur Griffiths’<br />
“The Silver Spoon,” Mrs. Hugh Fraser’s “The<br />
Stolen Emperor,” E. Phillips Oppenheim’s “The<br />
Yellow Crayon,” and Mr. Sidney Pickering’s “The<br />
Key of Paradise.”<br />
<br />
Mr. Max Pemberton is writing a modern society<br />
story for the Queen, rather a novel departure for<br />
him. His play, “The Finishing School,” will, Mr.<br />
Pemberton hopes, be produced by Mr. Frank<br />
Curzon before the New Year.<br />
<br />
A dramatic version of Mrs. Croker’s novel,<br />
“Terence,” is being played in the United States<br />
with great success by Chauncey Olcott, the well-<br />
known “star.” The actor and critics are unanimous<br />
in declaring the part of Terence to be the best and<br />
most telling character Mr. Olcott has ever repre-<br />
sented. The play is drawing enormous audiences,<br />
and will be one of the chief attractions in New<br />
York during the winter season. It will probably<br />
be seen in London at a later date.<br />
<br />
Mrs. Croker’s Indian novel, “Her Own People,”<br />
which she completed last year, is to be published<br />
immediately by Messrs. Hurst and Blackett.<br />
<br />
“Man and Superman: A Comedy and a Philo-<br />
sophy,” by Bernard Shaw (Constable), is another<br />
volume by a prominent member of our Society<br />
which is attracting much attention. “Some like<br />
best the “ Epistle Dedicatory to Arthur Bingham<br />
Walkley.” Some prefer the Comedy ; others have<br />
much enjoyed the “ Revolutionists’ Handbook and<br />
Pocket Companion by John Tanner, M.LR.C.<br />
(Member of the Idle Rich Class).”<br />
<br />
“* At Home’ Recitations” has been published<br />
by Miss Ellen Collett, author of “ Play Time<br />
Poems,” “ Flower Fancy,” and other lyrics.<br />
<br />
The same author is producing a song cycle, which<br />
‘will be sung by a well known vocalist early in 1904.<br />
<br />
Miss Mary Carmichael is the composer.<br />
<br />
Miss Jean Middlemass is publishing a novel<br />
with Messrs. Digby, Long & Co., entitled “ Till<br />
<br />
oT<br />
<br />
Death us do Part,” which will be on the market<br />
in the course of November.<br />
<br />
A book by “ Officer,” entitled “Smith of the<br />
Shamrock Guards,” has been published by Messrs.<br />
Greening & Co., at the price of 2s. 6d. The book<br />
is a drama, in a prologue and five acts, and is dedi-<br />
cated by “ Officer” “to all those officers who, like<br />
myself, abhor the disgraceful system of ‘ ragging,’”<br />
<br />
Mr. J. C. Dick has published with Mr. Henry<br />
Frowde an interesting book on the songs of Robert<br />
Burns, with the melodies for which they were<br />
written. Those who are lovers of old tunes will<br />
have much to learn from the contents of the work.<br />
<br />
/_On Thursday evening, October 8th, Mr. A. W. |<br />
<br />
Pinero’s remarkable new drama, in four acts and<br />
an epilogue, entitled “ Letty,” was produced by Mr,<br />
Charles Frohman at the Duke of York’s Theatre.<br />
Tt made a sensation. Miss Irene Vanbrugh ag<br />
Letty Shell scored another great success; so also<br />
did Mr. H. B. Irving in the part of Nevill Letch-<br />
mere. /‘The whole cast is an admirable one.<br />
<br />
——_-+—~>—-<br />
PARIS NOTES.<br />
<br />
—+—~@—+<br />
<br />
NE of the strongest and most interesting of<br />
() this season’s novels is undoubtedly “ Le<br />
Maitre de la Mer,” by M. de Vogiié. The<br />
portrait of the millionaire, Archibald Robinson,<br />
who appears to be governing the whole commercial<br />
world, is admirably drawn. The description of his<br />
office in Paris reveals to us at once the man.<br />
Everything in perfect order, and not a superfluous<br />
piece of furniture or ornament. The most con-<br />
spicuous object in the room is an enormous terres-<br />
trial globe. The only pictures are three portraits<br />
of Gordon, Livingstone, and Cecil Rhodes.<br />
<br />
It is only in very rare cases that a French<br />
author succeeds in depicting a typical Englishman<br />
or American. M. de Vogiié has accomplished this<br />
exceptional feat, for his American is a genuine one.<br />
Mme. Fianona, too, a young widow who plays<br />
an important réle in the story, is essentially English.<br />
There are other characters in the book which have<br />
evidently been drawn from life. There is a French<br />
explorer, who, for political reasons, has to return<br />
to his native country just as he has accomplished<br />
the task which ought to have brought him the<br />
highest honours.<br />
<br />
Then, too, thereisan Englishman, whoat first seems<br />
very familiar to us. “ Directeur d’un magazine ou<br />
il développe ses idées originales, tantét il endoctrine<br />
et stimule ses compatriotes, tantot il court le monde,<br />
approchant tous les princes, tous les ministres ; il<br />
les interroge, il leur en impose par sa liberté de<br />
langage. II a été l’un des premiers instigateurs de<br />
cet impérialisme qwil voulait pacifique, dont il<br />
<br />
<br />
<br />
<br />
38<br />
<br />
déplore et finit par absoudre les emportements<br />
belliqueux. ‘Il est trés particulier,’ disent en<br />
souriant les gens de sens rassis ; et leur pretention<br />
est de ne pas compter avec ses idées, avec la petite<br />
clientéle de ses fanatiques. Mais le mysticisme<br />
pratique d’Hiram Jarvis a des prises profondes sur<br />
les coeurs anglais; tel article de lui influence la<br />
Cité, les Communes, la Cour, plus que ne veulent<br />
en convenir ceux qui le suivent en le traitant<br />
d’illuminé.”<br />
<br />
The interest of the story is well sustained, and<br />
the characters are all well studied and carefully<br />
delineated, but the great charm of the book lies in<br />
the setting forth in relief, as it were, the great<br />
difference between the Anglo-Saxon and the Latin<br />
race.<br />
<br />
“Toute mon education,” says the American,<br />
“m’a appris a tenir compte du fait, a en tirer le<br />
meilleur parti pour me faire une vie plus large.<br />
Toute la mienne,” replies the Frenchman, “m’a<br />
instruit 4 mépriser le fait qui opprime lidée, a<br />
mourier plutét que de forfairé.”” The key-note of<br />
the whole book is in these few lines, and the author<br />
then proceeds to explain the difference between the<br />
two men. “Non,” he says, “ces deux hommes<br />
ne pouvaient pas se comprendre. Sous la sphére<br />
symbolique, objet de leurs ambitions et lieu de<br />
leurs conflits, ils personnifiaient le duel tragique<br />
de deux races, de deux mentalités. Tous deux<br />
brilaient de conquérir ce globe, par des voies et<br />
pour des fins différentes: l’un par son or, pour en<br />
amasser d’avantage; Vautre par son épée, pour y<br />
planter un drapeau et s’exalter aux anciens réves<br />
de grandeur que lui rappelait cet embléme. Ie<br />
Missionnaire poursuivait sa mission. ... Son<br />
patriotisme ombrageux prétendait ignorer l’huma-<br />
nité, la civilisation, et cet idéaliste prodigue ne<br />
travaillait & son insu que pour elles. Le fils des<br />
Vikings n’était pas moins sincere, pas moins<br />
fidele au dur prosélytisme appris dans sa vieille<br />
Bible, lorqu’il couvrait de ces grands mots son<br />
besoin d’aventures fructueuses ; et il disait vrai:<br />
comme le désintéressement de l’autre, son indus-<br />
trieuse rapacité collaborait au perfectionnement de<br />
ce globe, a la mystérieuse éclosion du futur ot tous<br />
deux consumaient leurs énergies contraires.”<br />
<br />
“La Vie Simple,” by C. Wagner, is an excellent<br />
book. The author is a great believer in modern<br />
progress, but he deplores the “ confusion de l’acces-<br />
soire avec l’essentiel,” which is so common an error<br />
in everyday life. He maintains that the wealthiest<br />
man may be one of the simplest of individuals,<br />
while beggars, parasites of all kinds, misers, effemi-<br />
nate and ambitious men may be entirely devoid of<br />
‘esprit de simplicité.” “ La livrée n’y fait rien,”<br />
says M. Wagner, “il faut voir le coeur.... Un<br />
homme est simple lorsque sa plus haute préoccupa-<br />
tion consiste 4 vouloir étre ce qu’il doit étre. .<br />
<br />
THE AUTHOR.<br />
<br />
Aspirer a la vie simple, c’est proprement aspirer<br />
remplir la plus haute destinée humaine. Tous les<br />
mouvements de l’humanité vers plus de justice et.<br />
plus de lumiére ont été en méme temps des mouve-<br />
ments vers une vie plus simple. Jt la simplicité<br />
antique, dans les arts, les mceurs, les idées, ne<br />
garde pour nous son prix incomparable que parce<br />
qu’elle est parvenue a donner un relief puissant &<br />
quelques sentiments essentiels, a quelques vérités<br />
permanentes.”<br />
<br />
One of the finest chapters in the volume is<br />
entitled ‘‘ La pensée simple.” The author is an<br />
optimist, as the following lines will prove: ‘La<br />
confiance fondamentale est le ressort mystérieux<br />
qui met en mouvement tout ce qu'il y a de forces<br />
en nous. Elle nous nourrit. C’est par elle que<br />
Vhomme vit, bien plus que par le pain qu’il<br />
mange. .. . L’histoire de l’humanité est celle<br />
de l’invincible espérance. . . .1 Le pessimisme est<br />
inhumain. ... Pour se permettre de trouver<br />
mauvaise cette chose prodigieuse qui se nomme la<br />
vie il faudrait en avoir vu le fond, et presque<br />
avoir faite.”<br />
<br />
“La Paix Latine” is the title of the latest book<br />
by M. Gabriel Hanotaux. ‘“ L’Energie Francaise ”’<br />
was the description of a tour through France and her<br />
colonies, and this new volume is the account of a<br />
journey farther afield. The author takes us from<br />
Paris to Venice, and from thence to Barcelona,<br />
Madrid, Cadiz, Oran, Tunis, Carthage, Palerma,<br />
Syracuse, and Rome. M. Hanotaux appears to be<br />
well up in the history, the foreign policy, and the<br />
political economy of the various countries about.<br />
which he writes. He is convinced that there must<br />
be a Latin Renaissance, and, after pointing out the<br />
great influence wielded by Italy, France, and Spain<br />
in the past, he shows all that may be done in the<br />
future by the “ Paix Latine.”<br />
<br />
After Pierre Loti’s “ L’Inde ” we have “ Visions<br />
de l’ Inde,” by M. Jules Bois. There is much that<br />
is interesting in this volume, but it is more a series<br />
of impressions than a detailed description of India.<br />
<br />
‘“‘L’Année Fatale” is the title of the eighth<br />
volume of M. Ollivier’s “ History of the Second<br />
Empire.” It treats of the events of 1866, and shows<br />
up the huge mistakes which were made, and which<br />
led to the war of 1870. M. Ollivier has consulted<br />
the letters and memoirs published on the subject<br />
in Italy, Germany, and England, and has inter-<br />
viewed many men who were in a position to know<br />
all the political affairs of the times, so that this new<br />
volume throws light on much that has hitherto<br />
appeared mysterious.<br />
<br />
La Fayette’s correspondence which contains his<br />
“Lettres de Prison” and “ Lettres de |’Hxile”<br />
(1791—1801) has been published, together with<br />
<br />
an excellent biographical study written by M. Jules.<br />
Thomas.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 39<br />
<br />
Among the most interesting articles in the recent<br />
reviews are the following :—“ Les Origines du<br />
Roman Balzacien,” by M. André le Breton, in the<br />
Revue de Paris. “ En Pays Bouddhique,” by M.<br />
André Chevrillon, in the Revwe des Deux Mondes.<br />
In this review there is also an excellent transla-<br />
tion of Mrs. Humphry Ward’s novel “ La fille de<br />
Lady Rose.” In the Mercure de France there is<br />
a most interesting article by Arthur Symons on<br />
‘Casanova & Dux.” The Weekly Critical Review<br />
is also publishing a very fine series of articles by<br />
M. Rémy de Gourmont on “ La Littérature Anglaise<br />
en France.” This review publishes, too, every<br />
week an article by Arthur Symons, and French<br />
readers appear to take the greatest interest in the<br />
subjects treated by our celebrated English critic.<br />
<br />
At the Francais Blanchette, by M. Brieux, has<br />
been put on again. It is the story of a young<br />
girl educated above her station in life. She finds<br />
herself out of her element in her father’s home, and<br />
goes away to seek her fortuneelsewhere. She finds<br />
out her mistake, returns to her parents, and con-<br />
sents to marry the man she had disdainfully refused<br />
some time before. The play is slight but powerful,<br />
and was as well received as when it was first<br />
produced.<br />
<br />
The Gymnase has put on an excellent piece in<br />
five acts by MM. Gugenheim and Le Faure. Itis<br />
entitled L’Epave, and takes us back to the days<br />
which followed Waterloo.<br />
<br />
Louis XVIII. reigns, and Napoleon’s faithful<br />
soldiers are in disgrace. The piece opens with a<br />
fete given by M. de Montenoi, one of the aides-de-<br />
camp in great favour with the King. His wife,<br />
Louise, is the daughter of General Faverney, one<br />
of the most devoted of Napoleon’s soldiers. He is<br />
supposed to be dead, as he was among the missing<br />
after the fatal battle.<br />
<br />
The Chevalier de Meyrargues, who had served<br />
under General Faverney, asks Mme. de Montenoi<br />
to meet him at a house kept by Fvareste Lemblin<br />
at Reuilly, one of the suburbs of Paris. Lemblin<br />
also has a café at the Palais Royal, which is a famous<br />
meeting-place for the half-pay officers of the Grande<br />
Armée. The police keep guard on this café, fearing<br />
an insurrection against the King. In the second<br />
act Mme. de Montenoi, closely veiled, arrives at<br />
the house indicated by her father’s old friend. There<br />
she learns that the General is not dead, and almost<br />
immediately he appears on the scene and reproaches<br />
his daughter bitterly for having married one of the<br />
King’s minions. He proclaims to her his plan for<br />
bringing about a Revolution, and Louise is tortured<br />
between her love for her husband and her devotion<br />
to her father.<br />
<br />
In the third act we are introduced into the bureau<br />
of Baron Chatelard, in the Palace of the Tuileries,<br />
Chatelard is going through the papers belonging<br />
<br />
to the detective service, and believes he has a<br />
