| 522 | https://historysoa.com/items/show/522 | The Author, Vol. 23 Issue 02 (November 1912) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+23+Issue+02+%28November+1912%29"><em>The Author</em>, Vol. 23 Issue 02 (November 1912)</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1912-11-01-The-Author-23-2 | | | | | 33–64 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=23">23</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1912-11-01">1912-11-01</a> | | | | | | | 2 | | | 19121101 | Che Huthbor.<br />
<br />
(The Organ of the Incorporated Society of Authors.<br />
<br />
FOUNDED BY SIR<br />
<br />
Monthly.)<br />
<br />
WALTER BESANT.<br />
<br />
<br />
<br />
<br />
<br />
Vox. X XTII.—No. 2.<br />
<br />
NOVEMBER 1, 1912.<br />
<br />
[PRicE SIXPENCE.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
TELEPHONE NUMBER:<br />
374 VICTORIA.<br />
<br />
TELEGRAPHIC ADDRESS:<br />
AUTORIDAD, LONDON.<br />
<br />
——_—_—_e——______<br />
<br />
NOTICES.<br />
<br />
—— $<<br />
<br />
ee the opinions expressed in papers that<br />
are signed or initialled the authors alone<br />
are responsible. None of the papers or<br />
paragraphs must be taken as expressing the<br />
opinion of the Committee unless such is<br />
especially stated to be the case.<br />
<br />
<br />
<br />
Tue Editor begs to inform members of the<br />
Authors’ Society and other readers of The<br />
Author that the cases which are quoted in The<br />
Author are cases that have come before the<br />
notice or to the knowledge of the Secretary of<br />
the Society, and that those members of the<br />
Society who desire to have the names of the<br />
publishers concerned can obtain them on<br />
application.<br />
<br />
ARTICLES AND CONTRIBUTIONS .<br />
<br />
Tue Editor of The Author begs to remind<br />
members of the Society that, although the<br />
paper is sent to them free of cost, its production<br />
would be a very heavy charge on the resources<br />
of the Society if a great many members did not<br />
forward to the Secretary the modest 5s. 6d.<br />
subscription for the year.<br />
<br />
Communications for The Author should be<br />
addressed to the offices of the Society, 89, Old<br />
Queen Street, Storey’s Gate, S.W., and should<br />
reach the Editor not later than the 21st of each<br />
month.<br />
<br />
Communications and letters are invited by<br />
the Editor on all literary matters treated from<br />
<br />
Vou. XXIII.<br />
<br />
the standpoint of art or business, but on no<br />
other subjects whatever. Every effort will be<br />
made to return articles which cannot be<br />
accepted.<br />
<br />
ADVERTISEMENTS.<br />
<br />
As there seems to be an impression among<br />
readers of The Author that the Committee are<br />
personally responsible for the bona fides of the<br />
advertisers, the Committee desire it to be stated<br />
that this is not, and could not possibly be, the<br />
case. Although care is exercised that no<br />
undesirable advertisements be inserted, they<br />
do not accept, and never have accepted, any<br />
liability.<br />
<br />
Members should apply to the Secretary for<br />
advice if special information is desired.<br />
<br />
——_— > —___<br />
<br />
THE SOCIETY’S FUNDS.<br />
<br />
to<br />
<br />
{1ROM time to time members of the Society<br />
desire to make donations to its funds in<br />
recognition of work that has been done<br />
for them. The Committee, acting on the<br />
suggestion of one of these members, have<br />
decided to place this permanent paragraph in<br />
The Author in order that members may be<br />
cognisant of those funds to which these con-<br />
tributions may be paid.<br />
<br />
The funds suitable for this purpose are:<br />
(1) The Capital Fund. This fund is kept in<br />
reserve in case it is necessary for the Society to<br />
incur heavy expenditure, either in fighting a<br />
question of principle, or in assisting to obtain<br />
copyright reform, or in dealing with any other<br />
matter closely connected with the work of the<br />
Society.<br />
<br />
(2) The Pension Fund, This fund is slowly<br />
increasing, and it is hoped will, in time, cover<br />
the needs of all the members of the Society.<br />
*9<br />
<br />
a<br />
<br />
<br />
THE PENSION FUND.<br />
<br />
1<br />
<br />
before the trustees of the Pension Fund<br />
<br />
the accounts for the year 1911, as settled<br />
by the accountants, with a full statement of<br />
the result of the appeal made on behalf of<br />
the fund. After giving the matter full con-<br />
sideration, the trustees instructed the secretary<br />
to invest the sum of £500 in the purchase of<br />
Antofagasta and Bolivian Railway 5% Pre-<br />
ferred Ordinary Stock and Central Argentine<br />
Railway Ordinary Stock. The amounts pur-<br />
chased at the current prices were £287 in the<br />
former and £232 in the latter stock.<br />
<br />
The trustees desire to thank the members of<br />
the society for the generous support which they<br />
have given to the Pension Fund. The money<br />
now invested amounts to £4,454 6s.<br />
<br />
Later in the year, at a meeting of the Com-<br />
mittee of Management, a question concerning<br />
the funds of the society was brought up for dis-<br />
cussion, and it was suggested that it would be<br />
a good thing for the Pension Fund trustees, if<br />
they had power, to sell out the Fund’s holding of<br />
Consols and to invest in some more satisfactory<br />
security. The suggestion was placed before the<br />
trustees of the Pension Fund, and a meeting<br />
was called, when the chairman of the Committee<br />
of Management, the trustees, and Mr. Aylmer<br />
Maude, the member of the Committee of<br />
Management who had made the suggestion,<br />
were present. The figures were very closely<br />
considered, and it appeared clear that altera-<br />
tions in the investment of the funds could be<br />
carried out with advantage to the Fund’s<br />
income. It was decided by the trustees, with<br />
the approval of the Committee of Management,<br />
to sell out the holding of Consols. With the<br />
amount realised, were purchased —<br />
<br />
$2,000 (£400) Consolidated Gas and Elec-<br />
tric Company of Baltimore 44% Gold<br />
Bonds ;<br />
<br />
30 Buenos Ayres Great Southern Railway<br />
4°, Extension Shares, (1914) £8 paid ;<br />
£250 Edward Lloyd, Ltd., £1 5% Prefer-<br />
<br />
ence Shares.<br />
<br />
These amounts are fully set out and added<br />
in the nominal value to the Pension Fund<br />
investments, below.<br />
<br />
The trustees have also, in view of the option<br />
extended to them as holders of £232 Central<br />
Argentine Railway Ordinary Stock, subscribed<br />
for 8 Central Argentine Railway £10 Preference<br />
Shares, New Issue.<br />
<br />
The nominal value of the investments held<br />
on behalf of the Pension Fund now amounts<br />
<br />
iT January, the secretary of the society laid<br />
<br />
THE AUTHOR.<br />
<br />
<br />
<br />
<br />
<br />
<br />
to £4,454 6s., details of which are fully set out<br />
in the following schedule :—<br />
Nominal Value.<br />
<br />
<br />
<br />
<br />
<br />
gd<br />
Local loans ......:0. 552... 500 0 0<br />
Victoria Government 3% Consoli-<br />
<br />
dated Inscribed Stock ........ 291 19 11<br />
London and North-Western 3%<br />
<br />
Debenture Stock ...........- 250 0 0<br />
Egyptian Government Irrigation<br />
<br />
Trust 4%, Certificates ...<.:.. 200 0 0<br />
Cape of Good Hope 34% Inscribed<br />
<br />
Stock 2.2.2.5.....0 2 200 0 0<br />
Glasgow and South-Western Rail-<br />
<br />
way 4°% Preference Stock 228 0 O<br />
New Zealand 34% Stock........ 247 9 6<br />
Trish Land 23% Guaranteed Stock 258 0 0<br />
Corporation of London 23%<br />
<br />
Stock, 1927-57 .............. 438 2 4<br />
Jamaica 34% Stock, 1919-49 1382 18 6<br />
Mauritius 4% 1937 Stock ...... 120 12 1<br />
Dominion of Canada, C.P.R. 34%<br />
<br />
Land Grant Stock, 1988 ...... 198 3 8<br />
Antofagasta and Bolivian Railway<br />
<br />
5, Preferred Stock .......4., 237 0 0<br />
Central Argentine Railway Or-<br />
<br />
dinary Stock... ........ 3. 232 0 0<br />
$2,000 Consolidated Gas and<br />
<br />
Electric Company of Baltimore<br />
<br />
44% Gold Bonds ............ 400 0 0<br />
250 Edward Lloyd, Ltd., £1 5%<br />
<br />
Preference Shares 2 ........ 250 0 0<br />
80 Buenos Ayres Great Southern<br />
<br />
Railway 4° Extension Shares<br />
<br />
1914 (£8 paid)... 240 0 0<br />
8 Central Argentine Railway £10<br />
Preference Shares New Issue... 30 0 O<br />
Total. ..........£4,454 6 0<br />
Se<br />
<br />
PENSION FUND.<br />
<br />
—— ++<br />
<br />
Tue list printed below includes all fresh dona-<br />
tions and subscriptions (i.e., donations and<br />
subscriptions not hitherto acknowledged)<br />
received by, or promised to, the fund from<br />
April 1st, 1912.<br />
<br />
It does not include either donations given<br />
prior to April Ist, nor does it include sub-<br />
scriptions paid in compliance with promises<br />
made before it.<br />
<br />
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<br />
<br />
<br />
THE AUTHOR.<br />
<br />
Subscriptions.<br />
1912.<br />
April 6, Bland, J. O. P.<br />
April 6, Taylor, Mrs. Basil<br />
April 6, Forrester, J. Cliffe<br />
June 6, Probert, W. S. :<br />
June 6, Wheelhouse, Miss M. V.<br />
June 6, Acland, Mrs. C. D. .<br />
June 6, Spurrell, Herbert (from<br />
1912 to 1915)<br />
June 6, Spens, Archibald B. .<br />
July 18, Liddle, S. 5<br />
Aug. 7, Joseph, L. : : :<br />
Sept. 6, Garvice, Charles (in addi-<br />
tion to present sub-<br />
scription of £1 1s.)<br />
2, Todhunter, Dr. John.<br />
10, Eseott, T. H. S. : :<br />
10, Henderson, R. W. Wright<br />
10, Knowles, Miss M. W. :<br />
11, Buckley, Reginald<br />
12, Walshe, Douglas<br />
12 * Penmark’”’ ; :<br />
15, Sinclair Miss Edith .<br />
16, Markino, Yoshio<br />
20, Fiamingo, Carlo<br />
<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
Oct.<br />
<br />
1912. Donations.<br />
<br />
April 2, XX. Pen Club<br />
<br />
April 6, Taylor, Mrs. Basil .<br />
<br />
April 6, Cameron, Mrs. Charlotte .<br />
<br />
April 10, Kenny, Mrs. L. M. Stac-<br />
poole ; ‘ g<br />
<br />
April 10, Robbins, Alfred F..<br />
<br />
April 10, Harris, Emma H. .<br />
<br />
April 11, Ralli, C. Scaramanga<br />
<br />
April 11, Aitken, Robert —. :<br />
<br />
April 16, L. M. F. (£1 per month,<br />
February, March, April)<br />
<br />
April 22, Prior, Mrs. Melton :<br />
<br />
May 2, Baden-Powell, Miss Agnes<br />
<br />
May 25, Koebel, W. H. : :<br />
<br />
May 28, Harland, Mrs. Henry<br />
<br />
May 28, Wood, Mrs. A. E. ;<br />
<br />
June 4, Hornung, E. W.<br />
<br />
June 4, Ward, Dudley<br />
<br />
June 6, Worrall, Lechmere .<br />
<br />
June 13, Robbins, Miss Alice E.<br />
<br />
July 5, Hain, H.M. . ;<br />
<br />
Aug. 16, Shipley, R. H. ;<br />
<br />
Sept. 20, Willcocks, Miss M. P.<br />
<br />
Sept. 23, Peacock, Mrs. F. M.<br />
<br />
Oct. 2, Stuart, James .<br />
<br />
Oct. 14, Diblee, G. Bonney . .<br />
<br />
Oct. 14, Michell, The Right Hon.<br />
Sir Lewis, C.V.O. :<br />
<br />
Oct. 17, Ord, H.W. . :<br />
<br />
Oct. 20, Yorke-Smith, Mrs. .<br />
<br />
OCOorfocooot<br />
_<br />
<br />
SCrewmpnoocoroconcocoocow aOorH oS noo COroooooocoore re oooceo<br />
<br />
_<br />
<br />
oon<br />
<br />
—_<br />
<br />
Ome ane?<br />
<br />
Or Or Or Or<br />
<br />
ee<br />
oe OOS OOO OO =<br />
<br />
Se<br />
SCKNOCUHaANe<br />
<br />
_<br />
Son<br />
<br />
coaceooceocseco oooo Seooascoos<br />
<br />
—<br />
ooo<br />
<br />
OASCeoannocooocoocoaoo oooceo<br />
<br />
DAO<br />
<br />
COMMITTEE NOTES.<br />
<br />
—— +<br />
<br />
HE first meeting of the committee after<br />
the vacation was held at the offices of<br />
the Society, on Monday, October 7th.<br />
<br />
After the minutes of the previous meeting had<br />
been read and signed, the committee proceeded<br />
to the election of members and _ associates.<br />
Kighty-six elections were recorded, bringing<br />
the total for the current year up to 290, a<br />
record election for the first ten months of any<br />
year. The full list of names appears on another<br />
page. The committee, accepted with regret,<br />
the resignation of two members.<br />
<br />
The solicitor then read a detailed report of<br />
the cases left open from the former mecting<br />
and those taken in hand during the vacation.<br />
<br />
Against one paper there were six County<br />
Court cases. In each of these cases the sums<br />
due to the authors have been paid, and where<br />
summonses have been issued, costs have also<br />
been recovered. One important case, left<br />
over from the last meeting, related to the<br />
claim of a member against the proprietor of a<br />
paper for wrongful dismissal. In this case the<br />
damages demanded were obtained after some<br />
slight demur, and the matter has been closed.<br />
There was another case against the editor of<br />
a paper for infringement of copyright. This<br />
matter was settled, with the approval of the<br />
author, who resides in China. Of the County<br />
Court cases left open, in addition to those<br />
already mentioned, five have been settled by<br />
payment of the sums claimed, with costs.<br />
In one case the paper has gone into liquida-<br />
tion, and it is feared there are no assets.<br />
In three other cases, summonses are still<br />
pending, and will be heard some time in<br />
October. A report of these will be made to<br />
the committee at their meeting in November,<br />
and details will appear in the December issue<br />
of The Author. Three cases against a music<br />
publisher are in the solicitors’ hands. They<br />
involve complicated questions of account and<br />
disputes under agreements. Negotiations have<br />
been carried on, and it is hoped the matters<br />
will be settled before the November meeting<br />
of the committee. A case against a paper,<br />
on behalf of a member of the Society, arising<br />
out of a dispute as to the exact terms of a<br />
contract, has been set down for trial and will<br />
be carried through in due course, unless, as the<br />
solicitor reported might possibly happen,<br />
terms are reached before the case is tried.<br />
<br />
A serious case against an agent was taken<br />
in hand on the authority of the chairman during<br />
the vacation. The action of the chairman was<br />
36 THE AUTHOR.<br />
<br />
approved by_ the committee, and the matter<br />
will be carried through by the lawyers as<br />
quickly as possible. In another case, where a<br />
magazine had printed a story purporting to<br />
be the work of an author who had not, in fact,<br />
written it, the course adopted during the<br />
vacation was confirmed by the committee,<br />
and the case will be carried through. A<br />
dispute between an author and publisher as<br />
to the terms on which a commission agreement<br />
could be terminated, was also reported by the<br />
solicitor, who was instructed to proceed, as the<br />
question was a matter of principle, although<br />
the sum in dispute was small. The solicitor<br />
reported that delay had occurred in one case<br />
owing to the difficulty in obtaining answers to<br />
letters written from the society’s office. The<br />
committee decided it would be best for a<br />
representative of the Society to see the member<br />
personally and discuss matters with him.<br />
Having heard all the circumstances, the<br />
committee decided they could not take up a<br />
case dealing with the loss of a MS.. which had<br />
been put before them.<br />
<br />
The secretary then reported a curious<br />
difficulty which had arisen in the conduct of an<br />
action for infringement of copyright in Burma.<br />
It appeared, that the infringement had<br />
occurred when the Act of 1842 was in force,<br />
under which Act it was necessary to produce a<br />
copy of the certificate of registration of the<br />
author’s copyright. This, however, it was<br />
impossible to do now as the registration office<br />
had been closed. It was equally impossible to<br />
sue under the Act of 1911, as that Act had not<br />
yet been proclaimed in India or Burma. The<br />
secretary reported he had written twice to<br />
the India Office on the matter, and that<br />
that office reported that they had drawn the<br />
attention of the Indian authorities to the<br />
difficulty, and had forwarded the correspon-<br />
dence. It is hoped that the Society will be<br />
able to take action, as soon as the Act is pro-<br />
claimed under Section 37.<br />
<br />
The secretary then read to the committee<br />
a statement of a case laid before the Society<br />
by a member, in which a publisher had refused<br />
to keep his contract, owing to the refusal of<br />
the printers at the last moment to print the<br />
book. The member did not wish any action<br />
taken, as the book was being published by<br />
another house under a fresh agreement, but she<br />
wished to draw the committee’s attention to<br />
the position of the publisher, and that of the<br />
printers in the special case. The committee<br />
expressed their thanks to the member for her<br />
statement.<br />
<br />
A further report was made by the secretary<br />
<br />
as to a case taken up by the Society in San<br />
Francisco, and the committee decided to push<br />
the matter forward.<br />
<br />
It will be seen from this report that the<br />
number of cases carried through has been very<br />
large, and in most of them, the issues have<br />
been successful. The pressure of legal work<br />
in no way slackened off during the vacation.<br />
<br />
After the reports of the secretary and the<br />
solicitor, the next business dealt with was<br />
Canadian copyright. The chairman explained<br />
that it had been necessary for him to act in<br />
this matter under powers given to him by the<br />
committee, and he read a report of the work<br />
done during the vacation. As a result of<br />
interviews and correspondence it was decided<br />
to address the Canadian Prime Minister upon<br />
the proposed Copyright Bill of the Dominion.<br />
A letter, which it was proposed to send to the<br />
Canadian Premier, was therefore submitted<br />
to certain members of the Society, and the<br />
chairman said that it had been signed, with few<br />
exceptions, by all those before whom it had<br />
been laid. It will now be forwarded. The<br />
object of the letter was to urge upon the<br />
Prime Minister of Canada, the Right Honour-<br />
able R. L. Borden, the importance of main-<br />
taining the unity of imperial and international<br />
copyright.<br />
<br />
The committee next considered the most<br />
important matter that has been before the<br />
Society for some time, viz., the collection bureau<br />
an office which is being started to assist authors<br />
in the collection of certain fees. In another<br />
column of this issue will be found a short<br />
statement of what it is proposed to do, although<br />
<br />
‘the full details have not, as yet, been settled.<br />
<br />
The secretary reported the action that had<br />
been taken during the vacation, as a result<br />
of the approval of the council, which approval<br />
was chronicled in the October issue of The<br />
Author. Letters had been sent to certain<br />
members of the Society, asking them whether<br />
they would guarantee any sum towards the<br />
starting of the new bureau. The secretary<br />
reported that promises had been given, and a<br />
guarantee amounting to £670 had been raised.<br />
The committee then gave authority to the<br />
secretary to collect the fees due on the<br />
mechanical reproductions of the work of<br />
composers, members of the Society, who<br />
wished these fees collected by the Society.<br />
The question of the commission to be charged<br />
was referred to the Composers’ Sub-Committee,<br />
with a request to that body to report to the<br />
Committee of Management at the earliest<br />
opportunity. The question of the collection<br />
<br />
of fees on dramatic contracts was referred to<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Sse anaes ae ANS<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the Dramatic Sub-Committee, with a similar<br />
request for report as to the commission to<br />
be charged for collection. The question of<br />
the charge for collection of fees on literary<br />
contracts between authors and_ publishers<br />
was adjourned to the next meeting of the<br />
committee, when it will come up with the<br />
reports from the Composers’ Sub-Committee<br />
and Dramatic Sub-Committee. The secretary<br />
was authorised to hire another room for the<br />
use of the Collection Bureau at a given limit<br />
of rental, and to engage another clerk to carry<br />
out the work and to assist in the work of the<br />
Society generally.<br />
<br />
The appointment of the date of the dinner,<br />
and the necessary arrangements in connection<br />
therewith, were left in the hands of the<br />
chairman to settle in consultation with the<br />
secretary. A circular dealing with this matter<br />
will be sent out in due course.<br />
<br />
Questions referring to Australian copyright<br />
and other copyright matters were referred<br />
to the Copyright Sub-Committee. Finally,<br />
the committee sanctioned the purchase of a<br />
safe to contain the scenarios which were being<br />
registered at the office, as the present regis-<br />
tration box was inadequate. They also sanc-<br />
tioned the purchase of a card index and other<br />
necessary equipment.<br />
<br />
The business discussed occupied the com-<br />
mittee till a late hour.<br />
<br />
——>+—<br />
<br />
Dramatic SuB-CoMMITTEE.<br />
<br />
Tue first meeting of the Dramatic Sub-<br />
Committee after the vacation was held at the<br />
offices of the Society of Authors on Friday,<br />
October 18th.<br />
<br />
The matter of the managerial treaty was the<br />
first on the agenda. The secretary read a<br />
letter from the Society of West End Managers<br />
to the effect that the last communication from<br />
the Society of Authors was to be considered by<br />
the managers at their mecting in November.<br />
Further discussion therefore was adjourned.<br />
<br />
The sub-committee next considered what<br />
fees authors should be advised to accept for<br />
performances of their plays in provincial halls<br />
and theatres twice nightly, as certain managers<br />
in the provinces had started performances on<br />
these lines. The secretary received instruc-<br />
tions to obtain some further information and<br />
to report to the next meeting.<br />
<br />
The question of fees in portable theatres, was<br />
also discussed, and a letter from Mr. Cecil<br />
Raleigh was read to the sub-committee.<br />
<br />
37<br />
<br />
It was followed by “‘ Cinematograph perfor-<br />
mances and authors’ rights.” The secretary<br />
stated that Mr. Raleigh had promised to submit<br />
a report, but was unable to lay it before the<br />
present meeting, as he was awaiting further<br />
information from the Société des Auteurs<br />
Dramatiques.<br />
<br />
The Committee of Management referred to<br />
the Dramatic Sub-Committee for advice in<br />
regard to the collection of authors’ fees by the<br />
society's Collection Bureau. The secretary<br />
explained at length what the Society proposed<br />
to undertake, and the sub-committee recom-<br />
mended, as the Society did not propose in any<br />
way to act as agents for the placing of plays,<br />
that under contracts actually made between a<br />
dramatist and a manager for the performance<br />
of a play, the Society should collect the fees on<br />
a commission of 5 per cent.<br />
<br />
The secretary then laid before the sub-<br />
committee the translation of an agreement<br />
issued by the Société des Auteurs Dramatiques<br />
between a dramatist and a translator. He<br />
explained that he had been desired to take this<br />
step by a gentleman in Holland who was<br />
anxious to act as the Society's agent now that<br />
Holland was about to enter the revised Con-<br />
vention of Berne, and to have authority to<br />
translate the works of those dramatists who<br />
were members of the English Society. He had<br />
expressed his willingness to stand by the terms<br />
of any contract the sub-committee cared to<br />
settle. The matter was adjourned to the next<br />
meeting so that the sub-committee could give<br />
it their consideration, and the secretary was<br />
instructed to send round copies of the draft.<br />
<br />
The papers relating to the schedule of fees<br />
which, at the request of the sub-committee, had<br />
been issued to the members of that body, were<br />
laid on the table, and, after some discussion, it<br />
was decided to take no further steps at present.<br />
<br />
The secretary again raised the question of<br />
the appointment of agents in foreign countries.<br />
As at present there appeared to be no way of<br />
getting over the serious practical difficulties<br />
that existed, further discussion was abandoned.<br />
<br />
The dramatic cases that had been taken up,<br />
with the sanction of the chairman, during the<br />
vacation were reported.<br />
<br />
— ++<br />
<br />
Composers’ SUB-COMMITTEE.<br />
<br />
A MEETING of the Composers’ Sub-Com-<br />
mittee was held at the offices of the Society<br />
on Saturday, September 14th.<br />
<br />
Following the reading of the minutes of<br />
the last meeting, a question submitted to the<br />
38<br />
<br />
Composer's Sub-Committee by the Committee<br />
of Management, namely, the amount of com-<br />
mission to be charged for the collection of<br />
mechanical instrument fees, was considered.<br />
The sub-committee reported to the Com-<br />
mittee of Management that they considered, in<br />
the first instance, the Society should charge<br />
15 per cent. on the collection of these fees under<br />
the Act of 1911, on works reproduced in England,<br />
the composers affected paying for the manu-<br />
facture of the necessary stamps. The sub-<br />
committee also considered that if accounts<br />
were rendered and settled every six months,<br />
this would be convenient to composers. This<br />