case against Meyrargues and Mme. de Montenoi.<br />
Faverney, too, is there, and has taken the name of<br />
Lieutenant Landrieux. The whole affair is most<br />
complicated, and the situation extremely dramatic.<br />
Another scene takes place at the Café Lemblin.<br />
The chiefs of the conspiracy find that they have<br />
been betrayed, and Faverney suspects Meyrargues.<br />
The final scene is superb. The General is arrested,<br />
he avenges himself on Chatelard, loses his reason,<br />
and imagines himself on the battlefield just as the<br />
military music announces the arrival of the King.<br />
The piece will no doubt have great success in other<br />
countries, as there is nothing from beginning to<br />
end to which exception could be taken ; the situa-<br />
tions are extremely dramatic, and the interest well<br />
sustained. M. Calmettes and M. Dumeny are<br />
excellent in their réles.<br />
<br />
At the Opéra Comique Za Tosca has been<br />
given, arranged as an opera in three acts by MM.<br />
Illica and Giacosa, and translated into French by<br />
M. Ferrier.<br />
<br />
Atys HALLARD.<br />
<br />
a ee a os<br />
<br />
THE HANDICAP OF DISTANCE.<br />
<br />
ee ee<br />
<br />
HAVE been asked by the Editor to give the<br />
readers of Zhe Author an idea of what are<br />
the special difficulties that prevent writers<br />
<br />
at the other side of the world from obtaining a<br />
hearing in England.<br />
<br />
All these difficulties can be traced to one<br />
source, the six weeks’ distance that divides them<br />
from the market to which they desire to send their<br />
wares.<br />
<br />
Of recent years a great many articles and even<br />
some books have appeared, purporting to teach the<br />
youthful writer how he is to open the editorial<br />
oyster-shell. The advice given is on the whole<br />
sound and excellent, only much of it is quite<br />
inapplicable here. For instance, a favourite maxim<br />
common to all such literary mentors runs some-<br />
thing like this: ‘‘Don’t be disheartened, keep<br />
sending your manuscript to one magazine after<br />
another.” One cheerful writer, speaking from his<br />
own experience, thinks that till an article has been<br />
declined by at least forty editors it would be pre-<br />
mature to throw it aside as wholly unsuitable. He<br />
<br />
_ gives instances of articles of his own which had<br />
<br />
been finally accepted after as many as twenty-six<br />
and thirty-seven postal journeys. How would<br />
that work out for the colonial writer? A manu-<br />
script cannot possibly make its trip to England and<br />
back under an average of thirteen weeks, that<br />
would make four journeys in a year. It would<br />
take six and a half years to try twenty-six editors,<br />
<br />
<br />
40<br />
<br />
and ten years to reach the limit of forty. How<br />
many magazine articles would retain their fresh-<br />
ness all that time ? how many would be lost in<br />
transit ? and what a Fortunatus’ purse would be<br />
needed for postage! All the ordinary obstacles<br />
that meet the young English writer, little disagree-<br />
ments about payment, the loss of manuscripts, and,<br />
more serious and more common than all, the logs of<br />
photos, are multiplied tenfold by distance. As in<br />
Newton’s law, the personal importance of a con-<br />
tributor to an editor certainly varies inversely as<br />
the square of the distance which separates them.<br />
Then editors are human: they can get so much on<br />
the spot that they think twice before accepting an<br />
article if it has to be returned to Australia for any<br />
trifling alteration or abridgment. They hesitate<br />
still longer before they give an order for work to<br />
be executed so far away. I for one hardly blame<br />
them, though when I see the superficial work,<br />
studded with inaccuracies of fact and quite un-<br />
Australian in spirit, which passes current for<br />
Australian news in the daily press and in magazines,<br />
I feel that English readers as well as Australian<br />
writers suffer from a great deal of mutual misunder-<br />
standing.<br />
<br />
If an editor should desire to make enquiry as to<br />
the Lona fides of anew contributor, he very often<br />
does not know how to go about it, and prefers to<br />
take no risks. An instance of this puzzle-headed-<br />
ness of the average English editor was made<br />
public some time ago. When the bubonic plague<br />
first broke out in the Australian ports, a young<br />
man, a journalist, who happened to be going to<br />
England shortly afterwards, wrote a sketch on the<br />
methods pursued to extirpate infected rats, of<br />
which he had been a witness here. The sketch<br />
may have been a poor one, but two at least of the<br />
various London editors who refused it gave definite<br />
reasons of another sort. One said that he had not<br />
heard that plague had seriously attacked Australian<br />
cities, and in any case he did not see that the subject<br />
particularly coneerned readers in London. London!<br />
the greatest port in the world! he last to whom<br />
it was offered before being torn up, remarked that<br />
he no more believed in the bubonic plague rat than<br />
in the delirium tremens snake. An enquiry at the<br />
docks or at the School of Tropical Medicine might<br />
have enlightened him. “Ah! but,” says some<br />
one, “think of De Rougemont.” I do think of<br />
De Rougemont, and would reply to my critic that<br />
in his case it was just because some one did not<br />
know where to enquire or did not trouble to enquire<br />
that his huge canards were let locse on England.<br />
<br />
The first task is to get your manuscript inserted.<br />
That accomplished, in matter of payment the<br />
colonial author is at the mercy of his editor to a<br />
degree of which the English resident can have no<br />
conception. An editor or proprietor can pay<br />
<br />
THE AUTHOR.<br />
<br />
anything he likes, he can pay nothing, and except<br />
to members of the Authors’ Society there is no<br />
practicable remedy. These two difficulties sur-<br />
mounted, there remains the third, the greatest<br />
of all, though it will probably strike some of you<br />
in quite a comical light : To see his own article in<br />
print. With contributions published in newspapers,<br />
the odds are even if he ever does. But what<br />
matter, I hear it suggested, to any one past the<br />
stage of the youthful and trembling aspirant.<br />
This matter, that not only is the difficulty of<br />
obtaining fair remuneration thereby complicated,<br />
but in newspaper work all the practical educative<br />
effect of seeing where the editorial blue pencil may<br />
have been used is lost, of noting what in the<br />
editorial eye—that is, in the last resort, in the<br />
English public eye—are the telling points in his<br />
article or his story. Again, unless he belongs to a<br />
press-cutting agency, and few young writers can<br />
afford that luxury, he misses many opportunities<br />
of seeing letters, literary notices and other criticisms<br />
upon his work or his opinions, Is all this no loss ?<br />
<br />
One last pin-prick is inflicted by the Australian<br />
postal system. Not only is the normal rate of<br />
postage to and from England on both letters and<br />
manuscripts heavy, but English correspondents do<br />
not realise this, and the amount of mail matter<br />
that weekly reaches Australia with deficient postage<br />
is incredible. The “more to pay” may be any-<br />
thing from 1d. to 5s. or more. The errors made<br />
are two. Letters are sent at English inland rate,<br />
both as to weight and amount. Manuscripts and<br />
photos are sent closed up, or letters are enclosed in<br />
open manuscripts, the whole perhaps weighing<br />
several ounces, to be surcharged on delivery at<br />
double letter rate, or 5d. per half-ounce.<br />
<br />
It is clear then that a writer resident in<br />
Australia cannot carry out the maxim to look after<br />
his own affairs. He must entrust his manuscripts to<br />
another. Someworry their friends, but that can only<br />
be done occasionally. There remains the literary<br />
agent, as to whose ability and disinterestedness<br />
opinions vary. Buta trustworthy agent who would<br />
make a speciality of Australian work and advertise<br />
the fact in Australian newspapers, giving proper<br />
references, would find no lack of clients. There is<br />
one thing the literary agent cannot do for another,<br />
and that is, make the slight but often important<br />
alterations in phrasing, that render an article<br />
attractive in a particular quarter. But if he did<br />
everything short of that the Australian writer<br />
would be in a less disheartening position than he<br />
generally occupies to-day.<br />
<br />
If the desirable literary agent with an Australian<br />
connection is going to materialise shortly, he will<br />
be by so much the more useful if he has relations<br />
with New York. The best class of American<br />
editors, with due respect to English editors, pay<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 4}<br />
<br />
their contributors much higher rates than prevail<br />
in England, and are scrupulously punctual, prompt<br />
and business-like in their dealings.<br />
<br />
Atick HENRY.<br />
Melbourne, Australia.<br />
<br />
——_—_—_———_+—<—___—<br />
<br />
REALISM IN FICTION.<br />
<br />
<br />
<br />
UST as there are preternaturally respectable<br />
self-elected custodians of public morality who<br />
would ruthlessly destroy undraped statues,<br />
<br />
and consign to the flames every picture in which<br />
the nude figure appears, so there are other kin-<br />
dred spirits who would have each book faithfully<br />
descriptive of life’s seamy side burnt by the com-<br />
mon hangman and its author branded as an outlaw<br />
withont benefit of sanctuary.<br />
<br />
If the world were an earthly Paradise, men and<br />
women angels deprived of wings, no necessity for<br />
thinkers to treat of subjects other than the most<br />
idyllic would arise. But the merest tyro emanci-<br />
pated from paternal tutelage is brought face to<br />
face with problems calculated to induce grave<br />
reflection, though he may not find it expedient<br />
to discuss them in “‘ polite society,” as soon as he<br />
knocks unbefriended at the gloomy portal of life.<br />
<br />
Were the least communicative citizen of the<br />
world in Christendom to describe a portion only<br />
of what he has seen with his own eyes and heard<br />
with his own ears, he would be in a position to<br />
publish a volume infinitely more shocking than<br />
any effort in the realms of fiction ; for the wildest<br />
flights of a novelist’s imagination would collapse<br />
before the sombre actualities of human depravity<br />
perpetrated without cessation in countries which it<br />
is our graceful method to label Christian.<br />
<br />
It must be remembered that authors do not<br />
‘manufacture their records in order to convince the<br />
irresponsible. The hoyden’s giggle, the hobblede-<br />
hoy’s guffaw, the prude’s snort, and the prig’s<br />
scowl, they, as a rule, completely ignore in their<br />
mental calculations. There are passages in Shake-<br />
speare, nay, in Holy Writ itself, whose repetition<br />
provokes only insensate manifestations from<br />
listeners of such mould.<br />
<br />
The machinery of the brain once set in motion<br />
cannot be retarded or stopped out of consideration<br />
for the susceptibilities of a class intellectually too<br />
microscopic for the author’s eye to perceive.<br />
<br />
Realism in fiction! And why not ? To advocate<br />
evil, to deck it with perfumed garments and price-<br />
less gems, to make it alluring and seductive is one<br />
affair—the affair of the minor poet.<br />
<br />
To expose its horrors, to foreshadow retribution<br />
inevitably attendant upon its heels, to strip it naked,<br />
<br />
to lay bare its festering sores so that spectators<br />
shudder, inwardly resolving to avoid the delusive<br />
phantasm at all costs—surely this partakes rather<br />
of the nature of a great moral lesson than of a<br />
wanton invitation.<br />
<br />
Descending to a rather lower level of argument,<br />
the writer of this slight plea of justification for the<br />
existence of realism in fiction directs attention to<br />
the obvious inconsistency of those who oppose it<br />
on a basis of public morality ; seeing that, while<br />
reporters are permitted to enlarge at their own<br />
discretion (subject to editorial sanction) upon<br />
loathsome criminal and divorce evidence, it is<br />
both unjust and unreasonable to forbid novelists<br />
to exercise their pens upon matter incomparably<br />
less crudely offensive.<br />
<br />
Let guardians of universal purity, who would<br />
blush to be caught perusing realistic novels, explain<br />
why, not infrequently, they flock to the Law Courts<br />
during the hearing of cases of particularly obscene<br />
or atrocious sensationalism.<br />
<br />
Let them account for the presence of English-<br />
women at these ghastly lecal entertainments, if<br />
the sensibilities of the feminine gender are indeed<br />
and in very truth so ultra-refined that they must<br />
needs be protected from literary moral contagion.<br />
<br />
Now a writer never obliges anybody to purchase<br />
his alleged outrages upon public decorum. How-<br />
ever pernicious his wares may be stigmatised by<br />
his enemies, they must be sought by those desiring<br />
to become familiar with their contents. Disap-<br />
proval of them would be, surely, more effectually<br />
expressed by withholding assistance to their sale, a<br />
course of action decidedly simpler than that of an<br />
enactment of bell-men’s vé/e, and a free advertise-<br />
ment for the very works they profess to abhor.<br />
<br />
Those wretched raids made by the police from<br />
time to time upon booksellers retailing reprints of<br />
Aristotle and unexpurgated editions of volumes<br />
never intended by their creators to be handled by<br />
any save intelligently appreciative students—under<br />
which head disgusting small boys and sly kitchen<br />
wenches emphatically do not come—strike the<br />
present writer as being egregiously illogical, inas-<br />