report will be considered at the next meeting<br />
of the Committee of Management.<br />
<br />
A question then arose touching an agree-<br />
ment which had been submitted to one of the<br />
Society’s members for signature, and the<br />
secretary received instructions to write to the<br />
firm that had made the proposal, as the sub-<br />
committee considered the form of agreement<br />
submitted was wholly unreasonable.<br />
<br />
The question of performing rights again<br />
came up for discussion, and the secretary<br />
received instructions to write to the Music<br />
Publishers’ Association on the matter, referring<br />
them to correspondence which had passed in<br />
the spring of the year.<br />
<br />
Mr. W. A. Elkin, a Director of the Mechani-<br />
cal Copyright Licences Co., was kind enough<br />
to call at the Society’s offices to discuss the<br />
terms of an agreement put forward by his<br />
company for the collection of mechanical<br />
instrument fees, and it is hoped that some<br />
definite pronouncement may be made later.<br />
<br />
A discussion also took place relative to the<br />
Taylor-Coleridge Fund and Concert.<br />
<br />
—1—>+<br />
<br />
Tur Copyricut Sup-CoMMITTEE.<br />
<br />
A MEETING of the Copyright Sub-Committee<br />
was held at the offices of the Society on<br />
Thursday, October 17th, at 4 o'clock.<br />
<br />
A report on the Australian Copyright Bill,<br />
which had been drafted kindly by Mr. E. J.<br />
MacGillivray, was laid before the sub-com-<br />
mittee and carefully considered.<br />
<br />
The sub-committee recommended that the<br />
report should be laid before the Committee<br />
of Management, and advised that the Commit-<br />
tee of Management, if possible, should take<br />
steps to see the following points adopted.<br />
<br />
Under the present Bill registration is neces-<br />
sary in the Colony, if an author or copyright<br />
owner desired to take advantage of some of<br />
the penal clauses.<br />
<br />
THE AUTHOR.<br />
<br />
The Copyright Sub-Committee advise that,<br />
if possible, this registration should be done<br />
away with.<br />
<br />
The sub-committee advise that the penal<br />
clauses should be more clearly expressed, and<br />
it should be stated that the £10 is cumulative.<br />
They consider that a severer penalty should<br />
be enforced in the case of a second or subse-<br />
quent infringement.<br />
<br />
The sub-committee consider that the period<br />
in which to take summary proceedings is too<br />
short, being limited to six months. It is quite<br />
probable in many of the infringements of drama-<br />
tic rights that it would be impossible to take<br />
proceedings in the Australian Courts under the<br />
penal clauses, even if the infringement was<br />
known in Great Britain and other Colonies<br />
within the specified period, and they think it<br />
advisable that the time should be extended to<br />
a year.<br />
<br />
++<br />
<br />
Cases.<br />
<br />
Members of the Society may be inclined<br />
to consider, from the record of cases appearing<br />
monthly in these columns, that the Society’s<br />
work is confined merely to taking legal action.<br />
If this is their view, they are making an en-<br />
tirely false deduction, although, no doubt, the<br />
number of cases taken up by the Society during<br />
the year is considerable. During the past<br />
month, seventeen cases have been in the<br />
hands of the secretary. There were four<br />
demands for money. In one case the money<br />
has been paid, two other cases have had to<br />
go into the hands of the Society’s solicitors,<br />
and the fourth has only recently come to the<br />
office. Three cases for accounts have come<br />
to the office. In one the Society has placed<br />
in an accountant to investigate the accounts,<br />
in another the accounts have been rendered<br />
and satisfactorily explained, and the last<br />
case is still in course of negotiation. Two<br />
infringements of copyright have been dealt<br />
with. One has been settled, and it is hoped<br />
to bring the other to a satisfactory conclusion<br />
as the infringement is admitted, and the<br />
question is merely one of damages. A curious<br />
case of property in title has been placed in the<br />
hands of the Society’s solicitors in Dublin,<br />
though it is very doubtful whether a satis-<br />
factory result will ensue, as the movements<br />
of the defendants—a travelling theatrical<br />
company—are difficult to follow. Three claims<br />
for the return of MSS. have been dealt with.<br />
In two the MSS. have been returned, and the<br />
third, recently brought to the office, has not<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
Beaman, Lieut. A. A. M.<br />
<br />
THE AUTHOR.<br />
<br />
yet been settled. Of four claims for accounts<br />
amd money, two have been settled and two are<br />
in the course of negotiation.<br />
<br />
—+—< +<br />
<br />
Elections.<br />
Barradell-Smith, W.<br />
(Richard Bird)<br />
<br />
Biddulph, Mrs. Wright.<br />
<br />
<br />
<br />
Bluett, Mrs. Duncan C,<br />
<br />
(Beatrice Kelston)<br />
<br />
Brewster, Bertram<br />
<br />
Buckley, Reginald R. .<br />
<br />
Cameron, W. J. .<br />
<br />
Chatterton-Hill, Georges<br />
<br />
Clarke, E. M.<br />
(C.0.M.)<br />
<br />
Close, Evelyne<br />
Dale, Miss Mary<br />
<br />
.<br />
<br />
Dibblee, G. Binney.<br />
Douglas, Sholto O. G. .<br />
<br />
Duckworth, Mrs. Madge<br />
<br />
Egerton, Mrs. Fred<br />
<br />
. _— Ervine, St. John G.<br />
<br />
Kscott, T. H. S.<br />
<br />
Evans, Frederic .<br />
<br />
Felberman,<br />
F.R.HS.<br />
<br />
Fellowship Song Com-<br />
<br />
mittee.<br />
<br />
Louis,<br />
<br />
Fiamingo, Carlo .<br />
<br />
Frere, Edgar<br />
<br />
Garrison, Mrs. Isabel<br />
<br />
___— Gibbs, Philip<br />
<br />
<br />
<br />
Glasgow Academy,<br />
Glasgow.<br />
<br />
96, Piccadilly, W.<br />
The Chilet, Pet-<br />
worth, Sussex.<br />
<br />
The Wood End,<br />
Prestwood, Gt.<br />
Missenden.<br />
<br />
59, Madeley Road,<br />
Ealing.<br />
<br />
23, Coram Street,<br />
Russell Square,<br />
W.C.<br />
<br />
Université, Gen®ve,<br />
Suisse.<br />
<br />
8, Winchester Street,<br />
St. Helier, Jersey,<br />
C.I. (Temporary).<br />
<br />
48, Rutland Gardens,<br />
Hove.<br />
<br />
12, E. 38th Street,<br />
New York, U.S.A.<br />
<br />
37, South Parade,<br />
Southsea.<br />
<br />
Gwessin House,<br />
Tonypandy, S.<br />
Wales.<br />
<br />
Cheriton _ Cottage,<br />
<br />
Alresford, Hants.<br />
Arcade House,<br />
<br />
Temple Fortune,<br />
<br />
Hendon, N.W.<br />
<br />
33, Sackville Road,<br />
Hove.<br />
<br />
Ty Cynwyd, Llan-<br />
gynwyd, __ Bridg-<br />
end.<br />
<br />
Bladen Lodge, South<br />
Bolton Gardens,<br />
W.<br />
<br />
114, Hunter House<br />
Road, Sheffield.<br />
998, Sda S. Tom-<br />
maso, Floriana-<br />
<br />
Malta.<br />
<br />
Authors’ Club.<br />
<br />
21, Brook Green,<br />
W.<br />
<br />
36, Holland Street,<br />
Kensington, W.<br />
<br />
9,<br />
<br />
Govat, Ignato Henry .<br />
<br />
Harris, The Rey. John<br />
H.<br />
<br />
Harris, Whitfield ‘<br />
<br />
Heathcote, Mrs. Man-<br />
ners.<br />
<br />
Hegarty, Miss Sheila<br />
<br />
Helston, John<br />
<br />
Henderson, R. W. Wright<br />
<br />
Hewlett, Etheldred<br />
M.M.<br />
<br />
Holiday, Henry .<br />
<br />
Holliday, Agnes Theresa<br />
Jane, L. Cecil<br />
<br />
Johnson, Harrold<br />
<br />
Jones, Gladys<br />
(Gwen John)<br />
Joseph, Leonard<br />
A.M.L.E.E.<br />
Klein, Charles<br />
<br />
Knoblauch, Edward<br />
<br />
Knowles, M. W. .<br />
(May Wynne)<br />
<br />
Legge, Miss Margaret .<br />
<br />
McLaughlin, Miss Mary<br />
M.<br />
<br />
Markino, Yoshio<br />
<br />
Marsden, Alfred, .<br />
M.1.A.E., A.M.I.M.E.<br />
<br />
Michell, The Hon. Sir<br />
Lewis, C.V.O.<br />
Moggridge, Edith<br />
Montefiore, Claude G. .<br />
, Myers, L. H.<br />
<br />
39<br />
<br />
“* Glencoe,” Ashleigh<br />
Avenue, __ Bridg-<br />
water.<br />
<br />
Denison<br />
Vauxhall<br />
Road, S.W.<br />
<br />
Vivary, Taunton.<br />
<br />
Horsley Priory,<br />
Nailsworth.<br />
<br />
14, Bessborough<br />
Street, Westmins-<br />
ter, S.W.<br />
<br />
23, Henderson Road,<br />
Wandsworth Com-<br />
mon, S.W.<br />
<br />
House,<br />
Bridge<br />
<br />
Oaktree House,<br />
Branch Hill,<br />
Hampstead, N.W.<br />
and Betty-Fold,<br />
Hawkshead, Am-<br />
bleside.<br />
<br />
39, High<br />
Oxford.<br />
<br />
Fairhaven, Harrow<br />
Road, Pinner,<br />
Middlesex.<br />
<br />
20, xlebe<br />
Chelsea.<br />
<br />
6, Birchington Road,<br />
London, N.W.<br />
<br />
Hudson Theatre,<br />
<br />
Street,<br />
<br />
Place,<br />
<br />
Hast Hill, Hayes,<br />
Kent.<br />
<br />
307, West 88th<br />
Street, New York,<br />
N.Y. USA.<br />
<br />
116, Lexham<br />
dens, W.<br />
<br />
3, Regent House, Wir-<br />
temberg Street,<br />
<br />
Clapham, S.W.<br />
<br />
Rondebosch, Cape<br />
Town.<br />
<br />
Stanfield House,<br />
High Street,<br />
Hampstead, N.W.<br />
<br />
12, Portman Square,<br />
W.<br />
<br />
Union Club, London.<br />
<br />
Gar-<br />
40<br />
<br />
Oldfield, L. C. F’.<br />
<br />
Parsons, Ernest Bryham<br />
<br />
Pedersen, Amy Skov-<br />
<br />
gaard.<br />
Perring, Miss Mary<br />
Ponsonby, Arthur<br />
<br />
A. W. H., M.P.<br />
Read, Mrs. Amy E.<br />
Richards, Miss Mary<br />
Roch, Mrs. Walter<br />
Rose, Frederick, L.D.S.<br />
<br />
Rowe, Louise Jopling .<br />
(Louise Jopling)<br />
<br />
—Scholes, Perey A.<br />
<br />
Shore, W. Teignmouth<br />
<br />
Sinclair, Edith .<br />
Singleton, Miss A. H.<br />
Smith, F. Stanley<br />
(Stanley Smith)<br />
Smith, W.S. M. . :<br />
<br />
- Soddy, Frederick, M.A.,<br />
F.R.S.<br />
Spencer, Blanche<br />
<br />
Stoddard, Frederick .<br />
Wolcott (Dolomite).<br />
<br />
Strachey, Mrs. Olive<br />
(Ray Strachey)<br />
<br />
Stuart, James. ¢<br />
<br />
Tait, Miss EK. M. . :<br />
Tata, Sir Dorab J. :<br />
<br />
Thoren, Lieut. Oscar de<br />
<br />
Turner, Denis . :<br />
<br />
Vahey, John Haslette .<br />
(John Haslette)<br />
<br />
THE AUTHOR.<br />
<br />
5, Pump_ Court,<br />
Temple, E.C.<br />
<br />
41, Guildford Street,<br />
Russell Square,<br />
W.C.<br />
<br />
Quimper,<br />
France.<br />
<br />
5, Clifton Gardens,<br />
Maida Vale, W.<br />
<br />
Shulbrede Priory,<br />
Haslemere.<br />
<br />
The Close, Henley-<br />
on-Thames.<br />
<br />
5, Clifton Gardens,<br />
Maida Vale, W.<br />
Llanarth Court,<br />
<br />
Raglan, S. Wales.<br />
<br />
1, Brunswick Street,<br />
Liverpool.<br />
<br />
7, Pembroke Gar-<br />
dens, Kensington,<br />
W.<br />
<br />
30, Carlton Terrace,<br />
Childs’ Hill, N.W.<br />
<br />
Finistere,<br />
<br />
27, Kensington<br />
Court Mansions,<br />
W.<br />
<br />
24, Hermitage Gar-<br />
dens, Edinburgh.<br />
<br />
Arch Hall, Navan,<br />
Treland.<br />
<br />
13, Little Grosvenor<br />
Street, W.<br />
<br />
138, Sloane Street,<br />
S.W.<br />
<br />
The University,<br />
Glasgow.<br />
3, Mortimer Road,<br />
Clifton, Bristol.<br />
Wessobrunn, Meran,<br />
Tyrol.<br />
<br />
96, South Hill Park,<br />
N.W.<br />
<br />
34, Loop Street,<br />
Pietermaritzburg,<br />
Natal, S. Africa.<br />
<br />
27, St. Georges<br />
Square, S.W.<br />
<br />
Harewood House,<br />
Hanover Square,<br />
W.<br />
<br />
St. Stephen’s Club,<br />
S.W.<br />
Whitehall<br />
Charing<br />
S.W.<br />
Fairseat, Poole Road,<br />
Bournemouth.<br />
<br />
House,<br />
Cross,<br />
<br />
Walker, Maude 41, Enys Road, East-<br />
<br />
bourne. :<br />
Littlefield, Worples-<br />
don, Surrey.<br />
<br />
Walshe, Douglas<br />
<br />
Wapling, Winifred H. . Tadworth.<br />
<br />
Williams, Sir Thomas The Police Court,<br />
Marchant. Merthyr Tydfil.<br />
Yellon, Evan ; 33, Furnival Street,<br />
<br />
K.C.<br />
~—>—_+—___—_-<br />
<br />
BOOKS PUBLISHED BY MEMBERS.<br />
<br />
———-— +<br />
<br />
While every effort is made by the compilers to keep<br />
this list as accurate and exhaustive as possible, they have<br />
some difficulty in attaining this object owing to the fact.<br />
that many of the books mentioned are not sent to the office<br />
by the members. In consequence, it is necessary to rely<br />
largely upon lists of books which appear in literary and<br />
other papers. It is hoped, however, that members will<br />
co-operate in the compiling of this list and, by sending<br />
particulars of their works, help to make it substantially<br />
accurate.<br />
<br />
ART.<br />
Prerverxo. By Serwyn Briton. Tilustrated with<br />
eight reproductions in colour. 8 x 6. 80 pp. Jack.<br />
ls. 6d. n.<br />
<br />
Famous Parstrncs. Selected from the World’s Great<br />
Galleries and Reproduced in Colour. With an Intro-<br />
duction by G. K. Cuzsterron and Descriptive Notes..<br />
15 x 103. 50 pp. Cassell. 12s. 6d. n.<br />
<br />
VisvAKARMA. Examples of Indian Architecture, Sculp-<br />
ture, Painting, &c. Chosen by ANanpa W. CooMARAS-<br />
wamy, D.Sc. Part Il. 11 x 8}. Plates 28—60..<br />
Luzac. 2s. 6d.<br />
<br />
CHIPPENDALE AND HIs ScHoot. ByJ.P. Brake. 7} X 5.<br />
111 pp. (Little Books about Old Furniture.) Heine-<br />
mann. 2s. 6d. n.<br />
<br />
BIOGRAPHY.<br />
<br />
Forry-Nine Years or My Lire (1770—1815). By Tae<br />
Princess Lovise oF Prussta (Princess Anton Radzi-<br />
will). Edited by Princess RapzrwiLt. Translated by:<br />
A. R. Atirnson. 9 X 53. 461 pp. Nash. 16s. n.<br />
<br />
THIRTEEN YEARS OF A Busy Womay’s Lire. By Mrs.<br />
Arec Twrepis. 83 x 5}. 367 pp. Lane. 16s. n.<br />
<br />
Romances oF THE FreNcH THEATRE. By _ FRaNcIs<br />
Gripste. 9 X 53. 288pp. Chapman& Hall. 15s.n.<br />
<br />
Coxe or NorFoLK AND HIS Frrmnps. By A. M. W..<br />
Srretinc. New Edition. ‘ 8} x 53. 632 pp. Lane.<br />
12s. 6d. n.<br />
<br />
Tuomas ANDREWS, SHIPBUILDER. By SHAN F’. BULLOCK.<br />
With an Introduction by Str Horace PLUNKETT.<br />
7h x 43. 80 pp. Maunsell. 1s, n.<br />
<br />
JournaL or tur Comtr D’EsrincnaL DuRING THE<br />
Enicration. Edited from the original manuscripts by<br />
BE. vp Havtertve. Translated by Mrs. RoDOoLPH<br />
SrawetL. 9 x 5}. 432pp. Chapman & Hall. 12s, 6d. n.<br />
<br />
Apam Linpsay Gorpon AND HIS Frrenps Iv ENGLAND<br />
AnD Austratia. By Epira Humparis AnD DovGLas:<br />
SLADEN. 83 x 53. 464 pp. Constable. 12s. 6d. n.<br />
<br />
Wuen I was a Cuttp. By Yossio Marxino. 8 X 5}.<br />
<br />
281 pp. Constable.<br />
Larcapro Hzarn. By E. Tuomas. 6} x 43. 91 pp-<br />
Edited by Sir<br />
<br />
Constable. 1s. n.<br />
Dictionary or Nationat BroGRAPHY.<br />
<br />
Srpyry Ler. Second Supplement, Vol. I. Faed—<br />
Muy-ridge. Smith Elder. 15s. n.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 4]<br />
<br />
LETTRES DE LA MARQUISE DU DEFAND A Horace WALPOLE.<br />
Par Mrs. Paget TOYNBEE. 3 Vols. 9 x 6. Methuen.<br />
63s. n.<br />
<br />
Witu1am Hone.<br />
woop. 9 x 53.<br />
<br />
His Life and Times.<br />
373 pp. Fisher Unwin.<br />
<br />
By F. W. Hacx-<br />
10s. 6d. n.<br />
<br />
CLASSICAL.<br />
<br />
Pxuors. A Tetralogy. The Charioteers. Chrysippus.<br />
The Victors at Olympia and Tantalus. A Satyric<br />
Play. By Arraur Ditton. Elkin Mathews. Antique<br />
laid paper in boards, 3s. 6d. n. ; wove paper, in wrapper,<br />
Is. 6d. n.<br />
<br />
DRAMATIC.<br />
<br />
‘To-morrow. A Play for Children. With Music and<br />
Illustrations. By Krrry Barns anp D. W. WHEELER.<br />
Curwen & Sons.<br />
<br />
Tirmotuy’s GARDEN.<br />
<br />
Jeutr’s. A Comedy in Four Acts.<br />
<br />
JACHELL. 63 x 5. 154 pp. Murray.<br />
<br />
Drake. A Pageant Play in Three Acts.<br />
Parker. 74x 5. 117 pp. Lane. 2s. n.<br />
<br />
Curtary Raisers. By Epren Partuports.<br />
53 pp. Duckworth. Is. 6d. n.<br />
<br />
PrErer’s Cuance. A Play in Three Acts.<br />
Lytretton. 6} x 5. 74 pp. Duckworth.<br />
<br />
By Kirry Barne. Curwen.<br />
<br />
By Horace A.<br />
<br />
ls. 6d. n.<br />
By Lovis<br />
<br />
63 x 5.<br />
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43<br />
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LITERARY, DRAMATIC, AND MUSICAL<br />
NOTES.<br />
<br />
ae<br />
NDER the title “ Pelops: A Tetral-<br />
[ ogy,” Mr. Arthur Dillon is publishing,<br />
through Mr. Elkin Mathews, four<br />
plays dealing with early incidents in the<br />
mythical story of the House of Tantalus.<br />
The present revival of interest in the Greek<br />
Drama should make the subject appeal to the<br />
public, since a knowledge of such earlier<br />
history is assumed in so many of the tragedies<br />
of classical times. The rhymed couplet. is<br />
used in the dialogue throughout. The plays<br />
are, “* The Charioteers,”’ “ Chrysippus,” “ The<br />
Victors at Olympia,” and * Tantalus: A<br />
Satyric Play.” The volume is published at<br />
two prices, on antique laid paper, in boards<br />
at 3s. 6d. net, and on wove paper, in wrapper,<br />
at 1s. 6d. net.<br />
<br />
F. Bancroft’s new novel, issued on the 24th<br />
ult., by Messrs. Hutchinson & Co., though it<br />
deals mainly with a phase of life in South<br />
Africa during the stormy days of the conflict<br />
between Britain and the Transvaal, is in no<br />
Sense a war story, but a study of character<br />
minutely sketched and framed in a background<br />
of South African portraiture which recalls her<br />
former work, “ Of Like Passions,’ now in an<br />
eighth edition.<br />
<br />
Miss Mary C. Rowsell’s “ Thornrose and<br />
44<br />
<br />
Sparkbedor,” and “ Humpbacked Riquet,”’<br />
are two plays in rhyme, excellently adapted<br />
for school or indoor amateur performance.<br />
There are no fees charged in respect of either play.<br />
Messrs. Samuel French are the publishers.<br />
<br />
Miss T. Wilson Wilson published in Sep-<br />
tember, through Messrs. Stanley Paul & Co.,<br />
“© 4 Modern Ahab,’ a present-day novel. In<br />
October the same writer produced a book for<br />
boys and girls entitled ‘“ Jim’s Children,”<br />
which Messrs. Blackie have published. Miss<br />
Wilson Wilson also has a story in Blackie’s<br />
Christmas Annual.<br />
<br />
Miss Amy McLaren’s novel “‘ Bawbo Jeeck,”<br />
has just appeared in a reprint in Messrs.<br />
Everett’s 7d. Library. The same writer’s<br />
‘‘ With the Merry Austrians,’’ has just appeared<br />
in America, where Messrs. Putmans Sons<br />
publish it.<br />
<br />
Mr. R. A. Peddie has compiled, for the use<br />
of students, a handbook to The British<br />
Museum Reading Room. ‘The book is revised<br />
and enlarged from Mr. Peddie’s lecture ‘* How<br />
to use the Reading Room of the British<br />
Museum,” and contains useful information<br />
on the Library of the Museum, conditions of<br />
admission to the reading room, the general<br />
catalogue and special catalogues. There are<br />
also chapters dealing with rare and valuable<br />
books, and one devoted to the Department of<br />
Oriental Books and Manuscripts. Messrs.<br />
Grafton & Co., of 69, Great Russell Street,<br />
W.C., are the publishers.<br />
<br />
Messrs. Blackie & Son, Ltd., have re-issued<br />
Miss Rowsell’s story, ‘The Pedlar and His<br />
Dog.” This volume belongs to a series of<br />
“Stories Old and New,” which has been<br />
especially prepared for children. The books<br />
have been carefully chosen so as to include<br />
many stories by the best children’s authors<br />
of to-day.<br />
<br />
Messrs. Blackwoods published last month<br />
Sydney C. Grier’s new novel, “‘ One Crowded<br />
Hour,”’ which deals with Garibaldi and the<br />
adventures of an Englishman in the campaign<br />
of the two Sicilies. They have also in the<br />
press an illustrated edition of “A Young<br />
Man Married,” which deals with the Penin-<br />
sular War. It will probably be out in time for<br />
the centenary of the battle of Vittoria, next<br />
spring.<br />
<br />
Mr. Clifford King, whose poems, published<br />
by Messrs. Kegan Paul & Co., have been<br />
accepted by H.M. the King, has just finished<br />
a blank verse play, in five acts, with forty<br />
speaking characters, upon a Carthago-Roman<br />
subject, and is negotiating for its London<br />
production.<br />
<br />
THE AUTHOR.<br />
<br />
K. L. Montgomery’s new novel, “ The<br />
Gate Openers,’’ has recently been published<br />
by Messrs. John Long. The story deals with<br />
the Toll Riots of 1843 in S. Wales, where the<br />
traditions of the Rebekah rioters still linger.<br />
<br />
Lieut.-Col. W. H. Turton is bringing out<br />
this month the eighth edition of his book,<br />
‘*The Truth of Christianity.”” The volume is<br />
now in its thirtieth thousand and was trans-<br />
lated into Japanese a few years ago. Messrs.<br />
Wells, Gardner & Co. are the publishers.<br />
<br />
On October 9th, Constable & Co. published<br />
a new book by Maud Diver, “ The Hero of<br />
Herat: A Frontier Biography in Romantic<br />
Form.” The book is as much a biography as<br />
a romance. The hero in question, Major<br />
Eldred Pottinger, C.B., did notable service<br />
in Afghanistan in 1838-39, and also through-<br />
out the Afghan War. Mrs. Diver’s first novel,<br />
“Captain Desmond, V.C.,” is now being<br />
translated into German. It is also running<br />
serially in a Norwegian-Danish paper.<br />
<br />
‘“*Samphire,”’ a pot-pourri of original and<br />
humorous inconsequences or essayettes on<br />
such subjects as gardening, shops, personal<br />
relations, etc., by Lady Sybil Grant, is to be<br />
published shortly by Messrs. Stanley Paul &<br />
Co. The work includes fanciful skits entitled<br />
‘“* Shadows,’ analogues, the sources of which<br />
it is not difficult to trace.<br />
<br />
A new edition of ‘Dr. Phillips,” one of<br />
Frank Danby’s most popular novels, is to be<br />
issued immediately by Messrs. Stanley Paul & Co.<br />
Although the thread of the story remains,<br />
each page has been extensively revised by the<br />
author.<br />
<br />
The romance of village life of rural England<br />
is a most interesting thing, and in some<br />
respects pathetic, because it cannot be denied<br />
that the spirit of modern progress is destroying<br />
the old face of the countryside of England.<br />
It is therefore interesting to know that<br />
Mr. J. M. Dent has in the press a work entitled<br />
“ Cottages and Village Life of Rural England,”<br />
by Mr. P. H. Ditchfield, who is known as an<br />
archeologist and antiquarian. It will contain<br />
no fewer than 52 coloured pictures and<br />
numerous line drawings by Mr. A. R. Quinton.<br />
Mr. Dent hopes to publish the book shortly.<br />
<br />
* Arabic Spain: Sidelights on Her History<br />
and Art,” by Bernard and Ellen M. Whishaw,<br />
published by Messrs. Smith, Elder & Co., is<br />
an attempt to elucidate some points in the<br />
history of Southern Spain, under the Moslems,<br />
on which the existing histories throw no light,<br />
and thus to account for some features in the<br />
art and architecture of the country hitherto<br />
unexplained. The writers account historically<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
4<br />
<br />
<br />
<br />
THE AUTHOR. 45<br />
<br />
for the undoubted Egyptian influence which<br />
is seen in a great deal of the architecture of<br />
Seville and the surrounding country. There<br />
is an index to the work, as well as genealogical<br />
tables and illustrations.<br />
<br />
Mr. Charles Garvice’s new 6s. novel, ‘* Two<br />
Maids and a Man,” appeared last month.<br />
French translations of “Just a Girl” and<br />
“The Outcast of the Family ” have appeared,<br />
whilst Spanish versions of “A Heritage of<br />
Hate,” “A Fair Impostor,” and “ Just a<br />
Girl.” Mr. Garvice is engaged to deliver<br />
his lecture-recital, ‘“ Humorists, Grave and<br />
Gay,” in Dublin, Belfast, Bradford, Hull, and<br />
other places. The Christmas numbers of<br />
Lhe Grand and The Strand will contain<br />
stories from his pen. Messrs. Hodder &<br />
Stoughton announce a new and uniform<br />
edition of Mr. Garvice’s novels. The volumes<br />
will be well printed, bound in cloth, and<br />
published at 3s. 6d.<br />
<br />
In his new work, “Light on the Gospel<br />
from an Ancient Poet,” the Rev. Dr. Edwin<br />
A. Abbot aims at illustrating the Gospel by<br />
showing how the recently discovered odes of<br />
Solomon—written by a Christian J ew, and prob-<br />
ably at the close of the first century—supply<br />
a missing link between the religious poetry<br />
of Jews and Christians, not quoting or imitating<br />
but independently corroborating Pauline and<br />
Johannine teaching, about the Church as the<br />
body of the Messiah as the Son of God, and<br />
about God as revealed to man in the unity of<br />
Father, Son, and Holy Spirit. The Cambridge<br />
University Press publish the work.<br />
<br />
Messrs. J. M. Dent & Son announce the<br />
publication of “ Aspects of Algeria : Historical,<br />
Pictorial and Colonial,” by Roy Devereux.<br />
The author’s treatment of Algeria includes her<br />
history her arts and sciences, her domestic<br />
economy, her industries, her political situa-<br />
tions. He pictures also her social life, the life<br />
of the natives, and that of the peoples living<br />
there. The text is illustrated by photographs.<br />
<br />
Mr. A. C. Fifield published’ last month a<br />
new volume of poems by H. M. Waithman,<br />
author of ‘“‘ Harvesting and Charybdis.”” The<br />
present volume is entitled “The Soul of a<br />
Gardener.” In it, every month of the gar-<br />
-dener’s year is enshrined in a cluster of poems,<br />
the work of an artist and a gardener.<br />
<br />
. Yolland’s novel, ‘‘ The Struggle for the<br />
Crown,” published by Messrs. Lynwood & Co.,<br />
is a romance of the seventeenth century. In<br />
it, the author presents a picture of the life<br />
and social conditions of the time, while the<br />
narrative possesses a strong love interest.<br />
<br />
Messrs. S. Fischer, Berlin, have just pub-<br />
<br />
lished a German translation of Mr. H. H.<br />
Richardson’s novel, -‘‘ Maurice Guest.” The<br />
title of the translation is ‘‘ Maurice Guest,<br />
von Henry Handel Richardson. Authorisierte<br />
Ubersetzung von Dr. Otto Neustalter.’ It is<br />
published in two volumes.<br />
<br />
Chaucer’s Complete Works have been added<br />
this week to the Oxford Standard Authors.<br />
This is a new issue of the well-known edition<br />