much as they tickle curiosity concerning knowledge<br />
it is their presumed motive to suppress.<br />
<br />
When the history of current literature arrives at<br />
something approaching elaborated form, two men,<br />
both of them grim, frank, inflexible realists, will<br />
be distinguished as stars of the first intellectual<br />
magnitude amid a whole constellation of dim and<br />
shadowy contemporaries—Zola and Tolstoi. The<br />
<br />
first lived to be honoured in the capital—London<br />
—where he had been venomously attacked and his<br />
publisher prosecuted.<br />
<br />
Passing phases, either of acclamation or oppro-<br />
brium, leave about as much trace behind as the<br />
wind, of which, indeed, they mainly consist.<br />
<br />
<br />
42<br />
<br />
Authors who conscientiously believe in holding<br />
up the mirror to life may boast the advocacy of<br />
no less stern a moralist than the redoubtable<br />
<br />
r. Johnson.<br />
<br />
e “ Books,” said he, “ without the knowledge of life<br />
are useless, for what should books teach but the art<br />
of living?”<br />
<br />
eatin, pretence, mock-modesty, and hum-<br />
bug, both in literature and life, no doubt prevailed<br />
in his day as they prevail in a far more aggravated<br />
form in our own. :<br />
<br />
In confirmation of Dr. Johnson’s dictum, we<br />
observe Schopenhauer declaring in his “ Essay on<br />
Education”: “The most, necessary thing for the<br />
practical man is the attainment of an exact and<br />
thorough knowledge of what is really going on in<br />
the world. .. . In getting such a knowledge of the<br />
world, it is as a novice that the boy and youth<br />
have the first and most difficult lessons to learn ;<br />
but frequently even the matured man has still<br />
much to learn. The study is of considerable diffi-<br />
culty in itself, but is made doubly difficult by<br />
novels, which depict the ways of the world and<br />
of men who do not exist in real life. But these<br />
<br />
are accepted with the credulity of youth, and<br />
become incorporated with the mind ; so that now,<br />
in the place of purely negative ignorance, a whole<br />
framework of wrong ideas, which are positively<br />
wrong, crops up, subsequently confusing the school-<br />
ing of experience and representing the lesson it<br />
<br />
teaches in a false light. If the youth was pre-<br />
viously in the dark, he will now be led astray by<br />
a will-o’-the-wisp ; and with a girl this is still more<br />
frequently the case.<br />
<br />
“ They have been deluded into an absolutely false<br />
view of life by reading novels, and expectations<br />
have been raised that can never be fulfilled. This<br />
generally has the most harmful effect on their<br />
whole lives.”<br />
<br />
Let antagonists of realism in fiction swallow the<br />
above excerpt from the conclusions of a man pro-<br />
found in reflection and clear in articulation, and,<br />
as the morsel digests, consider whether, after all,<br />
it is so laudable an undertaking to inculcate in<br />
books, lessons hereafter to be disproved by experi-<br />
ence ; to hoodwink innocence and impose upon<br />
ignorance. ;<br />
<br />
In the interests of commonsense, let them medi-<br />
tate upon the absurdity of execrating realism in<br />
fiction so long as newspaper editors and pro-<br />
prietors are free to sell, like hot rolls, editions<br />
detailing infamous cases, and popular fancy rapa-<br />
ciously seizes upon such putrid messes of realism<br />
in life.<br />
<br />
In an age when no man’s private affairs are<br />
respected by the skulking spies of an advanced<br />
press, and a gallant soldier may be driven to<br />
death by their hateful interference, it is but<br />
<br />
THE AUTHOR.<br />
<br />
childish work to assume pious horror at the un-<br />
conventional honesty of certain writers.<br />
Considerations of cant apart, the ruling of a<br />
character so unimpeachable as was that of Dr.<br />
Johnson, ‘Books without the knowledge of life<br />
are useless ; for what should books teach but the<br />
art of living?” must carry weight with open-<br />
minded adjudicators upon the question before us.<br />
Meanwhile the position of those individuals who<br />
would insist on compelling novelists to pen glorified<br />
halfpenny novelettes for the delectation of senti-<br />
mental servant girls ; or preposterous “‘ romances ”<br />
to glut the appetites of mental striplings; or<br />
fatuous “revelations” of a “high life,” to which<br />
their exponents have never by any chance been<br />
admitted, for the special and particular enlighten-<br />
ment of a worthy social substratum professing a<br />
righteous spirit of austerity towards everybody and<br />
everything pertaining to the “ upper ten,” yet per-<br />
versely delighting in nothing better than in feast-<br />
ing upon its imaginary sayings, doings, manners,<br />
and habits—all of which delude their unsophisti-<br />
cated readers into “an absolutely false view of<br />
life ”—is identical with that of the cranky bigots<br />
who scream when they behold a classical or mytho-<br />
logical picture, and avert their eyes at the un-<br />
abashed apparition of a piece of Grecian sculpture.<br />
<br />
L. Haruinerorp Norra.<br />
<br />
ig<br />
<br />
MAGAZINE CONTENTS.<br />
<br />
ges<br />
BLACKWOOD’s MAGAZINE.<br />
<br />
An article on Russia and Japan.<br />
Reviews—<br />
Mr. Morley’s Life of Gladstone.<br />
Mr. Whibley’s monograph on Thackeray.<br />
Mr. Henry James’ biography of William Wetmore Story,<br />
The War in the West. By Martini.<br />
An article on the Fiscal Question.<br />
The first instalment of a story by Hugh Clifford, ‘ Sally :<br />
A Study.”<br />
Musings without Method.<br />
A Perilous Ride. By Pilgrim.<br />
<br />
THE CORNHILL MAGAZINE,<br />
<br />
Good Living. By Laurence Housman,<br />
<br />
The Fond Adventure. Part I. By Maurice Hewlett.<br />
<br />
Blackstick Papers, No. 7. By Mrs. Richmond Ritchie.<br />
<br />
In Guipuzeoa, III. By Mrs. Woods.<br />
<br />
A Son of Empire. By Hamilton Drummond,<br />
<br />
The Queen’s Brooch: A Postscript. By Sarah Sisson.<br />
<br />
Chateaubriand and his English Neighbours. By the Rev.<br />
D. Wallace Duthie.<br />
<br />
A Rodeo in Southern California.<br />
Vachell.<br />
<br />
Mark Macintosh’s Lyrical Monologue.<br />
“Cock.” By F. 8.<br />
<br />
Provincial Letters.<br />
By Urbanus Sylvan.<br />
<br />
Midnight in Cloudland: An Experiment. By the Rev.<br />
John M. Bacon.<br />
<br />
By Horace Annesley<br />
Made at the<br />
XIII.—A House in Hertfordshire.<br />
<br />
<br />
<br />
<br />
<br />
<br />
‘<br />
<br />
THE AUTHOR.<br />
<br />
The Sorrows of Mrs. Charlotte Smith. By Viscount St.<br />
Cyres. :<br />
The Countess and the Frying-pan. By M. E. Francis.<br />
FORTNIGHTLY REVIEW.<br />
<br />
Pinchbeck Protection. By Autonomos.<br />
Mr. Chamberlain : The Protagonist and the Future. By<br />
<br />
Calchas,<br />
<br />
Economic Prejudice against Fiscal Reform. By L. L.<br />
Price.<br />
<br />
The Political Poetry of Mr. William Watson. By G. K.<br />
<br />
Chesterton,<br />
<br />
The Alfieri Centenary. By Count Rusconi.<br />
<br />
Tribe and Family. By Andrew Lang.<br />
<br />
The Alaskan Boundary. (Some opinions of those who<br />
cross it.) By Elizabeth Robins.<br />
<br />
The Education Act in the New Parliament.<br />
Macnamara, M.P.<br />
<br />
An Old-World Governess. By D. W. Rannie.<br />
<br />
The Austro-Hungarian Deadlock. By Maurice Geroth-<br />
wohl,<br />
<br />
Thackeray as a Reader and Critic of Books.<br />
Melville.<br />
<br />
The Question of Korea. By Alfred Stead.<br />
<br />
Behind the Scenes of Scottish Politics,<br />
Wallace, LL.D.<br />
<br />
The Woman at the Crossways.<br />
<br />
Lalla Radha and the Churel.<br />
<br />
By T. J.<br />
<br />
By Lewis<br />
<br />
By William<br />
<br />
By Fiona Macleod.<br />
By Laurence Hope.<br />
<br />
Theophano: The Crusade of the Tenth Century<br />
(Chapters iii., iv. and v.). By Frederic Harrison.<br />
Correspondence. By Ernest Marriott. (EK. A. Poe and<br />
<br />
Dr. Russel Wallace.)<br />
LONGMAN’S MAGAZINE.<br />
<br />
Nature’s Comedian (Chapters ix., x.). By W. E. Norris,<br />
<br />
The Nemesis of Froude. By A. L.<br />
<br />
First o’ May. By Ben Bolt.<br />
<br />
Young Russian and Young Englishman.<br />
Clayton.<br />
<br />
The Fairy Pipers. By Duncan J. Robertson.<br />
<br />
Old-fashioned Accomplishments. By Clementina Black.<br />
<br />
The Justice of the Mountains. By Frances MacNab.<br />
<br />
Canada in the Sixties—III. By Paul Fountain.<br />
<br />
On a Cuban Ingenio. By Naranja Amarga.<br />
<br />
The Disenchanted Squirrel. By Netta Syrett.<br />
<br />
At the Sign of the Ship. By Andrew Lang.<br />
<br />
By N. W.<br />
<br />
THE PALL MALL MAGAZINE,<br />
<br />
Master Workers——VIII. The Rt. Hon. J oseph Chamber-<br />
lain, M.P. By Harold Begbie.<br />
<br />
Joseph Chamberlain: The Orator and Debater. By Spencer<br />
Leigh Hughes.<br />
<br />
Autumn near London. By William Hyde.<br />
<br />
Porlick’s Theory: A Complete Story. By Mayne Lindsay,<br />
<br />
Real Conversations.— VII. With Mr. Sidney Lee.<br />
By William Archer.<br />
<br />
The Wish. By Marie Van Vorst.<br />
<br />
Sand-Daisy: A Story. By Eden Phillpotts,<br />
<br />
Recollections of the Chatsworth Theatricals.<br />
Trevor.<br />
<br />
The Wild Dream of Morris Ellison: A Story. By Frederick<br />
Wedmore.<br />
<br />
My First Stag—and Some Others.<br />
Karr, M.P.<br />
<br />
The Queen’s Quair: Book II. (Chapters i., ii.). By Maurice<br />
Hewlett.<br />
<br />
The Rhymer: A Poem. By H. D. Lowry.<br />
<br />
In the Cause of Science: A Story. By Gerald Maxwell.<br />
<br />
Say, But a Kiss: A Poem, By G. A.J. Cole.<br />
<br />
Literary Geography: The English Lakes, II. By William<br />
Sharp.<br />
<br />
By Leo<br />
<br />
By Sir Henry Seton-<br />
<br />
<br />
<br />
43<br />
<br />
Edmund Rostand. By Felicien Pascal.<br />
<br />
James Abbott McNeill Whistler, By Wilfrid Meynell.<br />
<br />
The Palace of Sleep : A Poem, By Maria 8. Steuart.<br />
<br />
The Vineyard (Chapters xiv., xv.). By John Oliver Hobbes<br />
(Mrs. Craigie).<br />
<br />
The Round Table: The Stone Age.<br />
Watson.<br />
<br />
Over the Sea: A Poem.<br />
<br />
By H. B. Marriott-<br />
<br />
By Charles Marriott,<br />
<br />
THE WORLD’s Work.<br />
<br />
The Right Hon. Earl Spencer, K.G. (Special Portrait.)<br />
<br />
The March of Events. (With-full page Portraits of the<br />
Right Hon. Alfred Lyttelton, K.C., M.P., and the Right<br />
Hon. H. 0. Arnold-Forster, M.P.)<br />
<br />
The Month in Polities, By the Editor.<br />
<br />
Peace or War in the Far East ? By the Editor.<br />
<br />
The Hope of Temperance Reform, 3y the Editor.<br />
<br />
Mr. Chamberlain’s Case and its Answer.<br />
<br />
Alaska and its Prospects, By William R. Stewart.<br />
(Ilustrated.)<br />
<br />
Railway Motor Cars. By H. G. Archer.<br />
<br />
Municipal Milk. By C. Ww. Saleeby, M.B.<br />
<br />
The Day’s Work of a Ship’s Captain, (ustrated.)<br />
<br />
Preparing an Atlantic Liner for Sea. (illustrated.)<br />
<br />
The Worm Disease among Miners. By J. Court, L.R.C.P.<br />
<br />
Making a Protective Tariff, By Chalmers Roberts,<br />
<br />
Life in the Zoo. By R. I. Pocock. Cillustrated.)<br />
<br />
Cold Storage and Ice Making. By R. M. Leonard,<br />
(llustrated.)<br />
<br />
The Scottish Granite Industry,<br />
Cillustrated.)<br />
<br />
The Art of Memory. By Eustace Miles.<br />
<br />
The Work of a Lady Health Lecturer.<br />
took.<br />
<br />
A Daily Newspaper for Madame.<br />
<br />
Gladstone the Worker.<br />
<br />
The New Poultry Movement.<br />
Cillustrated.)<br />
<br />
The Story of Irish Lace. 3y E. M. Leahy. Clustrated.)<br />
<br />
The Books of the Month. (With Portraits of Mr. Richard<br />
Whiteing, Mrs. Fuller Maitland, Mr. Cutcliffe Hyne, Mr.<br />
H. G. Wells.)<br />
<br />
The World of Women’s Work.<br />
<br />
Among the World’s Workers,<br />
<br />
(Ulustrated.)<br />
(Illustrated.)<br />
<br />
By William Diack,<br />
<br />
By Clarence<br />
By Alfred Harmsworth.<br />
<br />
By Home Counties,<br />
<br />
TO —<br />
<br />
TRADE NOTES.<br />
ae<br />
The Primrose Press.<br />
<br />
“The Primrose Press,” we understand, is the<br />
name of a new publishing house which is being<br />
started under the management of Mr. Allen Upward<br />
and Mr. L. Cranmer Byng.<br />
<br />
J. C. Nimmo, Ltd,<br />
<br />
The first meeting of the creditors and contribu-<br />
tories under the winding-up order made against<br />
John C. Nimmo, Limited, was held on Oct. 9th<br />
at the offices of the Board of Trade, in Companies<br />
Winding-up, Carey Street, Lincoln’s Inn.—Mr.<br />
Winearls, Assistant Receiver, read his report.—<br />
The Official Receiver was appointed liquidator to<br />
wind up the company.<br />
44<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
—+——+ —<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
<br />
This is sometimes satisfactory, if a proper price can be<br />
obtained, But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
Il. A Profit-Sharing Agreement (a bad form of<br />
agreement).<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(1.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements.<br />
<br />
(8.) Not to allow a special charge for ‘office expenses,”<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continental<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights. :<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor !<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author.<br />
<br />
IV. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book.<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advice from<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
0 a 8<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
Seige Sang ee<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
2. It is well to be extremely careful in negotiating for<br />
<br />
the production of a play with anyone except an established<br />
manager.<br />
<br />
THE AUTHOR.<br />
<br />
8. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters into<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system. Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed.<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (7.¢.. fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (0.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time. This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction is<br />
of great importance.<br />
<br />
7. Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
holding the performing right or licence to perform cannot<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘They should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration.<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An‘ author should remember that production of a play<br />
is highly speculative: that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
—_—_—+ <> —___—_—__<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
<br />
—<br />
<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as.<br />
<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
<br />
Oa<br />
<br />
HOW TO USE THE SOCIETY.<br />
oe<br />
<br />
i. VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor, but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Societv. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion. All this<br />
without any cost to the member.<br />
<br />
2. Remember that questions connected with copyright<br />
and publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Send to the Office copies of past agreements and past<br />
accounts, with a copy of the book represented. The<br />
Secretary will always be glad to have any agreements, new<br />
or old, for inspection and note. The information thus<br />
obtained may prove invaluable.<br />
<br />
4. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
5. Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping uo benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
6. The Committee have now arranged for the reception<br />
of members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
—(1) To read and advise upon agreements and to give<br />
advice concerning publishers. (2) To stamp agreements<br />
in readiness for a possible action upon them. (3) To keep<br />
agreements. (4) To enforce payments due according to<br />
agreements, Fuller particulars of the Society’s work<br />
can be obtained in the Prospectus.<br />
<br />
7. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
8. Many agents neglect to stamp agreements. This<br />
must be done within fourteen days of first execution. The<br />
Secretary will undertake it on behalf of members,<br />
<br />
9. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
10. The subscription to the Society is £4 1s." per<br />
annum., or £10 10s. for life membership.<br />
<br />
45<br />
THE READING BRANCH.<br />
<br />
—+—~<br />
<br />
<br />
<br />
EMBERS will greatly assist the Society in this<br />
N branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. ‘The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
Special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
fee is one guinea,<br />
<br />
<br />
<br />
—>— +<br />
<br />
NOTICES.<br />
—_1~>+__<br />
<br />
HE Editor of Zhe Author begs to remind members of<br />
<br />
the Society that, although the paper is sent to them<br />
<br />
free of charge, the cost of producing it would be a<br />
<br />
very heavy charge on the resources of the Society if a great<br />
<br />
many members did not forward to the Secretary the modest<br />
5s. 6d. subscription for the year.<br />
<br />
Communications for Ze Author should be addressed to<br />
the Offices of the Society, 39, Old Queen Street, Storey’s<br />
Gate, S.W., and should reach the Editor not later than<br />
the 21st of each month.<br />
<br />
All persons engaged in literary work of any kind,<br />
whether members of the Society or not, are invited to<br />
communicate to the Editor any points connected with their<br />
work which it would be advisable in the general interest to<br />
publish.<br />
<br />
Oo<br />
<br />
Communications and letters are invited by the<br />
Editor on all subjects connected with literature, but on<br />
no other subjects whatever. Every effort will be made to<br />
return articles which cannot be accepted.<br />
<br />
—_+~>—+—_.<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post,<br />
and he requests members who do not receive an<br />
answer to important communications within two days to<br />
write to him without delay. All remittances should be<br />
crossed Union Bank of London, Chancery Lane, or be sent<br />
by registered letter only.<br />
<br />
<br />
<br />
<br />
<br />
AUTHORITIES.<br />
<br />
oe<br />
<br />
We are glad to print under “ Literary, Dramatic,<br />
and Musical Property,” a letter from the firm of<br />
Messrs. Methuen & Co., explaining their position<br />
in the matter of the Dumas Translations.<br />
<br />
We have seen the correspondence referred to in<br />
that letter. The firm seem to have dealt with<br />
the question promptly and vigorously. We give<br />
publicity to this letter with the more pleasure as<br />
our opinian of the transactions of this firm and its<br />
bearing towards authors has in the past always<br />
been favourable.<br />
<br />
It should, however, be remembered that publishers<br />
must bear the responsibility for arrangements made<br />
46<br />
<br />
in their name and under their authority. — It is<br />
their duty to guard their reputation from criticism<br />
by making sufficient stipulations with those whom<br />
hey employ.<br />
<br />
We aes tad letters from other authors touching<br />
this same question. The need for farther criticism<br />
is at an end, but it may be interesting to state a<br />
few facts concerning the price that ordinary trans-<br />
lation work will obtain in the market. ;<br />
<br />
As a rule, the pay is by no means lavish. In<br />
consequence, many translations are done in a hurried<br />
fashion and in an unsatisfactory manner. The<br />
remuneration given varies between 10s. and 5s. per<br />
thousand words. Sometimes for special technical<br />
work or translations of special difficulty, even a<br />
higher figure is received, but the mean may be<br />
taken at 7s. 6d. A well-known firm always pays<br />
9s. In consequence, its translations are done with<br />
care, and gain a corresponding reputation in the<br />
book market.<br />
<br />
We print below an article dealing with the<br />
United States Market. The subject must be<br />
one of great importance to all British authors,<br />
and the experience of members of the Society<br />
would be interesting reading. We shall be much<br />
obliged if those authors who have been in the<br />
habit of obtaining these rights, would forward<br />
some facts for the advantage of the other members<br />
of the profession.<br />
<br />
It is with much pleasure that we chronicle at<br />
the same time a marked difference that has<br />
occurred in the forms and terms of agreement<br />
of some of the best known publishing houses<br />
during the last three or four years, in spite of the<br />
draft agreements issued by the Association to which<br />
these firms belong. In one case, for the first time,<br />
we have seen the publisher accept as one of the<br />
terms of the contract a clause undertaking to<br />
“gecure the American Copyright on behalf of the<br />
authors, and further, if the book was finally placed<br />
onthe United States Market through his (the Pub-<br />
lisher’s) agency, agreeing to accept as his share of<br />
the result merely the agency fee, 10 per cent.<br />
This is indeed an advance, as prior to this, the<br />
lowest commission charged was 25 per cent., and<br />
many have asked for half profits for negotiating<br />
the United States Market. Our exultation was<br />
somewhat marred a week later by an agreement<br />
with the same firm asking for 333 per cent.<br />
<br />
THosE members of the Society who care to have<br />
a photographic reproduction of the Memorial to Sir<br />
Walter Besant will be able to obtain the same from<br />
the Autotype Company, 74, New Oxford Street, W.,<br />
at the price of 10s. 6d. each.<br />
<br />
THE AUTHOR.<br />
<br />
OBITUARY NOTICE.<br />
<br />
——1—~ + —<br />
<br />
T is our sad duty to chronicle the death of one<br />
of the most distinguished members of the<br />
Society and a member of the Council. Pro-<br />
<br />
fessor W. E. H. Lecky died on Thursday,<br />
October 22nd. He was a distinguished scholar, a<br />
thoughtful philosopher, but above all a laborious<br />
and impartial historian. His “ History of Euro-<br />
pean Morals” brought him the well deserved praise<br />
of all intelligent and serious students ; and his fame<br />
as a writer was further enhanced by his monu-<br />
mental work on the “Highteenth Century of<br />
English History.” Every subject he took under<br />
his consideration he treated in a broad spirit, from<br />
the standpoint of the upright judge unswept by<br />
party passion and class bias.<br />
<br />
As a historian, and litterateur, his death must be<br />
a sad loss to all those members of the Society who<br />
are sincerely interested in the fellowship of the<br />
profession.<br />
<br />
But not on his position as an author alone does<br />
his claim to fame rest ; he was a Member of Par-<br />
liament for the University of Dublin, and in 1897<br />
was elected a Privy Councillor.<br />
<br />
From his position as Member of the House of<br />
Commons he used his best endeavours to bring<br />
forward a bill for amending and consolidating the<br />
law of copyright.<br />
<br />
Finally, he obtained the fullest public recognition<br />
of his work when he was appointed one of the<br />
original members of that most exclusive order—<br />
The Order of Merit.<br />
<br />
—_—_—<br />
<br />
ENGLISH AUTHORS AND THE UNITED<br />
STATES RIGHTS.<br />
<br />
———>+<br />
<br />
HE wider the Copyright Protection the larger<br />
<br />
a nation’s literature. Before there was any<br />
<br />
copyright for British authors in the States<br />
or for United States authors outside their political<br />
combination the works of the former in pirated<br />
form were printed and read everywhere, while<br />
authors—citizens of the United States—save with<br />
afew striking exceptions, did not exist ; and the<br />
United States literature was a tree of stunted<br />
growth.<br />
<br />
The United States publishers, owing to an<br />
honourable understanding among themselves that<br />
if one firm reproduced a British author no other<br />
firm should interfere with his profits, found that<br />
piracy paid, and the would-be United States authors<br />
found that the remuneration of literature did not<br />
suffice to purchase the bare necessaries of life. In<br />
fact the almighty dollar was the moving factor<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
to the gain of the one side and the loss of the<br />
other. What then was the cause of revolution,<br />
of the change in policy from this restrictive pro-<br />
tection and limitation ?—again the dollar.<br />
<br />
Some keener sighted Yankee watching the<br />
market saw his opportunity, and by a process of<br />
underselling disturbed the family party, till pro-<br />
fits were cut down to nothing, and the trade<br />
generally began to realise that piracy at first so<br />
profitable was now a failure. Then came about<br />
that combination of author and publisher which,<br />
backed by the capital of the latter, was able by a<br />
stubborn political contest to bring about that<br />
alteration in the United States Copyright Law<br />
which gave the right of protection under restric-<br />
tions to the work of foreigners.<br />
<br />
This commercial transaction was covered with<br />
the beautiful cloak of upright dealing to the<br />
foreigner. But whatever the alleged motive—and<br />
there were many put forward—the publisher could<br />
now again produce the work of the. foreigner at a<br />
profit, and he proceeded to do so.<br />
<br />
Owing to previous piracy the author who had<br />
not the unbounded felicity of being a citizen of<br />
the United States had for many years held the<br />
literary market, and to him the United States<br />
tradesman naturally turned in the first instance.<br />
British authors accordingly found that they now<br />
had a double market, from each of which they<br />
could obtain their deserved profit, and the trade<br />
evolved itself along customary lines and under<br />
natural laws.<br />
<br />
By degrees, however, the United States authors<br />
found that this alteration from the protective<br />
copyright of former days to the freer trade of a<br />
broader law raised their efforts in the wage<br />
market. They could now obtain a fair return for<br />
their work. They were not undersold by the pirated<br />
brain work of the foreigner, but they were struggling<br />
in equal competition with other nations, and a<br />
good work had an equal chance in the United<br />
States as in the British Empire and among<br />
European nations. Many accordingly began to<br />
write in earnest for a livelihood where formerly a<br />
few had written for love. Gradually, and as a<br />
natural sequence, the publisher awoke to this<br />
fact. He found the United States author was<br />
more easily dealt with than his brother across the<br />
Atlantic—he knew less of the value of literary<br />
property—that the delay in correspondence was<br />
less, and that the United States public had a<br />
natural leaning towards those who described in<br />
feeling terms their own patriotic ideals, or lashed<br />
unfeelingly their own patriotic vices.<br />
<br />
Accordingly where one name was known in<br />
literature in a few years there were ten, and the<br />
foreigner appeared to be losing ground. For this<br />
latter fact there was another cause. Hitherto the<br />
<br />
47<br />
<br />
United States publishers had been looking to the<br />
British author and had been competing for the<br />
purchase of his wares, deeming them the best to<br />
supply the market, now they looked to the United<br />
States. The British author failed to grasp the fact.<br />
<br />
It is necessary therefore—to use some oft-<br />
quoted words—that he should “wake up.” He<br />
does not want to write better stuff; it is only<br />
given to the few to be “among the gods.” But<br />
he does want to see that his wares are better<br />