edited by the late Rev. Professor W. W. Skeat.<br />
In addition to Dr. Skeat’s introduction and<br />
Chaucer’s text—756 pages—a glossarial index<br />
of 149 pages, double column, is given, at what<br />
is really a nominal price.<br />
<br />
Maude Annesley’s new book, ‘‘ My Parisian<br />
Year,” 10s. 6d., Messrs. Mills & Boon, is a<br />
book on Paris written “from a woman’s<br />
point of view.” Mrs. Annesley has lived in<br />
Paris for years, and has seen many phases<br />
of its life. She deals with a good many<br />
subjects not usually touched upon in books<br />
on France, and she leaves weighty matters—<br />
such as religion, education, and polities—to<br />
other writers, preferring to describe for her<br />
English and American readers the “little<br />
things ’’ which are so interesting to the average<br />
Anglo-Saxon. There are chapters on the<br />
Frenchman, the Frenchwoman. Children, the<br />
Flineur, Concierges and Servants, Street-<br />
sellers, Students and Studios, the Demi monde,<br />
Family Functions, Theatres and Music-halls,<br />
the Races, Restaurants, Fétes and Fasts,<br />
Rows and Riots, Nerves, the Tourist, and<br />
others. Mrs. Annesley gives many interesting<br />
anecdotes, and there are descriptions of<br />
amusing and tragic incidents which the author<br />
has seen. The book is fully illustrated.<br />
<br />
“Kton in the ’Seventies,” by the Hon.<br />
Gilbert Coleridge, and published by Smith,<br />
Elder & Co., gives an insight into the school<br />
life of that period. It is written from a<br />
healthy and optimistic point of view, and<br />
contains many stories and episodes character-<br />
istic of the schoolboy which the author has<br />
collected. Earl Curzon of Kedleston and Mr.<br />
A. C. Benson contribute accounts of the<br />
literary movement in that decade, and there<br />
is much valuable and interesting matter added<br />
by the Rev. and Hon. Edward Lyttelton,<br />
the present Headmaster, and Mr. Basil<br />
Thomson, the author of “ The Diversions of<br />
a’ Prime Minister.’ There is much in the<br />
book which should interest other than Etonians.<br />
<br />
Messrs. A. & C. Black have issued in their<br />
“Peeps at many Lands” Series a booklet<br />
on Java by Mr. J. F. Scheltema, which will<br />
be followed, before the end of the year, by a<br />
richly illustrated volume from his hand, but<br />
46 THE AUTAOR.<br />
<br />
appealing to a different class of readers, on<br />
the ancient monuments in the same island, to<br />
be published by Messrs. Macmillan & Co.<br />
The October number of the Ouaford and<br />
Cambridge Review had a paper by Mr. J. F.<br />
Scheltema on “ Constantinople and the Holy<br />
Cities of Islam,” while other articles he has<br />
written will shortly appear in The Antiquary,<br />
The Englishwoman, The Dublin Review, and<br />
The Asiatic Quarterly Review.<br />
<br />
Miss Alice E. Robbins’ new novel, “ Things<br />
That Pass,” has just been published by Mr.<br />
Andrew Melrose.<br />
<br />
Mr. Headon Hill’s recent novel, “‘ My Lord<br />
the Felon,”’ has been translated into Swedish,<br />
and is published at Stockholm by the Aktie-<br />
bolaget Hiertas Bokforlag.<br />
<br />
Mrs. Fred Reynolds’ new work, entitled<br />
“Letters to a Prison,” was published by<br />
Messrs. Chapman & Hall last month, when<br />
the same house issued also “The City of<br />
Beautiful Nonsense,” in their uniform 2s.<br />
net edition of Mr. E. Temple Thurston’s<br />
works.<br />
<br />
Anne Douglas Sedgwick, author of “* Tante,”<br />
“Franklin Kane,” and other novels, is pub-<br />
lishing, through Mr. Edward Arnold, a volume<br />
of short. stories.<br />
<br />
His Majesty the King has been graciously<br />
pleased to accept a copy of “Life in the<br />
Indian Police,” by C. E. Gouldsbury (late<br />
Indian Police). The book is published by<br />
Messrs. Chapman & Hall.<br />
<br />
Messrs. Wickins & Co. are shortly pub-<br />
lishing a book of “‘ Motto Action Songs ” for<br />
Children, by E. Budgen. The words are<br />
based on well-known proverbs; the music<br />
includes three waltzes, two gavottes, and one<br />
march; and the actions are either simple,<br />
or with tambourines, handkerchiefs or fans.<br />
<br />
Miss May Crommelin’s new book, ‘“ The<br />
Golden Bow,” has just been brought out by<br />
Messrs. Holden & Hardingham. The scene<br />
is laid in Ulster; but it is, nevertheless, free<br />
from reference to the strong political feelings<br />
lately aroused there, being a novel dealing<br />
with the development of mind and purpose<br />
in a young girl early tried by heavy responsi-<br />
bilities and by a love affair whilst still in her<br />
teens. Miss Crommelin’s ‘‘ Crimson Lilies ”’<br />
has been reproduced by Mr. John Long, in a<br />
6d. edition.<br />
<br />
Messrs. Wildt & Kray (Willesden) are<br />
bringing out a series of small Christmas gift<br />
books at 6d., each of which contains a long<br />
poem by Miss H. M. Burnside. One of these,<br />
entitled ‘“‘ Friends Afar,” is specially designed<br />
for sending to Colonial friends. Another little<br />
<br />
book of a similar kind is published by Messrs.<br />
William Ritchie, of Edinburgh.<br />
<br />
“ Littledom Castle,” by Mrs. M. H.<br />
Spielmann, has run into its third edition, and<br />
is being issued by Messrs. Routledge at a<br />
reduced price, with all the original illustrations<br />
by Phil May, Kate Greenaway, Mr. Hugh<br />
Thomson, Mr. Arthur Rackham, Mr. Harry<br />
Furniss, Miss Rosie Pitman, and Miss Jessie<br />
King.<br />
<br />
“South America” will not for long be<br />
among the few countries unrepresented in<br />
Black’s series of Colour-Books. A volume has<br />
been written by Mr. W. H. Koebel, and<br />
illustrated by Mr. A. S. Forrest, which will<br />
be published immediately. The subject is<br />
vast and complex, but Mr. Koebel is a well-<br />
known authority on matters South American,<br />
and he has described the Republics of the<br />
Continent topographically, historically, and,<br />
to a certain extent, socially.<br />
<br />
G. P. Putnam’s Sons announce a new<br />
story by Florence L. Barclay, the author of<br />
“The Rosary.” Itisentitled ** The Upas Tree,”<br />
and was published at the end of October at<br />
3s. Gd. net. There is a coloured frontispiece,<br />
drawn by Mr. F. H. Townsend, the well-<br />
known Punch artist. ‘‘ The Upas Tree” is<br />
described as a love story with a musical<br />
interest, and contains stronger scenes than any<br />
Mrs. Barclay has treated before. She tells<br />
in the last chapter of a happy home-coming<br />
at Christmas time.<br />
<br />
‘The Thought in Music: an Enquiry into<br />
the Principles of Musical Rhythm, Phrasing,<br />
and Expression,” is the title of a book issued<br />
by Messrs. Macmillan & Co. Its author is<br />
Mr. John B. McEwen, Professor of Musical<br />
Composition in the Royal Academy of Music,<br />
and it may be further described as an attempt<br />
to formulate a definite basis on which the<br />
musical facts underlying the principles of shape<br />
in musical structure may be correlated and<br />
codified.<br />
<br />
Sir Frederic W. Hewitt has prepared a new<br />
edition of his well-known work, “* Anesthetics<br />
and their Administration,’’ with the assistance<br />
of Dr. Henry Robinson, Anesthetist to the<br />
Samaritan Hospital and to the Cancer Hospital.<br />
Since the publication of the last edition,<br />
extraordinary changes have taken place in<br />
this branch of medical science, so that large<br />
sections of the book have had to be completely<br />
rewritten. An entirely new chapter on local<br />
or regional anesthesia, and another on_ the<br />
medico-legal aspects of surgical anesthesia in<br />
general, have been added. The book was pub-<br />
lished in October by Messrs. Macmillan & Co.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 47<br />
<br />
Mr. Cayley Calvert, in “ Brighton and Hove<br />
Society,” has an article dealing with, and<br />
traversing, Sir Edwin Durning-Lawrence’s<br />
views on the Bacon-Shakespeare controversy.<br />
Mr. Calvert deals with the statement that<br />
Shakespeare was unable to write his own name,<br />
and also with the allegation of his “ illiteracy.”<br />
Finally, Mr. Calvert seeks to show that the<br />
mastery of stage technique which the plays<br />
denote could not be gained by a life spent in<br />
the legal and parliamentary circles, in which<br />
the author of “The Advancement of Learning ”’<br />
moved.<br />
<br />
Mr. Alex. J. Philip has in preparation ‘‘ The<br />
Library Encyclopedia,’ to be published on<br />
December 31st. It will contain some 700<br />
pages, and will be illustrated wherever it is<br />
considered necessary. The matters it will<br />
deal with will include library administration,<br />
book purchasing, library history, library plans<br />
and buildings, classification, cataloguing,<br />
office work and routine. Various contributory<br />
branches of knowledge will be included, such<br />
as binding paper, the preservation of records,<br />
museum works, practical printing, bibliography,<br />
and all the numerous subjects either directly<br />
or indirectly connected with work in public,<br />
proprietary, and private libraries and museums.<br />
Messrs. Stanley Paul & Co. are to publish<br />
the Encyclopedia.<br />
<br />
In “Five Years on a Training Ship,” by<br />
J.D. Bush and E. T. Miller, is given a faithful<br />
picture, in the form of a story, of the conditions<br />
under which hundreds of poor boys are dis-<br />
ciplined, trained and educated for the training<br />
ship life. One of the authors, Dr. Bush,<br />
spent several years on board the vessel, a<br />
Scottish training ship, coming in daily contact<br />
with the boys, whom he had exceptional<br />
opportunities of observing closely. The book<br />
is illustrated by Savile Lumley.<br />
<br />
A shilling edition of “The Truth about<br />
Man,” by a Spinster, has recently been<br />
issued. Originally published in The Lady’s<br />
Realm, and afterwards in M. A. P., it has<br />
already passed through two editions in book<br />
form. The present edition has been thoroughly<br />
revised.<br />
<br />
“In Praise of Australia,” by Florence Gay,<br />
forms one of Messrs. Constable’s “‘ Ini Praise of<br />
Series.”” The volume is divided into three<br />
parts. The earlier pages are devoted to a<br />
sketch of Australia’s story. These are followed<br />
by references to the black man, while the white<br />
man and his environment are dealt with<br />
towards the conclusion of the volume.<br />
<br />
Miss Edith EK. Kenyon’s new novel “ The<br />
Wooing of Mifarnoy: A Welsh Love Story,”<br />
<br />
was published last month by Messrs. Holden<br />
& Hardingham.<br />
<br />
* Written in the Sand,” by G. B. Duval,<br />
is aromance of Sahara. Woven into the story<br />
are pictures of desert life and sketches of<br />
desert scenery. Mr. W. J. Ham-Smith is the<br />
publisher.<br />
<br />
Messrs. Mills & Boon will publish another<br />
novel by Mary L. Pendered, next spring,<br />
entitled ‘‘ Phyllida Flouts Me!’ The same<br />
author’s “That Daisy the Minx,” is now in a<br />
1s. edition.<br />
<br />
The Religious Tract Society are issuing a<br />
new historical story by Helen H. Watson. It<br />
is called “ When the King came South,” and<br />
has to do with the Battle of Worcester. The<br />
scene is laid for the most part in the neigh-<br />
bourhood of Warton and Borwick Hall,<br />
Lancashire.<br />
<br />
Esme Stuart has had the honour of sending<br />
her new child’s book, “‘ Two Troubadours,” by<br />
request, to H.M. The Queen. The book is<br />
well illustrated, and will, it is hoped, prove<br />
an acceptable Christmas gift to children.<br />
<br />
“ The Snarer,” by Brown Linnet, published<br />
by Mr. John Murray, deals with a woman<br />
poacher. The book opens with the return<br />
of the woman, after a term of imprisonment,<br />
to the village in which her life has been<br />
spent. Apparently, she has decided to<br />
abandon her previous pursuits, and succeeds<br />
in engaging the interest of various powers in<br />
the village in her reformation. How far the<br />
reformation is genuine readers may gather<br />
from the chronicle of her escapades which the<br />
book contains.<br />
<br />
DRraMATIC.<br />
<br />
“Westward Ho!”, a romantic drama in<br />
four acts, was produced by Mr. Matheson<br />
Lang at His Majesty’s Theatre, Johannesburg,<br />
on September 28th. It is written by Miss Pegg<br />
Webling, the author of ‘‘ The Story of Virginia<br />
Perfect,” ‘‘ Felix Christie,’ and other novels.<br />
Founded on Charles Kingsley’s classic of the<br />
sea, the latest Elizabethan play is imbued<br />
with the spirit of the stirring times of Fro-<br />
bisher, Hawkins and Drake. The principal<br />
characters of the famous novel—Amyas and<br />
Frank Leigh, the Rose of Torridge, Don<br />
Guzman de Soto, Salvation Yeo—are intro-<br />
duced into the play, but many changes have<br />
necessarily been made in the story. The<br />
second act takes place in old Burrough Hall,<br />