marketed as far as the United States is concerned.<br />
For this purpose it is essential to lay bare a few<br />
faults and suggest a few remedies. Sir Walter<br />
Besant has often pointed out that it is in no way<br />
derogatory to a writer to obtain the best market<br />
for his wares. Nor need this latter point in any<br />
way detract from his artistic effort.<br />
<br />
There are two ways in which authors can deal<br />
with the United States market. (1) Direct, (2)<br />
Through an agent.<br />
<br />
As the first method is most important it is<br />
necessary to consider the means an author should<br />
employ in order to obtain an opening.<br />
<br />
It is feared that some authors have allowed<br />
matters to glide along too smoothly and prefer to:<br />
lose the market by leaving the matter in the hands<br />
of the middleman—the publisher or the literary<br />
agent—rather than bestir themselves. It is<br />
essential that an author should at once grasp the<br />
fact that the United States market is of consider-.<br />
able value, is worth a struggle to obtain, and<br />
when obtained is worth holding ; that the United<br />
States magazines pay for serial use, in many cases.<br />
larger sums than the English magazines ; that the.<br />
United States book market is almost as equally pro-<br />
ductive, from a financial point of view, asthe English..<br />
<br />
There are those authors who, cursed with the<br />
artistic temperament, and full of the loathing for:<br />
all business transactions, are unable to carry:<br />
through their®own negotiations _ satisfactorily.<br />
For these an agent is necessary. But for those—<br />
and there are not a few—who are blessed with<br />
cool business heads, the best method of dealing<br />
with these rights is by going direct to the United<br />
States publisher or United States editor. As.<br />
there must be some delay in the correspondence,<br />
even when the publisher or editor has an office in,<br />
London, the author should take care to begin<br />
early in trying to place his work—some time before-<br />
he commences to try and place the book in<br />
England. Instead of leaving these negotiations. .<br />
to the last minute, as is the common practice at.<br />
present—a practice which cannot but end in<br />
failure—he should take time by the forelock. He:<br />
should not be disheartened by refusals, but should<br />
continue with even greater persistence than he<br />
would, did he desire English publication only.<br />
His energy must increase commensurately with his.<br />
48<br />
<br />
difficulty. It is almost certain that if his work<br />
has any value he will at last obtain his reward.<br />
There are, no doubt, some books which are suitable<br />
for the English market only, but these are the<br />
exceptions. Many kinds of literature appeal to<br />
the whole world. :<br />
<br />
When an offer has been made, then it may be<br />
worth while to put the agreement before the<br />
secretary of the Society of Authors for advice and<br />
counsel. Further, as there must necessarily be<br />
some delay owing to the distance between the<br />
United States and the British Isles, it is advis-<br />
able to deal in the first instance with the best<br />
known publishing houses and the best known<br />
magazines. For although the terms of the agree-<br />
ment may not be altogether satisfactory, and<br />
though it may be impossible to alter them in detail<br />
owing to delay, yet a bad agreement with a trust-<br />
worthy house might be more worthy of acceptance<br />
than a better agreement with a doubtful tradesman.<br />
British authors should not however abandon weakly<br />
an important term in the contract merely on<br />
account of delay. They should endeavour to make<br />
their arrangements so that a little delay will not<br />
invalidate their position. Above all things they<br />
should persist and insist.<br />
<br />
In considering the second method, the different<br />
forms of dealing through an agent must be<br />
enumerated and considered. Firstly, it is possible<br />
<br />
to deal through the United States literary agent,<br />
who will deal with the United States publisher.<br />
Secondly, to deal with the English agent who<br />
<br />
deals with the United States publisher. Thirdly,<br />
with the English agent who deals with the United<br />
States agent who deals with the United States<br />
publisher. Fourthly, with the English agent who<br />
deals with the English publisher who deals with<br />
the United States publisher; and lastly, with the<br />
English publisher who acts as agent and deals<br />
with the United States publisher.<br />
<br />
As has been pointed out already, the system of<br />
dealing direct is, on the whole, the soundest,<br />
but if an agent has to be employed, it is best for<br />
the author to obtain a trustworthy agent in the<br />
United States, and request him to attend to the<br />
matter on his behalf. An agent on the other side<br />
can deal direct with the publisher, and loses no<br />
time between the rejection by one publisher and<br />
the transmission of the MS. to another. He<br />
should not, save under exceptional circumstances,<br />
be allowed a free hand to accept any terms without<br />
the author’s sanction. Although agents, no doubt,<br />
have large knowledge of the trade, they are not<br />
always infallible. There are not many literary<br />
agents in the United States, but there are one or<br />
itwo whose work has been thoroughly satisfactory.<br />
An author should avoid if possible an agent who<br />
also acts for English publishers.<br />
<br />
THE AUTHOR.<br />
<br />
Under the next three headings the question of<br />
the English agent is raised, and there is no doubt<br />
that he cannot work so successfully in obtaining<br />
the United States rights as his fellow-trader in<br />
America. Firstly, if he is dealing with the American<br />
publisher direct, the same difficulties arise which<br />
are bound to arise when the English author deals<br />
with the United States publisher direct ; but there<br />
is this additional difficulty, that as the English<br />
agent is also trading the English rights, hemay some-<br />
times be tempted, if he has obtained a particularly<br />
beneficial English contract, and wants to settle the<br />
matter out of hand, to waive the question of the<br />
United States. He is very often guilty of delay,<br />
commencing the United States negotiations sub-<br />
sequent to or simultaneously with the disposal of<br />
English rights. It was necessary to warn the<br />
author of this fault when dealing direct, but an<br />
agent ought to know the dangers. Heis appointed<br />
for this sole reason to overcome these difficulties,<br />
and make the rough places plain. Whatever means<br />
he may attempt to satisfy the author’s objections,<br />
still his failure is blameworthy. If he is dealing<br />
through a United States agent then comes the ques-<br />
tion of double agency fees ; and if the English agent<br />
charges 10 per cent., there is generally a 5 per<br />
cent. additional charge for the American agent as<br />
well. One middleman is bad enough, but when<br />
negotiations are carried through two middlemen,<br />
the matter is complicated.<br />
<br />
For the same reason it is a mistake to allow the<br />
agent to leave the United States rights in the<br />
hands of the English publisher ; but in addition,<br />
firstly, it is the English agent’s duty to try to<br />
obtain the United States rights—he should not<br />
shift that duty on to the back of the publisher.<br />
Secondly, the English publisher generally makes<br />
excessive charges when he acts in this way ; and<br />
thirdly, his financial interests are not in accord<br />
with those of the author, as it often pays him<br />
better to sell an edition in sheets to the United<br />
States, or to sell stereo plates, than to obtain the<br />
copyright in that country. If therefore an English<br />
agent is employed, the author should insist that<br />
he should keep the work in his own hands, and<br />
should not create a second middleman ; that he<br />
should endeavour to place the American rights<br />
before he markets the rights for the British<br />
Empire, and under the Berne Convention ; that he<br />
should persist in his efforts and not weakly give<br />
way with some specious excuse, as agents are some-<br />
times inclined to do, owing to the greater trouble<br />
involved.<br />
<br />
Lastly, there is the case of the English publisher<br />
acting as agent and dealing with the United States<br />
publisher. Why this course is unsatisfactory has<br />
to a certain extent been already propounded; yet<br />
there are other reasons. Firstly, the English<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
publisher not infrequently asks 50 per cent. of the<br />
profits resulting from his negotiations, work for<br />
which an agent would charge 10 per cent. Secondly,<br />
it often pays him better, as stated above, to sell<br />
sheets or stereo plates to the United States, rather<br />
than to make fan effort to secure the copyright ;<br />
and lastly, the publisher is employed under a<br />
licence from the author to put the book on the<br />
English market, and to use his special knowledge<br />
of the English trade, and ordinary agency busi-<br />
ness does not come within his range, or if it<br />
does, is not the main object of his existence. He<br />
will therefore, apart from other reasons, not give<br />
his full attention to this part of the work, and<br />
will not put that thoroughness into it which is<br />
absolutely essential, should the British author<br />
desire to obtain the full returns that are due to<br />
him for his labours.<br />
<br />
Finally, it must be again repeated that if<br />
English authors are failing in their efforts in the<br />
United States market, the fault lies with them<br />
and with them alone. It is not that the United<br />
States literature is on a higher basis than that<br />
produced in England, but it is because the author,<br />
either owing to his artistic temperament, or owing<br />
to the lack of energy in the agent he employs, is<br />
weakly turning away when it is essential that he<br />
should make a specially strenuous effort. It is to<br />
be hoped, therefore, that the English author will<br />
look well to it, and will ‘‘ wake up” to the realities<br />
of the situation.<br />
<br />
A, ©. B.<br />
<br />
THE TRUTH ABOUT AN AUTHOR.<br />
<br />
—-—— +.<br />
I.—The Struggles of an Unpublished Author.<br />
<br />
FEW months ago Mr. William Heinemann<br />
published a book entitled “The Journal of<br />
Arthur Stirling.” It purported to be a<br />
<br />
record of the struggles of a young American poet<br />
who had written a blank verse tragedy which had<br />
been rejected by some six or seven publishers, At<br />
length in despair of acquiring the fame he sought,<br />
the author tied a weight round his body and<br />
dropped into the depths of the River Hudson.<br />
<br />
The following obituary notice appeared in the New<br />
York Times.<br />
<br />
STIRLING, ARTHUR—By suicide in the Hudson River,<br />
poet and man of genius, in the twenty-second year of his<br />
age, only son of Richard T, and Grace Stirling, of Chicago.<br />
<br />
The publication of the “Journal” in America<br />
caused a sensation. Since its introduction to this<br />
country its authenticity has been called into<br />
<br />
49<br />
<br />
question. But whether or not the book is what<br />
it claims to be, the actual experiences of one<br />
particular individual of literary proclivities in his<br />
struggles to obtain a hearing, the fact remains that<br />
it makes a most pathetic piece of reading, and if<br />
** Arthur Stirling” was of mere mythical substance,<br />
it is none the less true that his alleged experi-<br />
ences are the record of scores of young writers of<br />
merit, who know what it is to have drunk deep of<br />
the cup that falls to the lot of the persistently<br />
rejected. No less is it true that the book is a<br />
document that will form a text for many an editor<br />
and publisher from which to draw a salutary moral<br />
lesson.<br />
<br />
As an over-much rejected novelist, the writer of<br />
the following has tasted all the ignominy which<br />
was the inheritance of “ Arthur Stirling.’ Hopes<br />
raised, fears, weeks and months of weary waiting,<br />
dreams of success ruthlessly dispelled, have been his:<br />
lot again and again. “ Arthur Stirling” gave up<br />
the struggle when his work had been rejected some<br />
half-dozen times ; the present writer’s only novel<br />
has been refused by no less than twenty-seven<br />
publishers ! He still remains to tell the tale.<br />
<br />
No doubt the reader will exclaim, “If twenty-<br />
seven publishers have rejected the manuscript it<br />
is highly probable that it is not worth publish-<br />
ing!” Having only read so far, such a comment<br />
is justified. But the writer has no doubt that<br />
before the end of his story is reached he will<br />
be able to prove otherwise on the testimony of<br />
the publishers themselves.<br />
<br />
Ten or twelve years ago the writer was a more<br />
or less successful contributor of articles and short<br />
stories to the popular monthly magazines. Evi-<br />
dently his work gave pleasure—(perhaps to none<br />
more than himself)—for he was the recipient of<br />
some scores of letters from strangers, testifying to<br />
the interest that they, as readers, had taken in the<br />
productions of his pen. Among these letters were:<br />
several which strongly urged him to write a novel.<br />
The young author was flattered, but he doubted<br />
his own powers for such an undertaking. At this<br />
critical moment he received a letter from a friend,<br />
a popular novelist, urging him to undertake the-<br />
writing of a book. His ambition was fired, and he<br />
determined to make a longer essay in fiction than<br />
he had hitherto thought of. That well-meaning<br />
letter from his novelist friend has been to the writer<br />
the innocent cause of the misery of years !<br />
<br />
The novel decided on, it only remained to evolve<br />
it, place it on paper, and send it to a publisher.<br />
The work was carried out with much burning of<br />
midnight oil during a period covering long months,<br />
until the end of a year saw the completion of what<br />
the author considered a masterpiece, in one hundred<br />
and thirty thousand words, and a young man pale:<br />
and haggard but triumphant.<br />
<br />
<br />
50<br />
<br />
The manuscript had now to be typewritten.<br />
This meant what to its author was a ‘considerable<br />
sum of money. But he had reckoned on this, and<br />
by exercising a certain amount of self-sacrifice he<br />
had saved the necessary six pounds. _<br />
<br />
In due time the novel was typewritten, revised<br />
and corrected. A leading London publisher was<br />
selected, the maiden effort carefully and lovingly<br />
packed and sent off with a polite letter. =<br />
<br />
‘And now followed some anxious weeks of waiting.<br />
This time had its joys, for in it the novelist built<br />
a hundred castles—not more substantial than those<br />
in Prospero’s dream. Every day his darling book<br />
was with him in thought, every day he made<br />
schemes for future work.<br />
<br />
At length, one morning, the postman brought a<br />
letter, bearing on the outside of the envelope the<br />
favoured publisher's address. The author went<br />
white with joy. His trembling hand tore off the<br />
cover, and he read the following :—<br />
<br />
“ DEAR SIR,—I am returning your MS. entitled ‘<br />
by parcels post. While thanking you for allowing me to<br />
read it, I regret to say that I do not feel justified in under-<br />
taking its publication.<br />
<br />
’<br />
<br />
<br />
<br />
”<br />
<br />
<br />
<br />
“ Yours truly,<br />
<br />
The manuscript was duly delivered by parcels<br />
post. The fair sheets of foolscap had become<br />
curled and soiled. “This,” thought the author,<br />
“‘ will probably prejudice my novel in the eyes of<br />
the next pablisher to whom I send it, and who<br />
may thus have reason to think that it has already<br />
been read and rejected.” A hot iron and a piece<br />
of india-rubber made it respectable once more,<br />
the wretched publisher’s label was scratched off<br />
the brown paper wrapping, another was pasted on<br />
in its place, and the parcel was a second time<br />
committed to the post.<br />
<br />
The weeks of waiting that followed were more<br />
anxious than the last ; there might be more than<br />
one foolish publisher in the world. Too true.<br />
<br />
“Mr. regrets that he is not able to accept Mr.<br />
’s story entitled ‘— . While the novel has<br />
certain points of merit it appears to fail in construction.<br />
It is also much too long. The MS. is returned herewith,<br />
with thanks.”<br />
<br />
Here was a blow, but a reason was given.<br />
Youth requires much to daunt it. The author<br />
determined to have an expert opinion on his work.<br />
That excellent institution, the Society of Authors,<br />
gives practical advice on young writers’ manu-<br />
scripts for a moderate fee. The story was posted<br />
to the secretary, and in due course was returned<br />
with the following notes :—<br />
<br />
“The Reader of ‘———,’ after careful consideration,<br />
has come to the following conclusions. In the first place<br />
the story is much too long, novels of 80,000 to 100,000 words<br />
are generally the most acceptable length. Secondly, the<br />
<br />
weakest point of the story lies/in the lack of artistic con-<br />
struction, But artistic literary construction can be acquired<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
—in fact must be acquired if the author wishes to write<br />
successful fiction, The Reader advises Mr. — to study<br />
the novels of Guy de Maupassant, the best of which are<br />
models of literary construction. He has pleasure in adding<br />
that he considers that Mr. ’s story is well-written,<br />
and evinces distinct promise. There are dramatic moments<br />
and scenes of very considerable power. The scenes are<br />
also well handled. Moreover, the novel contains many<br />
passages of considerable value and strength, and the inci-<br />
dents themselves are welltold. The knowledge of ‘ charac-<br />
ter’ displayed is deep and effective (this is particularly so<br />
in the case of the characters X and Z ), and<br />
the Reader must add that the author has distinct power asa<br />
descriptive writer. Where he fails is in the very elements<br />
of successful novel writing ; and the Reader’s advice to Mr.<br />
— is that he should reconstruct, rewrite, and con-<br />
siderably curtail his story. Mr. has the ability,<br />
and his success depends entirely upon himself.” :<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Youth was cheered. Apparently only hard work<br />
and proper discernment were in the author’s way<br />
to success. He placed his manuscript aside for six<br />
months and studied Maupassant. The story was<br />
reconstructed, entirely rewritten, and shortened to<br />
about half its original length. The author gave<br />
the nights and holiday afternoons of nearly two<br />
years to the work, but the giant’s task was accom-<br />
plished, and the novel was again despatched to the<br />
Reader of the Society of Authors. His reply came<br />
as follows :— :<br />
<br />
<br />
<br />
“ The Reader congratulates Mr. on his successful<br />
accomplishment of that most difficult enterprise—the<br />
rewriting of a novel. The ending of the story is undeniably<br />
effective, and the whole novel seems to the Reader to move<br />
swiftly and strongly from opening to close.... The<br />
Reader would strongly advise Mr. to devote himself<br />
at once to a new novel, in which he should try to do even<br />
better work.”<br />
<br />
<br />
<br />
Once more joy! Once more hope! To<br />
Publisher Number Two the manuscript was again<br />
despatched. Three weeks later it was returned :<br />
<br />
<br />
<br />
“Mr, ——— has read Mr. ’s rewritten story with<br />
pleasure. It is a more concise and better book than it<br />
was, and it is certainly astory of merit. Mr. thinks<br />
that it would be well spoken of by reviews, but owing to<br />
the unsatisfactory state of the literary market, he doubts<br />
if its sale would be sufficiently great to render it com-<br />
mercially successful. Heis much obliged to Mr. for<br />
allowing him to see the MS, again, which he is returning<br />
by parcel post.”<br />
<br />
But was “merit” to be smothered at birth for<br />
the want of a foster-parent? No, it should seek<br />
one elsewhere.<br />
<br />
Two months later the novel came back once<br />
more. The author was becoming bold and hard<br />
of heart. He wrote for a reason of the rejection :<br />
<br />
“Tt is not our practice to give reasons for the rejection<br />
of MSS. We may say, however, that we do not at present<br />
feel justified in taking up the work of new authors. Our<br />
Readers allagree that the story is very well written, but we<br />
do not feel that it would be likely to be as popular as its<br />
merits deserve. We returned the MS, reluctantly.”<br />
<br />
<br />
<br />
<br />
<br />
Despair now suggested itself. Yet while there<br />
was a publisher in London who remained untried,<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. :<br />
<br />
there should be no fainting heart. The next<br />
firm written to politely declined to read the novel<br />
as “the supply of fiction was greater than the<br />
demand.” It was therefore offered to a young and<br />
enterprising house. This firm kept it some five or<br />
six months before sending it back :<br />
<br />
“ Our Reader informs us that the book has many qualities,<br />
but not qualities that would be likely, in the present<br />
depressed condition of the market for books—and especially<br />
for fiction—to attract to it a sufficient amount of attention<br />
to enable a publisher to sell the thousand or so copies that<br />
are essential.”<br />
<br />
And so the heartbreaking work of despatching<br />
the story and receiving it back continued for<br />
years. Sometimes the MS. was returned with a<br />
polite note of refusal, sometimes a few words of<br />
appreciation and commendation were offered, and<br />
thankfully received. In nearly all cases where<br />
reason for refusal was given, the excuse was laid<br />
to the account of the bad state of ‘the literary<br />
market.”<br />
<br />
At length the author decided to seek new fields.<br />
He sent his novel to a popular newspaper that<br />
makes a feature of publishing serial stories. Three<br />
months later the now familiar answer came :<br />
<br />
“The novel is most carefully written, but we prefer<br />
stories of strictly modern days. Always glad to read any<br />
story you may write.”—Editor<br />
<br />
About this time the would-be novelist received<br />
a letter from his friend, who, in the course of it,<br />
remarked, “if you at any time decide to write a<br />
novel, and desire ‘a friend at court,’ send the MS.<br />
on to me and I will forward it to ———” (a<br />
publisher), “who is a friend of mine.”<br />
<br />
Here was hope again! ‘The story was des-<br />
patched, with a note of thanks for the offer. Four<br />
months later the novelist wrote :<br />
<br />
<br />
<br />
<br />
<br />
“ My DEAR , [am sorry—very sorry to tell you that I<br />
have been unsuccessful in placing your novel. I have read<br />
it myself, and think that with a few touches it ought to go<br />
well. But, as you know, there is such a little chance for<br />
new writers nowadays. Everything tends towards keeping<br />
fiction in a narrow and successful ring. Publishers abso-<br />
lutely refuse to risk money over new authors, while with<br />
the favourites all they write sells before it is published—or<br />
at least is ordered by the trade, which is the same thing.<br />
If your story was published bearing the name of a well-<br />
known author it would sell, whereas with your name being<br />
unknown to the trade as that of a novelist, I dare say that<br />
the novel would hardly repay the publisher for the<br />
printing.<br />
<br />
“Yet it seems a pity for such a good story to remain in<br />
oblivion !<br />
<br />
“ Both and (here is inserted the names<br />
of two publishers) say that they won’t risk a penny on<br />
new authors. Shall I send the MS, back, or what shall I<br />
do with it?<br />
<br />
”<br />
<br />
“ Yours ever, ———-—<br />
<br />
This was the last straw! The author replied<br />
that he did not much care what his friend did with<br />
the MS. : he might make pipe-lights of it, or give<br />
it away.<br />
<br />
51<br />
<br />
It has come back !<br />
<br />
So ends the story of an unpublished author of<br />
“merit,” and so does mere cleverness—wanting<br />
the name of popularity—find no favour with Dame<br />
Fortune. How obtain a hearing? The multitude<br />
will not hear you because they know you not,<br />
neither do they wish to know you. And yet, if<br />
they would but listen ———-! No, they will not<br />
—the twenty-seven publishers have decided. When<br />
no hand is extended to help him the young novelist<br />
must devise other means to gain a hearing, or<br />
perish. He may present his work to some pub-<br />
lisher or editor (if he will have it) for the sake of the<br />
advertisement its publication may give him, or he<br />
may pay a publisher to produce his work. Other-<br />
wise he may sup on leek and remain, like the present<br />
<br />
“writer,<br />
<br />
Unwept, UNHONOURED AND UNSUNG.<br />
ee ot<br />
<br />
II.—The Struggles of a Published Author.<br />
<br />
THERE are aspects of the literary life other<br />
than those presented in “The Truth about an<br />
Author.” The pleasant experiences of the writer<br />
of that book belong to the exception, not to the<br />
rule, and certainly they do not square with my<br />
own. My literary career has been an unceasing<br />
struggle, in which every advantage had to be<br />
fought for ; each advance was contested and had to<br />
be won, and the merit of one book in no way<br />
assured a reception for the next. In fact the<br />
reverse happened, for with each success it became<br />
increasingly difficult to place another book.<br />
<br />
My grandfather wrote books which were issued<br />
by the leading publisher of his day ; my father<br />
wrote books which were published by a newer<br />
house, but I have not been able to place anything<br />
with either firm. Practically I started without<br />
knowing any publisher or editor, determined simply<br />
to make my way by the quality of my work. [<br />
have written a few novels and six other books ; all<br />
have been well received by the Press; all are<br />
considered successful. One is in the reading room<br />
of the British Museum, another has been trans-<br />
lated into various Huropean languages, and<br />
published in half-a-dozen countries; of another<br />
a pirated edition in the Japanese vernacular has<br />
been issued at Tokyo; some have sold as well<br />
in America as in this country, and one is in its<br />
seventh English edition. I could paper the walls of<br />
my study with different very flattering notices news-<br />
paper critics have wasted upon my work, and I<br />
have perhaps a score of more or less disparaging<br />
reviews. All my books have attracted notice.<br />
Several times I have fancied myself near real<br />
pecuniary success, believing after so much praise<br />
had been lavished upon one book that I should<br />
52<br />
<br />
find the search for a publisher easier, be. offered<br />
work by editors, or, at least, get some sort of<br />
salaried post on a periodical. :<br />
<br />
My latest book was the first of mine to be issued<br />
simultaneously in distinct editions in England and<br />
America. In both countries it had excellent<br />
publishers who advertised it generously ; it was<br />
noticed on the day of publication and much<br />
praised ; the daily newspapers gave it a column,<br />
and of the literary weeklies some devoted as many<br />
as six columns to the book; extracts from it<br />
appeared in almost every periodical from the<br />
Family Herald to the Quarterly Review, both<br />
included ; the public responded.<br />
<br />
With so much fame and the book selling, I<br />
thoucht it a fit moment to approach publishers and<br />
editors for future work. The result was dis-<br />
appointing. ‘Twelve book publishers refused abso-<br />