the home of the Leighs of Devon, in striking<br />
contrast to another of the beautiful stage<br />
<br />
<br />
48<br />
<br />
an isle in the West Indies—and the<br />
curtain rises, for the last scene, on a realistic<br />
representation of the deck of Amyas’s ship,<br />
homeward bound. The part of Amyas Leigh<br />
was written by Miss Webling for Mr. Matheson<br />
Lang, and that of Ayacanora for his wife, Miss<br />
Hutin Britton.<br />
<br />
“ Words,” the new play by Kitty Barne,<br />
author of “‘ To-morrow,” will be produced at<br />
the Royal Court Theatre on November 29th,<br />
by an amateur company. :<br />
<br />
Mr. Charles Howett, the South African<br />
actor-manager who arrived here a few weeks<br />
ago, witnessed, and has secured, Mr. Forbes<br />
Dawson’s play, ‘“ Triumph of the Blind,” for<br />
production in Johannesburg shortly. He has<br />
also secured the same author’s ‘‘ Glorie Aston,<br />
The Female Convict,” which was produced<br />
in the provinces a few years back, as well as<br />
“Cherry Hall,” a society drama, originally<br />
staged at the Avenue—now the Playhouse—<br />
and ‘ The Man from Ceylon,” a three-act farce<br />
which ran in the Colonies.<br />
<br />
Mrs. Percy Dearmer is at present engaged in<br />
the production of ‘ The Dreamer,” a poetic<br />
drama of Joseph in Egypt. The play has<br />
already been published by Messrs. Mowbray &<br />
Co. Music has been composed expressly for<br />
this play by Mr. Martin Shaw, who will<br />
conduct the orchestra. The play will be<br />
produced at King’s Hall, Covent Garden, on<br />
November 29, December 6, 18, and 20, in the<br />
evening, and on November 30, December 7,<br />
14 and 21, in the afternoon, by the Morality<br />
Play Society. Tickets may be booked now<br />
from the Hon. Secretary, Miss Bartlett, 57,<br />
Fellows Road, N.W. Mr. Arthur Wontner will<br />
be in the leading part, and will be supported<br />
by Mr. Guy Rathbone, Mr. Acton Bond;<br />
Miss Lilian Braithwaite and Miss Margaret<br />
Halstan will play the only two women’s parts<br />
inthe play. The scenic effects will be arranged<br />
by Mr. George E. Kruger. The performers will<br />
number some hundred and _ thirty people.<br />
The play is on the same lines as “ The Soul<br />
of the World,” which was produced at the<br />
Imperial Institute a short time ago.<br />
<br />
pictures—<br />
<br />
——<br />
<br />
PARIS NOTES.<br />
<br />
—+~> +<br />
<br />
HERE is still a dearth of really good,<br />
strong novels. In consequence of this,<br />
<br />
__ everyone has turned to the stories of<br />
real life to be found in the various memoirs and<br />
<br />
THE AUTHOR.<br />
<br />
biographies offered to us. At present the pub-<br />
lishers are bewildered by the numberless<br />
manuscripts they receive from people who<br />
imagine that their exploits or ideas cannot fail<br />
to interest the public. There are volumes and<br />
volumes now being published which will prob-<br />
ably only charm the writers of them, and, in<br />
the meantime, we are all hoping that the<br />
forthcoming publishing season may reveal<br />
to us some hidden genius who will supply<br />
us with strong, entrancing novels.<br />
<br />
M. J. H. Rosny, ainé, whose books are always<br />
worth reading, promises us a series of novels,<br />
and gives us the first, entitled ‘‘ Les Rafales.”<br />
The rafales, or squalls, which are constantly<br />
disturbing the tranquillity of the Lérande<br />
family, are all due to the fact that the head of<br />
the little household, Antoine Lérande, is an<br />
absolutely unpractical man with wonderful<br />
ideas. In his efforts to carry out his ideas he<br />
uses his own and his wife’s fortune. The story<br />
is well told and is infinitely pathetic; the<br />
heroic struggle of the wife and mother to keep<br />
her little home together, the education of the<br />
children, accustomed from their earliest infancy<br />
to all the inconveniences of the constant storms<br />
caused by the demands of creditors, or the<br />
exasperation of unpaid domestics, are so many<br />
chapters taken from real life. The author has<br />
not needed to go abroad in search of a<br />
background for his story, nor has he had<br />
to invent a far-fetched plot. He has simply<br />
thought out a picture of life and painted it<br />
for us.<br />
<br />
The Baron de Batz gives us another book<br />
compiled from the archives of his family.<br />
Some little time ago he supplied us with the<br />
true story of his celebrated ancestor, Baron<br />
Jean de Batz, who, almost single-handed,<br />
attempted to rescue Louis XVI., who was<br />
being conducted to the scaffold. In ** Vers<br />
Viichafaud ” he now tells us of another of his<br />
ancestors, his grandfather, Jean Francois de<br />
Montegut, Councillor of the Parliament of<br />
Toulouse, who, together with his son and a<br />
number of other councillors, was condemned<br />
to death by Robespierre and Fouquier-<br />
Tinville. The story is extremely pathetic.<br />
Jean Francois de Montegut came of a culti-<br />
vated, intellectual family. His mother was a<br />
most refined woman and a_ poetess. The<br />
author of this volume draws attention to the<br />
extraordinary attitude of these victims of the<br />
Revolution, and to the facility with which a<br />
whole nation allows itself to be influenced and<br />
follows blindly a small minority of leaders.<br />
In this same volume are two other historical<br />
studies.<br />
<br />
<br />
<br />
<br />
<br />
<br />
“><br />
<br />
<br />
<br />
ix}<br />
i<br />
<br />
<br />
<br />
THE AUTHOR. 49<br />
<br />
“T’Ame des Enfants, des Pays et des<br />
Saints” is the title of the latest volume by<br />
Lucie Félix-Faure Goyau. The book contains<br />
a series of delicate and exquisite studies on<br />
widely different subjects. The first part is<br />
entitled, Le Reflet des Choses dans l Ame des<br />
Enfants, and among the things reflected in the<br />
soul of the child, we have the fairies’ tree, the<br />
swan, the ideal house, old people, clocks, the<br />
fear of darkness, sea birds, ete. Several<br />
chapters are devoted to Pascal’s childhood,<br />
and from this study we have an excellent idea<br />
of the Pascal family. The second part of the<br />
book is entitled Le Reflet des Ames sur la figure<br />
des choses: La Phystonomie des Pays, and a<br />
large part of this is devoted to Fromentin,<br />
the celebrated French artist. In the third<br />
division of the book we have Le Reflet des Ames<br />
<br />
sur les Ames: Ame des Saints. Among the<br />
subjects treated are the disciples of Socrates<br />
and the Apostles of Christ, Monica and<br />
St. Augustin, St. Catherine of Ricci, St.<br />
Catherine of Génes, St. Theresa. The subjects<br />
are all delicate and are delicately handled.<br />
In these days of materialism, and of such an<br />
alarming output of commonplace publica-<br />
tions, a volume of this kind will be weleomed<br />
by many readers. “Mes Souvenirs depuis<br />
la Guerre (1870—1901),” by General Zurlinden,<br />
the ex-Minister of War, is a book written<br />
by a man well qualified to speak on the<br />
subjects he touches. He tells us of the<br />
situation after the war, and of his experi-<br />
ences as Military Governor of Paris. The<br />
volume is extremely instructive, coming as<br />
it does from the man most able to write on<br />
such things.<br />
<br />
““Le Suicide,” is the title of the sixteenth<br />
volume of “L’Empire Libéral,” by Emile<br />
Ollivier. The subjects treated are: Le Pre-<br />
muer Acte, Woerth, Forbach, and Renversement<br />
du Ministire. They are handled in the same<br />
conscientious manner as those of the other<br />
fifteen volumes of this important historical<br />
work. “ La Politique Indigéne de l’Angleterre<br />
en Afrique occidentale,” by M. E. Baillaud,<br />
will be interesting for English readers. The<br />
author has lived for some time in the country<br />
about which he writes.<br />
<br />
“ La Russie Moderne, by Grégoire Alexinsky,<br />
formerly member of the Douma, has been<br />
translated by Madame Lavadsky.<br />
<br />
“Essai sur la Littérature Chinoise,”’ by<br />
Georges Soulié, is an attempt to familiarise<br />
us with the literature of a country about<br />
which we know comparatively little.<br />
<br />
“La Vie d’un Heros: Agrippa d’Aubigné,”<br />
is a biography that cannot fail to interest all<br />
<br />
readers, so curious and remarkable was the<br />
personality of this man. M. S. Rocheblave<br />
has rendered a great service in giving us so<br />
concise an account of a man whose life was a<br />
veritable romance.<br />
<br />
“ Marietta Alboni,” by Arthur Pougin, is<br />
a biography of the celebrated singer and<br />
charming Italian woman who made her home<br />
in Paris and left her fortune to found small<br />
scholarships for students attending the free<br />
classes organised by the City of Paris, and<br />
beds in one of the hospitals. Her husband,<br />
M. Charles Zieger, formerly captain in the<br />
French army, has supplied M. Pougin with<br />
most of the material] for this volume.<br />
<br />
A new edition, with a great amount of<br />
additional matter, of “La Géographie<br />
Humaine,” by Jean Brunhes, has just been<br />
issued. M. Jean Brunhes has now a chair of<br />
Human Geography at the College of France.<br />
His book is most remarkable, and he has been<br />
awarded the Halphen prize of the French<br />
Academy and the Gold Medal of the Geo-<br />
graphical Society of Paris for it. The present<br />
volume contains 272 illustrations.<br />
<br />
A book entitled “La Lutte preventive<br />
contre la Misére,” by Sidney and Beatrice<br />
Webb, has been translated by H. La Coudriac.<br />
<br />
The death of Alphense Lemerre will be re-<br />
gretted by the poets, as he was one of the<br />
rare publishers willing to consider their<br />
manuscripts. Sully Prudhomme, Francois<br />
Coppée, and numbers of other poets were<br />
discovered by Alphonse Lemerre. Fortunately<br />
his son keeps up the tradition of the firm and<br />
has published just recently, ‘‘ Les Oases,” by<br />
Charles. Clere, the poet who was awarded the<br />
Sully Prudhomme Prize for 1912.<br />
<br />
Perhaps one of the reasons of the dearth of<br />
novelists is the over-abundance of so-called<br />
dramatic authors at present. Very few of<br />
the new plays are really a success, so that the<br />
public has the opportunity of seeing plenty of<br />
variety, thanks to the frequent change of the<br />
bill.<br />
<br />
The programme of the season at the Odéon<br />
has a number of unknown names, as M.<br />
Antoine keeps up his reputation for endeavour-<br />
ing to discover hidden talent. M. Porel is<br />
organising a series of matinées at the theatre<br />
of the Jardin d’Acclimatation, which will no<br />
doubt attract the English and American<br />
colonies this winter. The prices are very<br />
moderate and the plays good ones. The<br />
theatrical event of the moment is Paul<br />
Hervieu’s play at the Francais. The Athénée<br />
had such success last season with ‘‘ Le Coeur<br />
Dispose,” that it has gone back to it, and the<br />
50<br />
<br />
public is waiting impatiently for the new play<br />
that has been announced to take its place.<br />
Auys Hatrarp.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
« Les Rafales ” (Plon).<br />
“Vers PEchafaud” (Calmann Levy).<br />
<br />
«t?Ame des Enfants, des Pays et des Saints”<br />
(Perrin).<br />
“Mes Souvenirs depuis la Guerre (1870—1901) ”<br />
(Perrin).<br />
<br />
“ Le Suicide” (Garnier).<br />
<br />
“Ta Politique Indigtne de TAngleterre en Afrique<br />
occidentale” (Hachette).<br />
<br />
“La Russie Moderne ” (Flammarion).<br />
<br />
« Bgsai surla Littérature Chinoise” (Mercure de France).<br />
<br />
La Vie d’un Heros: Agrippa d’Aubigné” (Hachette).<br />
<br />
‘«* Marietta Alboni”’ (Plon).<br />
<br />
“La Géographie Humaine ”’ (Felix Alcan).<br />
<br />
“La Lutte preventive contre la Mistre” (Giard et<br />
Britre).<br />
<br />
————_+—>—_+—__—_—_<br />
<br />
THE ACCESSION OF HOLLAND TO THE<br />
BERNE CONVENTION.<br />
<br />
—+-~< +<br />
<br />
TINUE accession of Holland to the Berne<br />
Convention for the Protection of<br />
Literary and Artistic Works, makes<br />
<br />
complete the accord of the nations of Western<br />
<br />
Europe. The Act of the Dutch Parliament<br />
<br />
effecting this highly desirable result has<br />
<br />
already passed. It is to come into force as<br />
soon as it is proclaimed ; and as proclamation<br />
is anticipated on November 11th, a Western<br />
<br />
Europe united in accord regarding intellectual<br />
<br />
rights will be, within a few days, a fait accompli.<br />
<br />
The actual number of new adherents to the<br />
<br />
Berne Convention will not be very large. The<br />
<br />
population of Holland is a little under six<br />
<br />
millions. That of the Colonies, situated<br />
principally in the East Indies, is considerably<br />
<br />
greater—about 88,000,000—but of these a<br />
<br />
very large proportion are natives, speaking<br />