lutely to consider anything ; fifteen others would<br />
not entertain a work on the subjects I suggested,<br />
one because he had published a book on a cognate<br />
topic, another because he was going to do s0, a<br />
third because he had never done so—any excuse<br />
served to complete the vicious circle. The net<br />
result was that two firms, quite third-rate in the<br />
trade, answered by inviting me to “ submit ”’—an<br />
abominable word—my manuscript. One then<br />
stated that he liked what I offered, but declined<br />
to publish it on any terms ; the other has the work<br />
under consideration still.<br />
<br />
The Press Syndicates refused my overtures. Of<br />
the editors of periodicals eight declined to consider<br />
any serial from me; thirty others rejected various<br />
offers I made them of articles, services, etc. ; three<br />
only stated as a reason that my price was too high.<br />
The net result was—one short article accepted,<br />
and four intimations that I might “submit”<br />
MSS. which, if used, would be paid for at scale<br />
rate, which was not specified.<br />
<br />
For all practical purposes of making a livelihood<br />
by writing, I am in exactly the same position I<br />
was before my “ great” book was published.<br />
<br />
In itself the pecuniary value of literary fame is<br />
nil. It issomething which is worth more to any-<br />
one else than it is to the literary worker.<br />
<br />
For instance, my fame has brought me an offer<br />
from a firm of German manufacturers who, if only<br />
I will cease writing and will travel about to get<br />
information for them, will pay all my expenses and<br />
reward me with a high salary. I detest Germans<br />
and I abhor trade, but I do like getting informa-<br />
tion, and I want that salary very badly. If a<br />
British or an American firm offered it I would<br />
close at once, and then anybody who wishes to<br />
possess a first-class reputation might obtain one<br />
ready-made and cheap from a writer who has never<br />
had any use for it.<br />
<br />
ARTIFEX,<br />
<br />
THE AUTHOR.<br />
<br />
AN EDITOR’S LETTER BOX.<br />
<br />
1<br />
<br />
YE Editor of the “ New York Bookman,” in<br />
<br />
his interesting paragraphs “Chronicle and’<br />
Comment,” publishes some letters which show a<br />
pleasing variety in the correspondence that comes<br />
to him as he sits in his editorial chair. He says,<br />
“Tg it not more pitiful than humorous that so<br />
many simple souls come to such an unfeeling con-<br />
fessor in his unadorned confessional and lay bare<br />
their very hearts and reveal their desires and hope-<br />
less aspirations?” and later, “When a busy man<br />
has given a half hour of his valuable time to<br />
dictate a word in season to a youth who will never<br />
be able to write, as even a blind man could dis-<br />
cover, and receives no more thanks for his pains<br />
than this, one cannot wonder that he grows<br />
indifferent :—<br />
<br />
“ Dear sir, your crazy ; i ean right, you don’t know what<br />
your talking about. Your a d—— fool and your old paper<br />
aint no good anyhow. i no good potry wen i see it, and<br />
my prose is excellent to, having bin criticised by the best.<br />
Their is those who strive to keep us from getting to the<br />
front where we belong, but it aint no use. So ile take<br />
your old paper and throw it in the fire and ile tell all my<br />
frens to do the same. All editors are fools anyway. Your<br />
a bigger one... .”<br />
<br />
Another style of writer sends him the follow-<br />
ing :—<br />
<br />
“ Please do not return this story to me if you do not want<br />
<br />
it as I do not wish my wife to know that it has been<br />
rejected. She would laugh so at me.”<br />
<br />
We fear that writers under this category are not<br />
a few. What again is to be said of the woman<br />
from Kansas who, when told that the Editor’s<br />
payment was ten dollars a thousand, writes to say<br />
that she would rather stick to chicken raising, as<br />
it would take her so long to write a thousand<br />
stories.<br />
<br />
The Hditor not infrequently received letters<br />
from would-be suicides :—<br />
<br />
“ Unless you except this pome by leven o’clock thursday<br />
morning i will jump into the hudson river.”<br />
<br />
There is no doubt that such letters are written.<br />
We have heard of similar cases in the English<br />
Literary Market, but so far, we have never<br />
heard of the suicide. Of another kind of writer<br />
we have also had experience this side of the<br />
water, the half educated, sentimental, romantic<br />
woman who considers herself a genius, and sits<br />
down and fills reams of paper to the distraction of<br />
her family with no benefit to herself. We quote<br />
the Editor of the “ Bookman’s” experience of this<br />
kind of person :—<br />
<br />
“Tam most ambitious to appear in the leading magazines<br />
<br />
and papers throughout the country, and if you like the<br />
first hundred thousand words of my novel, | will send you<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the rest as soon as it is completed. I am working hard on<br />
it now. My husband idles his days away. He will not<br />
work, but is only too willing to sleep, and I have to do<br />
something to support the family. Iam conscientious about<br />
my literary work, and I feel sure that I was cut out to be<br />
an author. I cannot afford to pay the express charges on<br />
my story, so send it at your expense. If you return it—<br />
and oh, I pray you won’t !—please prepay the package, for<br />
we are very, very poor. I have been writing ever since I<br />
was a child, and I am now forty-three years old, but I have<br />
never had anything published either in a paper or in a<br />
book. But I know I am just as big a genius as , only<br />
I have never had the chances he has. We have had hard<br />
bacon for breakfast so long that I’m tired of it; so please<br />
hurry my check if you accept my story, as I would like a<br />
change of food, and also I would like to surprise my<br />
indolent husband.”<br />
<br />
<br />
<br />
The same date the Editor received a letter from<br />
the irate mother which we have also taken the<br />
liberty of reprinting :—<br />
<br />
“Dear sir,—By this mail, I understand that my daughter,<br />
who is married, is sending you a pleading letter—I know<br />
it must be pleading for she has been writing them for<br />
years—and a big manuscript. I beg you to believe that it<br />
will be the greatest kindness if you will pay no sort of<br />
attention to her story or her letter. She is the mother of<br />
three young children, and while her husband does all he<br />
can to support her and them, he cannot earn very much,<br />
owing toa heart weakness. She should take in washing,<br />
as I have had to do, and try to help out by that instead of<br />
by writing fool stories. She has always had an idea that<br />
she was a great author, and we cannot keep the pencil out<br />
of her hand, although we hide it and the paper pads ton,<br />
If she would spend more time in doing honest sensible<br />
work instead of wasting her days in composing novels that<br />
I know are trash, she would be better off. So please don’t<br />
answer her request, and don’t encourage her in any way.<br />
I am her mother, and I know.<br />
<br />
“ Yours in all sincerity.”<br />
<br />
It certainly is more pitiful than humorous.<br />
We can only hope that the Editor will continue in<br />
his kind and praiseworthy efforts. To many, no<br />
doubt, his communications come as a gleam of<br />
sunshine. Where there is real hard work, where<br />
there is really a painstaking effort, a favourable<br />
comment will go a long way to smooth the toil-<br />
some path. But while human nature is humanly<br />
natural, the other side, which is pitiful, cannot fail<br />
to come to the fore. But let us not despair.<br />
<br />
Finally the Editor, after considering so many<br />
letters as the companions of MSS., is inclined to<br />
think that as a rule the letter is a superfluity, and<br />
that Editors generally can do better without them.<br />
<br />
———<br />
<br />
THE HORSE IN FICTION.<br />
<br />
<><br />
<br />
rYN\HE coming of the motor-car seems likely to<br />
displace that noble animal, the horse—in<br />
Enrope at all events—from the high posi-<br />
tion he has held’ for innumerable centuries. Is<br />
this proud, generous, and most useful beast, the<br />
<br />
<br />
<br />
53<br />
<br />
friend and ally of warriors and of princes, to be<br />
relegated to obscurity, to fade out of existence? In<br />
all sincerity one may hope not! What a history<br />
has been his! The Bible, in glowing words, has<br />
set forth his renown ; poets and writers in all ages<br />
have sung his prowess ; he has aided in the winning<br />
of great battles, the conquering and overrunning<br />
of vast countries ; his achievements, whether in<br />
peace or war, have been as innumerable as they<br />
have been glorious. Yet, though poets and<br />
novelists have in countless works written in vague<br />
and general praise of the horse, when one begins<br />
to delve into particulars, one realises that the<br />
writer of fiction has, as a rule, been always rather shy<br />
of this subject. The novelist and the poet have<br />
not, one begins to discover, much real acquaintance<br />
with horses and horsemanship, and a survey of the<br />
literature of the last century almost convinces one<br />
that writers, as a class, prefer to leave the achieve-<br />
ments of the noblest of all domesticated animals<br />
rather severely alone. Few creators of romance<br />
have, in fact, cared to particularise on a subject<br />
which, adequately dealt with, offers many<br />
attractions.<br />
<br />
Byron, it is true, strikes a stirring note in the<br />
poem of ‘‘ Mazeppa,” that spirited and romantic set-<br />
ting of an old Polish or Cossack tradition. Byron<br />
gathered his materials for‘‘ Mazeppa”’ from Voltaire’s<br />
‘* History of Charles XIT.,” and makes his hero, the<br />
aged Hetman of the Ukraine Cossacks, recount his<br />
terrible ride to Charles on the night following the<br />
disastrous battle of Pultowa. According to Byron,<br />
Mazeppa, a young Polish gentleman, detected in<br />
an intrigue with the wife of a Count of Podolia, is<br />
seized, bound to the back of an unbroken horse<br />
fresh from the wilds of Ukraine, and driven forth<br />
into the forest and the wilderness. The tale is<br />
finely told in Byron’s best manner, yet, when one<br />
begins to inquire closely into the particulars, one<br />
finds that poetical licence has been somewhat<br />
too freely made use of. For two days and nights,<br />
according to Byron, Mazeppa’s steed carries him in<br />
a career so headlong that even the tireless wolves<br />
which pursue them are left behind. Now wolves,<br />
it is well known, will run down the best horse in<br />
the world ; while any one who is acquainted with<br />
horses and their capabilities, will bear out the<br />
writer in his affirmation that no horse ever foaled<br />
could pursue a rapid flight, unchecked, for forty-<br />
eight hours. However, at the end of that time, even<br />
the steed portrayed by Byron begins to flag. He<br />
swims with his burden across a mighty river, and<br />
presently sinks down upon the Ukraine steppe, where<br />
Mazeppa is rescued and unbound by natives of<br />
that wild district. Among these people the hero<br />
makes his home, in years to come rising to the<br />
position of Hetman or Prince of the Ukraine<br />
Cossacks.<br />
54<br />
<br />
Sir Walter Scott understood horses probably a<br />
good deal better than did Byron, and in the “ Lady<br />
of the Lake” Fitzjames’s chase of the stag, roused<br />
in Glenartney Forest, is with a first-rate horse<br />
feasible enough. Fitzjames, however, appears to<br />
have been a more enthusiastic hunter than he was<br />
a good horse-master, and having overridden his<br />
good grey from Glenartney to the shores of Loch<br />
Katrine, the generous beast yields up its life, and<br />
“stretched its stiff limbs to rise no more.” Scott,<br />
however, paints an incident that still occasionally<br />
happens, even in fox-hunting, and his knowledge<br />
of the grdund described, and of the limits of a<br />
horse’s endurance, have prevented him from depict-<br />
ing the impossible in his spirited account of the<br />
great run with a Glenartney stag.<br />
<br />
Harrison Ainsworth’s well-known description of<br />
Dick Turpin’s ride to York almost rescues “ Rook-<br />
wood” from the region of rather cheap melodrama.<br />
Turpin, of course, never performed the ride in<br />
question, a ride, as Ainsworth describes it, prob-<br />
ably far beyond the limits of any single horse’s<br />
endurance. Nevertheless, so well is the famous<br />
highwayman’s gallop described, and so much pains<br />
has the novelist displayed in the management of<br />
this part of his tale, that good Black Bess and her<br />
immortal course will probably live in fiction to<br />
delight schoolboys for generations yet to come.<br />
<br />
Among English novelists, Whyte Melville cer-<br />
tainly knew more about horses and their capa-<br />
bilities than any other. In “ Katerfelto” he has<br />
made the highwayman’s grey nag, of which. John<br />
Garnett becomes possessed, almost as much the<br />
hero of his tale as the man who bestrides it. The<br />
hunt on Exmoor is excellently well done, and<br />
Katerfelto’s leap for freedom, a leap which saves<br />
his master, and is the undoing of Parson Gale and<br />
his black gelding, Cassock, is admirably set forth.<br />
The stallion Katerfelto, according to Whyte Mel-<br />
ville, is never again captured, and becomes the<br />
semi-feral progenitor of much of the moorland<br />
pony-stock of West Somerset and North Devon.<br />
There may be, as Melville hints, some substratum<br />
of truth at the bottom of this romance. ‘‘Sata-<br />
nella” is another of Whyte Melville’s tales, which<br />
mingles the fortunes of a handsome black mare<br />
with the story of a beautiful but ill-starred woman.<br />
<br />
Among other famous horsemen and horses of<br />
<br />
fiction, Starlight and his good nag, in “ Robbery<br />
<br />