<br />
languages other than Dutch. If the numeri-<br />
cal significance of the new accession is thus<br />
small, its moral significance is, nevertheless,<br />
very great ; for of the European nations there<br />
now remain outside the Union those only that<br />
occupy the eastern portion of the continent,<br />
whose claim to figure among the intellectual<br />
leaders of the world may be, perhaps, best left<br />
to be decided by themselves. It is hardly<br />
necessary to say that the two of the greatest<br />
importance are Austria and Russia. The<br />
adherence of Austria is much to be desired ;<br />
that of Russia—notwithstanding recent steps<br />
in the right direction—appears to be still some<br />
way off.<br />
<br />
The occasion of Holland’s long reluctance<br />
to enter the great solidarity of brain workers<br />
represented by the Copyright Union is the<br />
<br />
THE AUTHOR.<br />
<br />
oceasion of Russia’s reluctance as well as of<br />
that of Austria—and, we may add, that of the<br />
United States. It is not possible for any one<br />
who has watched the history of the Berne<br />
Convention, and the arguments alleged by<br />
those unwilling to join it, not to have observed<br />
the fact that all hesitations to accede amount<br />
to one and the same thing; namely, that<br />
attitude of mind so long ago quite shamelessly<br />
avowed by Diogenes the Cynic, in his reply to<br />
the question, which wine he liked best:<br />
“That,” he asserted, ‘‘ for which some one else<br />
pays.” Again and again this, and this only,<br />
has been the excuse pleaded for remaining<br />
outside the Convention: “It is our interest to<br />
be able to translate ’—“‘ to reprint ” is what<br />
is said on the other side of the Atlantie—<br />
“without paying the author.” This desire<br />
to pick other people’s brains without offering<br />
any money equivalent, disgraceful in the case<br />
of countries such as the United States, Russia,<br />
and Austria (which last, however, it is fair to<br />
add, is the least offender, for Austria has<br />
made independent copyright treaties with<br />
many countries) was by far less gross in the<br />
case of States such as Denmark and Holland,<br />
whose languages have a limited extension,<br />
and whose literatures a correspondingly<br />
restricted sale. Since, however, these have<br />
come into a line with civilisation, the position<br />
of the outsiders becomes positively unpardon-<br />
able.<br />
<br />
The new law, in virtue of which Holland<br />
accedes, is short; and we give here a translation<br />
of the whole, omitting only the formal title<br />
and the signatures.<br />
<br />
“ ArticLE 1.<br />
<br />
‘We reserve to ourselves the power to join, for the<br />
Netherlands and their Colonies, the revised Berne Con-<br />
vention for the Protection of Artistic and Literary Works,<br />
concluded at Berlin on the 13th of November, 1908,<br />
between Belgium, Denmark, the German Empire, France,<br />
Great Britain and Ireland, Italy, Japan, Liberia, Luxem-<br />
burg, Monaco, Norway, Spain, Tunis, Sweden and<br />
Switzerland, of which a copy is attached to this law.<br />
<br />
“ ARTICLE 2.<br />
<br />
“ On our joining the Convention we shall avail ourselves<br />
of the liberty afforded by the second sentence of the third<br />
part of the 25th Article of the Convention concluded at<br />
Berlin on the 13th of November, 1908, in this sense, that<br />
the 8th Article of the said Convention shall be replaced<br />
by the 5th article of the Convention concluded at Berne<br />
on the 9th of September, 1886, as that Article is modified<br />
by Article 1, paragraph IIT. of the Additional Act of Paris,<br />
of the 4th of May, 1896; of which a copy is attached to<br />
this law ;<br />
<br />
“that Article 9 shall be replaced by Article 7 of the<br />
Berne Convention, as that Article is modified by Article 1,<br />
paragraph IV. of the Additional Act of Paris; of which<br />
a copy is attached to this law:<br />
<br />
“that Article 11, second clause, shall be replaced by<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 51<br />
<br />
Article 9, second section, of the Berne Convention; of<br />
which a copy is attached to this law.<br />
“ ARTICLE 3.<br />
<br />
“We reserve to ourselves the power to conclude with<br />
the Powers, which shall not have confirmed the Convention<br />
concluded at Berlin on the 13th of November, 1908, or<br />
shall not have adhered to it, for the Netherlands, and for<br />
their Colonies, treaties within the bounds of that Con-<br />
vention; observing always the reservations mentioned<br />
in the second Article of this law.<br />
<br />
“* ARTICLE 4,<br />
<br />
“ This law comes into force on the day of its proclama-<br />
tion.”<br />
<br />
Attached to the law, in accordance<br />
with its terms, are—the full text of the<br />
International Convention, signed at Berlin<br />
on November 138th, 1908 ;* the Articles 5 and<br />
7 of the Convention, signed at Berne on<br />
September 9th, 1886, as they are modified by<br />
the additional Act of Paris of May 4th, 1896;<br />
and Article 9 of the Berne Convention.<br />
<br />
One term in the law may seem to some of<br />
our readers to need an explanation. It will<br />
have been noted that ‘‘ Holland ” is nowhere<br />
mentioned but ‘‘ The Netherlands.” When on<br />
June 7th, 1815, the great powers remade the<br />
political map of Europe, what are now known<br />
as Holland and Belgium were by them<br />
constituted “The Kingdom of the Nether-<br />
lands.” In 1830 a revolution separated<br />
Belgium from Holland; but the latter has<br />
always retained the official designation<br />
invented in 1815.<br />
<br />
It is of importance to observe what will be<br />
the precise effect of the reservations made by<br />
the new Dutch law in accordance with the<br />
liberty afforded by the second sentence of the<br />
third part of Article 25 of the Berlin Conven-<br />
tion. The article regards “ The accession of<br />
other countries,” allowing them, instead of<br />
“ full adhesion,” to “‘ indicate such provisions<br />
of the Convention of September 9th, 1886,<br />
or of the Additional Act of May 4th, 1896,<br />
as it may be judged necessary to substitute,<br />
provisionally at least, for the corresponding<br />
provisions of the present Convention.”<br />
<br />
The Dutch reservations are in number three,<br />
affecting Articles 8, 9, and 11 of the Berlin<br />
Convention.<br />
<br />
Article 8, is that which rules the copyright<br />
of translations. It gives authors exclusive<br />
right of translation for the whole term of copy-<br />
right. ‘‘ Authors of unpublished works within<br />
the jurisdiction of one of the countries of the<br />
Union, and authors of works published for the<br />
first time in one of these countries, enjoy in<br />
<br />
* A full translation of the Revised Berne Convention,<br />
concluded at Berlin in 1908, was printed in The Author<br />
for January, 1909.<br />
<br />
the other countries of the Union during the<br />
whole term of the right in the original work<br />
the exclusive right to make or to authorise the<br />
translation of their works.”<br />
<br />
For this the new law substitutes :<br />
<br />
“ The first paragraph of Article 5 shall run<br />
as follows :—<br />
<br />
“Authors belonging to any one of the<br />
countries of the Union, or their lawful repre-<br />
sentatives, shall enjoy in the other countries<br />
the exclusive right of making or authorising<br />
the translation of their works during the<br />
entire period of their right over the original<br />
work. Nevertheless, the exclusive right of<br />
translation shall cease to exist if the author<br />
shall not have availed himself of it, during a<br />
period of ten years from the date of the first<br />
publication of the original work, by publishing<br />
or causing to be published in one of the<br />
countries of the Union a translation in the<br />
language for which protection is to be claimed.”<br />
(Additional Act of Paris, Article 5).<br />
<br />
Article 9 of the Berlin Convention regards<br />
the publication of serial novels in periodicals<br />
and of newspaper articles.<br />
<br />
Its provisions are—<br />
<br />
*“ Serial stories (romans feuilletons), novels<br />
and all other works, whether literary, scientific<br />
or artistic, whatsoever be their subject,<br />
published in newspapers or periodicals of one<br />
of the countries of the Union, may not be<br />
reproduced in the other countries without the<br />
consent of the authors.<br />
<br />
** With the exception of serial stories (romans<br />
feuilletons) and of novels, any newspaper<br />
article may be reproduced by another news-<br />
paper if reproduction has not been expressly<br />
forbidden. The source, however, must be<br />
indicated. The confirmation of this obligation<br />
shall be determined by the legislation of the<br />
country where protection is claimed.<br />
<br />
‘The protection of the present Convention<br />
does not apply to news of the day nor to<br />
miscellaneous news having the character:<br />
merely of press information.”<br />
<br />
For this the new Dutch law substitutes—<br />
<br />
“ Article 7 shall run as follows :—<br />
<br />
** Serial stories, including tales, published<br />
in the newspapers or periodicals of one of the<br />
countries of the Union, may not be reproduced,<br />
in original or translation, in the other countries,<br />
without the sanction of the authors or of their<br />
legal representatives.<br />
<br />
“This stipulation shall apply equally to<br />
other articles in newspapers or periodicals,<br />
when the authors or editors shall have expressly<br />
declared in the newspaper or periodical itself<br />
in which they shall have been published, that<br />
<br />
<br />
52<br />
<br />
the right of reproduction is prohibited. In<br />
the case of periodicals it shall suffice if such<br />
prohibition be indicated in general terms at<br />
the beginning of each number.<br />
<br />
“In the absence of prohibition, such articles<br />
may be reproduced on condition that the<br />
source is acknowledged.<br />
<br />
“Tn any case the prohibition shall not apply<br />
to articles on political questions, to the news<br />
of the day, or to miscellaneous information.”<br />
(Additional Act of Paris, Article 7).<br />
<br />
Article 11, second clause, of the Berlin<br />
Convention, regards representation of transla-<br />
tions of dramatic works, and provides<br />
<br />
“ Authors of dramatic or dramatico-musical<br />
works are protected, during the term of their<br />
copyright in the original work, against the<br />
unauthorised public representation of a transla-<br />
tion of their works.”<br />
<br />
For this the new Dutch law substitutes<br />
<br />
‘“* Authors of dramatic or dramatico-musical<br />
works, or their lawful representatives, are,<br />
during the existence of their exclusive right of<br />
translation, equally protected against the<br />
unauthorised public representation of their<br />
works.” (Berne Convention, Article 9).<br />
<br />
It will be immediately perceived that all<br />
the restrictions regard, in one form or another,<br />
the rights of translation, which the Dutch are<br />
still indisposed to understand in the liberal<br />
terms of the Berlin Convention. If this is<br />
to be regretted, and it seems to us regrettable,<br />
the Dutch may yet honestly plead that they<br />
are giving as much as the foremost nations,<br />
for many years, considered it sufficient to give.<br />
<br />
Authors will be, naturally, asking themselves<br />
what Dutch rights are likely to be worth. At<br />
first sight any one who has been in Holland,<br />
and has seen the translations of English popular<br />
novels teeming in the Dutch daily papers might<br />
suppose Dutch rights likely to represent a good<br />
deal. It is, however, by far more probable<br />
that they will amount to something, but not<br />
to very much. There will remain for some<br />
time at the disposal of the Dutch translator<br />
the enormous number of English works that<br />
were published more than ten years ago and<br />
are not yet translated; but, in addition to<br />
this, it is most important to remember that<br />
comparatively few people read Dutch. There<br />
is no world-wide public such as exists for French<br />
and German. Every educated Dutchman<br />
reads French; and this cannot be without<br />
effect upon the demand for Dutch translations ;<br />
whilst the sale of Dutch books also represents<br />
a limited market. English authors have<br />
<br />
<br />
<br />
<br />
<br />
already learned that it is not possible to secure<br />
any very large sum for German rights; and<br />
<br />
THE AUTHOR.<br />
<br />
a considerably smaller honorarium must be<br />
anticipated for the right of translation into<br />
Dutch.<br />
<br />
i<br />
<br />
UNITED STATES COPYRIGHT ACT.<br />
oe<br />
<br />
[Norge.—The new matter in this amendatory Act is<br />
printed in italics. ]<br />
<br />
An Acr to amend sections five, eleven, and<br />