Under Arms,” naturally occur to one; while the<br />
great ride of Umslopogaas, so graphically set forth<br />
by Rider Haggard in “ Allan Quatermain,” is an<br />
excellent piece of work, strong, exciting, and not<br />
‘overdone in colouring. Taken as a whole, how-<br />
ever, fiction is somewhat surprisingly poor in a<br />
domain where it might have been expected to<br />
reap many laurels, and horses and their feats have<br />
been but little utilised.<br />
<br />
THER AUTHOR.<br />
<br />
Turning from the realm of fiction to that of —<br />
hard facts, one recalls three great and marvellous<br />
rides. First, that of the Welsh Knight of the<br />
Shire, who rode up to London, on the spur, from<br />
his own home to record his vote in favour of that<br />
Act of Succession which established the present<br />
dynasty on the throne of Britain. The squire<br />
reached Westminster literally in the very nick of<br />
time, and his casting vote decided the fate of the<br />
Stuarts and the rise of their Hanoverian cousins.<br />
One of the greatest of all historic rides was that of<br />
young Robert Carr from London to Edinburgh, to<br />
carry to James the First the tidings of the death<br />
of Queen Elizabeth. Carr’s ride, accomplished<br />
practically without rest or respite, on relays of<br />
horses, still stands to the present day as one of the<br />
finest of all achievements in endurance and horse-<br />
manship.<br />
<br />
Sir Harry Smith’s ride from Cape Town to<br />
Grahamstown, on the outbreak of the Kaffir War,<br />
in 1834, is beyond all doubt one of the most<br />
striking feats in horsemanship ever recorded. He<br />
accomplished the distance—610 miles—in six<br />
days, picking up raw, grass-fed Cape ponies as he<br />
went along, and accomplishing his journey success-<br />
fully during the height of the hot weather season.<br />
Browning’s imaginary gallop with the good news<br />
from Ghent to Aix pales effectually before this<br />
very real and wonderful performance of the fiery<br />
veteran, Sir Harry Smith.<br />
<br />
H. A. BRYDEN.<br />
<br />
ee<br />
<br />
THE ONLY WAY.<br />
<br />
— a<br />
<br />
HIS book is harmless. It is also colourless.<br />
<br />
It is full of platitudes, and appears to be<br />
<br />
written by one who has some knowledge but<br />
<br />
no sympathy. It is not likely to inspire genius.<br />
<br />
It is not likely to spread any literary disease. The<br />
<br />
impression it makes is lack of impression —it<br />
inspires no ideals.<br />
<br />
That the book is written with some knowledge<br />
is evident from the quotation of current prices and<br />
certain reliable information of the contents of the<br />
better-known magazines. There are some minor<br />
hints on technique which expose the expert.<br />
<br />
The facility of the whole work inclines one to<br />
think that though the author has trodden the path<br />
to success, he has not been assailed by the thorns<br />
and brambles that clog the footsteps of the ordinary<br />
literary tramp. He has in consequence become<br />
<br />
<br />
<br />
* “How to Become an Author,’ by Arnold Bennett,<br />
(C. Arthur Pearson, Limited.)<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
didactic and narrow. He looks upon his road as<br />
| the only road, and cannot help his fellow wayfarer<br />
<br />
4) to overcome his difficulties.<br />
<br />
That the author inspires no ideals is clear from<br />
his view of modern journalism, which he asserts<br />
has attained its present perfection in a well-known<br />
halfpenny Daily.<br />
<br />
The spirit of this method speaks through the<br />
author as follows: “‘ Let us decide whether our<br />
readers—not as they ought to be, but as they actually<br />
are—will read and be interested in this thing.”<br />
<br />
The freelance, he assures us—not in these words<br />
—ought to write down to his public ; and again,<br />
“He must put away all sentimentality about the<br />
art of literature and the moral mission of<br />
“journalism.”<br />
<br />
This sort of advice may be successful in turning<br />
out a fair hack, but not a real live author; but<br />
these wise saws are no good if the practical advice<br />
does not help the would-be author further.<br />
<br />
Again, his opinions about fiction and other<br />
-methods of becoming an author may or may not<br />
be true—that is neither here nor there. Stories<br />
are not written, books are not composed by rule.<br />
Tot homines, quot sententie, is still a good motto,<br />
but when these wise sayings have been read, is the<br />
teacher convincing, or does the tyro’s mind at the<br />
end of this book appear like Lord Rosebery’s slate<br />
—without a mark upon it, absolutely clean ?<br />
<br />
The practical side of the book is unsatisfactory,<br />
and the remarks on the technique of literary work,<br />
the business of placing the book on the market,<br />
the prices paid for modern literature, and the<br />
thousand and one pitfalls to be avoided are sadly<br />
deficient.<br />
<br />
‘We must protest also that only one reference<br />
is made to the Authors’ Society, and that in<br />
no liberal spirit. Mr. Bennett does not appear<br />
from the published list to be one of that body.<br />
Though he knows of its existence, he is ignorant<br />
of the work it does and of the information at its<br />
command. In the journalistic portion he men-<br />
tions some books which may be useful to beginners,<br />
but does nct care to refer to the valuable, confi-<br />
dential, and practical help offered by the Society.<br />
In his advice to producers of books he states, “ In<br />
selecting publishers for experiment, the aspirant<br />
should begin with the best and work downwards<br />
in the scale of importance,” but where is the<br />
information to come from? Who are the best<br />
publishers? The writer is evidently not aware<br />
that some firms whose names loom large to the<br />
public are utterly unsatisfactory to the author.<br />
Here again there is no mention of the Authors’<br />
Society.<br />
<br />
Only when touching on the question of contracts<br />
for books (he makes no attempt to discuss con-<br />
tracts with editors, perhaps rightly), after some<br />
<br />
55<br />
<br />
interesting suggestions, he states, “The aspirant<br />
with a legal turn who wishes for further informa-<br />
tion should join the Authors’ Society, which pub-<br />
lishes a highly interesting and intricate literature<br />
on the relations between writers and publishers<br />
and all the dreadful possibilities thereof.”<br />
<br />
If the author had dealt with his subject in any<br />
other way than facile superficiality this book might<br />
have sufficed, but his method is so full of omissions<br />
when he writes with the air of finality that from<br />
the business standpoint his view may lead beginners<br />
far astray.<br />
<br />
For instance, “The aspirant should not trouble<br />
much about American (he means United States)<br />
copyright. It is exceedingly difficult to obtain<br />
American copyright of a first book. But if by a<br />
happy chance it can be obtained, so much the<br />
better.”<br />
<br />
Because it is difficult, therefore the fledgling<br />
need not trouble.<br />
<br />
The United States market is in many ways a<br />
bigger financial gain than the British, therefore,<br />
so far from not troubling, the tyro should strain<br />
every nerve for success.<br />
<br />
We are glad to see that he has noted one well-<br />
known publisher who settles libel actions at his<br />
own discretion, but at the author’s expense. Who-<br />
ever he may be, our adviser states “that this is<br />
manifestly wicked.”<br />
<br />
In conclusion, the work can only be expressed<br />
by a series of negations. It is not a good book ;<br />
it is not practical. It lacks depth. It is a series<br />
of omissions.<br />
<br />
Sir Walter Besant’s “‘ Pen and the Book” is still<br />
by far the best work at present on the subject, in<br />
spite of ‘‘ How to Publish,” “‘ How to Write for<br />
Magazines,” and many similar effusions. A second<br />
edition is sadly needed.<br />
<br />
If the author is a member of the Society then<br />
there is no apology needed for these strictures.<br />
If not, he should study the work it does, and<br />
remember that authors who personally stand in no<br />
need of direct assistance must yet directly profit<br />
by much of its work, done at the expense of its<br />
members.<br />
<br />
BR. ULE<br />
<br />
eg<br />
<br />
CORRESPONDENCE.<br />
<br />
—_—>—-+—<br />
A Lirerary FRAUD.<br />
I.<br />
<br />
Srr,—All I can say about Mr. Isidore G. Ascher’s<br />
admirable letter under the above heading in your<br />
56<br />
<br />
last issue is that I, for one, would be very glad of<br />
an opportunity of writing books at a living wage<br />
for rich people desirous of literary celebrity.<br />
Naturally, I detest the notion of permitting other<br />
persons to batten on my brains : but I detest still<br />
more the notion of becoming useless and idle in<br />
the workhouse. ae<br />
<br />
You see, now (when every Gajo, Titio, and<br />
Sempronio writes), it is quite impossible for every-<br />
one to get published. ‘Then debt, duns, the dead<br />
whiteness of a gardenia replacing ruddy health on<br />
one’s child’s face, the awful aspect of friends whose<br />
eyes say, “I hope to God you're not going to ask<br />
me to do anything for you,” harass and benumb<br />
and acidulate the boycotted writer, who naturally<br />
catches at any straw in the current which is sweep-<br />
ing him to perdition. It is not fame, it is not<br />
justice which he wants now, but a roof and daily<br />
bread.<br />
<br />
No; I do not think one ought to denounce as<br />
guilty of fraud the hacks who sell their brains.<br />
They do it, not for pleasure, but from necessity.<br />
Their motive is the honourable one :of Indepen-<br />
dence. Blame the crow who wears the peacock’s<br />
tail, as “a disgrace to literature,” etc., if you will,<br />
but do be merciful to the poor peacock.<br />
<br />
Yours truly,<br />
<br />
A. Hack.<br />
<br />
— +<br />
<br />
II.<br />
<br />
Srr,—I cannot quite understand Mr. Ascher’s<br />
indignation against the “ ghost” system. What<br />
does it matter whether the twaddle given to the<br />
world under a popular name has been written by<br />
a money-grubbing celebrity himself, or by some<br />
talented unknown person who is thus enabled to<br />
get the living he could not, perhaps, otherwise<br />
obtain ?<br />
<br />
No decent author would ever allow his, or her,<br />
name to appear over another person’s work, and<br />
those who are sufficiently degraded to allow it<br />
must be punished by the knowledge that their<br />
“ghosts” are as competent as themselves. If<br />
they have any amour propre at all this should<br />
gall them; and if the public cannot detect any<br />
difference between the work of its idols and that<br />
of industrious employees, then the public certainly<br />
deserves to be taken in. Finally, if the poor<br />
“ghost” can only get his work in print this way,<br />
why grudge him the joys of authorship beneath<br />
what is, practically, a pseudonym? As things go,<br />
with a huge mass of readers devoid of literary<br />
taste and craving only “names,” the employment<br />
of journeymen seems to me rather a good arrange-<br />
ment. The true man of letters knows that his<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
work can be done by himself alone, and why<br />
should he care if the charlatan makes a fortune,<br />
through which some needy quill-driver benefits ?<br />
<br />
<br />
<br />
Yours truly,<br />
M. L. P.<br />
<br />
——~—+—<br />
<br />
THINGS THAT MATTER.<br />
<br />
Srr,—I notice in your last issue a list of the so .<br />
contents of various magazines, and I think this <i;<br />
would be a useful feature of The Author, providing =<"<br />
it appears regularly and includes all the articles =...<br />
in the periodicals mentioned. It is impossible to «!“'<br />
subscribe to every magazine, and writers who ~<br />
travel, as well as your readers residing in the -<br />
country and abroad, will welcome such a list as =><br />
you give, since it contains information not elsewhere<br />
readily obtainable. 5<br />
<br />
It occurs to me that your “Trade Notes” would — °<br />
be more valuable if you made a point of mention-<br />
ing well in advance of publication the issue of new ><br />
periodicals—of which doubtless you receive, or can = «<br />
get, the earliest trustworthy information. What —<br />
writers wish to know is the scope of a pro- —<br />
jected magazine, and who will edit and who ~<br />
publish it. Subsequently there might be published —<br />
in The Author the ‘ Notice to Contributors,”<br />
as supplementary to the list you have issued<br />
separately.<br />
<br />
Mention might be made also of new firms of — ™<br />
publishers and of new publishing companies<br />
Several firms of book publishers have commenced<br />
business recently, but of them there has not been ~<br />
a word in Zhe Author. Of new publishing com<br />
panies there are many more, and a list of these —<br />
might be given, with such particulars as will<br />
enable writers to form an adequate idea of the ©<br />
scope of the enterprise projected. In September,<br />
for instance, the following were registered at<br />
Somerset House :—African Publications; British —<br />
Sports ; English Illustrated Magazine ; Enterprise —<br />
Publishing Co.; Folkestone Chronicle; Index ©<br />
Advertising Co. ; Press Picture Agency; Smart<br />
Set ; Sphere and Tatler ; Studio Press; World of —<br />
Billiards ; all with limited liability, and with a ~<br />
nominal capital of from £500 to £200,000 each.<br />
Some, doubtless, are of no possible use to any ©<br />
member of the Society, but of them such particulars —<br />
might be given as will enable each reader to judge -<br />
whether or not they are, or may be, of service. ;<br />
<br />
I have no doubt the secretaries of all newly<br />
formed companies will be ready to furnish readers<br />
of The Author with information of interest to<br />
writers and readers.<br />
<br />
Yours faithfully,<br />
Broap-NIs. | https://historysoa.com/files/original/5/487/1903-11-02-The-Author-14-2.pdf | publications, The Author |