twenty-five of an Act entitled “ An Act<br />
to amend and consolidate the Acts respect-<br />
ing copyrights,” approved March fourth,<br />
nineteen hundred and nine.<br />
<br />
Be it enacted by the Senate and House of<br />
Representatives of the United States of America<br />
in Congress assembled, That sections five,<br />
eleven, and twenty-five of the Act entitled<br />
“An Act to amend and consolidate the Acts<br />
respecting copyrights,” approved March fourth,<br />
nineteen hundred and nine, be amended to<br />
read as follows :<br />
<br />
“Sec. 5. That the application for registra-<br />
tion shall specify to which of the following<br />
classes the work in which copyright is claimed<br />
belongs :<br />
<br />
‘““(a) Books, including composite and<br />
cyclopedic works, directories, gazetteers, and<br />
other compilations ;<br />
<br />
‘(b) Periodicals, including newspapers ;<br />
<br />
‘“(c) Lectures, sermons, addresses (prepared<br />
for oral delivery) ;<br />
<br />
‘*(d) Dramatic or dramatico-musical com-<br />
positions ;<br />
<br />
‘*(e) Musical compositions ;<br />
<br />
‘“*(f) Maps ;<br />
<br />
‘““(g) Works of art; models or designs for<br />
works of art ; :<br />
<br />
‘‘(h) Reproductions of a work of art ;<br />
<br />
‘“(j) Drawings or plastic works<br />
scientific or technical character ;<br />
<br />
‘“*(j) Photographs ;<br />
<br />
‘‘(i) Prints and pictorial illustrations ;<br />
<br />
“<(1) Motion-picture photoplays ;<br />
<br />
““(m) Motion pictures other than photoplays :<br />
<br />
“« Provided, nevertheless, That the above<br />
specifications shall not be held to limit the<br />
subject matter of copyright as defined in<br />
section four of this Aci, nor shall any error in<br />
classification invalidate or impair the copy-<br />
right protection secured under this Act.”<br />
<br />
“© Sec. 11. That copyright may also be had<br />
of the works of an author, of which copies are<br />
not reproduced for sale, by the deposit, with<br />
claim of copyright, of one complete copy of<br />
such work if it be a lecture or similar production<br />
or a dramatic, musical, or dramatico-musical<br />
composition ; of a@ title and description, with<br />
<br />
of a<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
one print taken from each scene or act, if the work<br />
be a motion-picture photoplay ;; of a photo-<br />
graphic print if the work be a photograph;<br />
of a title and description, with not less than two<br />
prints taken from different sections of a complete<br />
motion picture, if the work be a motion picture<br />
other than a photoplay ; or of a photograph or<br />
other identifying reproduction thereof, if it be<br />
a work of art or a plastic work or drawing.<br />
But the privilege of registration of copyright<br />
secured hereunder shall not exempt the copy-<br />
right proprietor from the deposit of copies,<br />
under sections twelve and thirteen of this Act,<br />
where the work is later reproduced in copies<br />
for sale.”’<br />
<br />
“Sec. 25. That if any person shall infringe<br />
the copyright in any work protected under the<br />
copyright laws of the United States such<br />
person shall be liable :<br />
<br />
“(a) To an injunction<br />
infringement ;<br />
<br />
“(b) To pay to the copyright proprietor<br />
such damages as the copyright proprietor may<br />
have suffered due to the infringement, as well<br />
as all the profits which the infringer shall have<br />
made from such infringement, and in proving<br />
profits the plaintiff shall be required to prove<br />
sales only and the defendant shall be required<br />
to prove every element of cost which he claims,<br />
or in lieu of actual damages and profits such<br />
damages as to the court shall appear to be<br />
just, and in assessing such damages the court<br />
may, in its discretion, allow the amounts as<br />
hereinafter stated, but in case of a newspaper<br />
reproduction of a copyrighted photograph<br />
such damages shall not exceed the sum of two<br />
hundred dollars nor be less than the sum of<br />
fifty dollars, and in the case of the infringement<br />
of an undramatized or nondramatic work by<br />
means of motion pictures, where the infringer<br />
shall show that he was not aware that he was<br />
infringing, and that such infringement could not<br />
have been reasonably foreseen, such damages<br />
shall not exceed the sum of one hundred dollars ;<br />
and in the case of an infringement of a copy-<br />
righted dramatic or dramatico-musical work by<br />
a maker of motion pictures and his agencies for<br />
distribution thereof to exhibitors, where such<br />
infringer shows that he was not aware that he<br />
was infringing a copyrighted work, and that such<br />
infringements could not reasonably have been<br />
foreseen, the entire sum of such damages recover-<br />
able by the copyright proprietor from such<br />
infringing maker and his agencies for the dis-<br />
<br />
tribution to exhibitors of such infringing motion<br />
picture shall not exceed the sum of five thousand<br />
dollars nor be less than two hundred and fifty<br />
dollars, and such damages shall in no other<br />
<br />
restraining such<br />
<br />
53:<br />
<br />
ease exceed the sum of five thousand dollars<br />
nor be less than the sum of two hundred and<br />
fifty dollars, and shall not be regarded as a<br />
penalty. But the foregoing exceptions shall not<br />
deprive the copyright proprietor of any other<br />
remedy given him under this law, nor shall the<br />
limitation as to the amount of recovery apply to<br />
infringements occurring after the actual notice to<br />
a defendant, either by service of process in a suit<br />
or other written notice served upon him.<br />
<br />
‘First. In the case of a painting, statue, or<br />
sculpture, ten dollars for every infringing copy<br />
made or sold by or found in the possession of<br />
the infringer or his agents or employees ;<br />
<br />
** Second. In the case of any work<br />
enumerated in section five of this Act, except<br />
a painting, statue, or sculpture, one dollar for<br />
every infringing copy made or sold by or found<br />
in the possession of the infringer or his agents<br />
or employees ;<br />
<br />
‘Third. In the case of a lecture, sermon,<br />
or address, fifty dollars for every infringing<br />
delivery ;<br />
<br />
“Fourth. In the case of a dramatic or<br />
dramatico-musical or a choral or orchestral<br />
composition, one hudred dollars for the first<br />
and fifty dollars for every subsequent infring-<br />
ing performance ; in the case of other musical<br />
compositions, ten dollars for every infringing<br />
performance ;<br />
<br />
*“(e) To deliver up on oath, to be impounded<br />
during the pendency of the action, upon such<br />
terms and conditions as the court may pre-<br />
scribe, all articles alleged to infringe a copy-<br />
right ;<br />
<br />
““(d) To deliver up on oath for destruction<br />
all the infringing copies or devices, as well as.<br />
all plates, molds, matrices or other means for<br />
making such infringing copies as the court may<br />
order.<br />
<br />
*“ (e) Whenever the owner of a musical copy-<br />
right has used or permitted the use of the copy-<br />
righted work upon the parts of musical instru-<br />
ments serving to reproduce mechanically the<br />
musical work, then in case of infringement of<br />
such copyright by the unauthorized manu-<br />
facture, use, or sale of interchangeable parts,<br />
such as disks, rolls, bands, or cylinders for<br />
use in mechanical music-producing machines<br />
adapted to reproduce the copyrighted music,<br />
no criminal action shall be brought, but in<br />
a civil action an injunction may be granted<br />
upon such terms as the court may impose, and<br />
the plaintiff shall be entitled to recover in<br />
lieu of profits and damages a royalty as pro-<br />
vided in section one, subsection (e), of this<br />
Act: Provided also, That whenever any person,<br />
in the absence of a license agreement, intends<br />
54<br />
<br />
to use a copyrighted musical composition upon<br />
the parts of instruments serving to repro-<br />
duce mechanically the musical work, relying<br />
upon the compulsory license provision of this<br />
Act, he shall serve notice of such intention,<br />
by registered mail, upon the copyright pro-<br />
prietor at his last address disclosed by the<br />
records of the copyright office, sending to the<br />
copyright office a duplicate of such notice ;<br />
and in case of his failure so to do the court<br />
may, in its discretion, in addition to sums<br />
hereinabove mentioned, award the complainant<br />
a further sum, not to exceed three times the<br />
amount provided by section one, subsec-<br />
tion (e), by way of damages, and not as a<br />
penalty, and also a temporary injunction until<br />
the full award is paid.<br />
<br />
“Rules and regulations for practice and<br />
procedure under this section shall be prescribed<br />
by the Supreme Court of the United States.”<br />
<br />
ee en<br />
<br />
CROWN COPYRIGHT.<br />
<br />
—+-—<>—+—_<br />
<br />
COMMON idea exists in the minds of<br />
<br />
authors and the public, that papers<br />
<br />
and documents issued from Govern-<br />
ment offices are public property. The question<br />
was raised somewhat acutely under the old<br />
Act, but the position of the Crown has been<br />
more clearly defined under Clause 18 of the<br />
Act of 1911. We print below a Treasury<br />
Minute, dated June 28th, 1912. This will<br />
define the attitude of the Crown more clearly<br />
for the information of writers on political<br />
matters and others who may desire to know<br />
their exact position in this connection.<br />
<br />
Treasury MINUTE DatTEep 28TH JUNE, 1912.<br />
<br />
My Lords read section 18 of the Copyright Act, 1911<br />
(1 & 2 Geo. 5, ch. 46), which enacts that—<br />
<br />
** Without prejudice to any rights or privileges of the<br />
Crown, where any work has, whether before or after<br />
the commencement of this Act, been prepared or<br />
published by or under the direction or control of<br />
His Majesty or any Government department, the<br />
copyright in the work shall, subject to any agree-<br />
ment with the author, belong to His Majesty, and<br />
in such case shall continue for a period of fifty years<br />
from the date of the first publication of the work.”<br />
<br />
The above statutory provision renders it necessary to<br />
reconsider the Treasury Minute of the 3lst August, 1887<br />
(presented to the House of Commons No. 335 of 1887),<br />
and to define anew the practice to be followed with regard<br />
to Crown Copyright.<br />
<br />
The Treasury Minute divided Government publications<br />
into the following classes :—<br />
<br />
(1) Reports of Select Committees of the two Houses<br />
of Parliament, or of Royal Commissions,<br />
<br />
THE AUTHOR.<br />
<br />
(2) Papers required by Statute to be laid before<br />
Parliament, e.g., Orders in Council, Rules made<br />
by Government Departments, Accounts, Reports<br />
of Government Inspectors.<br />
<br />
(3) Papers laid before Parliament by Command, e.g.;<br />
Treaties, Diplomatic Correspondence, Reports<br />
from Consuls and Secretaries of Legation,<br />
Reports of Inquiries into Explosions or Acci-<br />
dents, and other Special Reports made to<br />
Government Departments.<br />
<br />
(4) Acts of Parliament.<br />
<br />
(5) Official books, e.g., King’s Regulations for the<br />
Army or Navy.<br />
<br />
(6) Literary or quasi-literary works, ¢.g., the Reports<br />
of the “Challenger”? Expedition, the Rolls<br />
Publications, the State Trials, the “‘ Board of<br />
Trade Journal.”<br />
<br />
(7) Charts and Ordnance Maps.<br />
<br />
A considerable and increasing number of Government<br />
works fall into the three last classes above set forth, and<br />
My Lords see no reason why such works—often produced<br />
at considerable cost—should be reproduced by private<br />
enterprise for the benefit of individual publishers. For<br />
the future, publications which fall within this description<br />
will bear an indication on the title page that the Crown<br />
Copyright is reserved. The Controller of the Stationery<br />
Office will act on a notification by the Department<br />
responsible for the production of the work that it is desired<br />
that Crown Copyright should be expressly reserved<br />
subject to reference to Their Lordships in case of doubt.<br />
Any infringement of copyright in these cases should be<br />
brought to the notice of the Controller of the Stationery<br />
Office by the Heads of Departments, so far as works<br />
prepared or published by or under their direction are<br />
concerned.<br />
<br />
The Controller of the Stationery Office will refer to this<br />
Board for instructions as to whether any infringement<br />
of Crown Copyright shall be made the subject of legal<br />
proceedings.<br />
<br />
The publications which fall into the first four classes<br />
are issued for the use and information of the public, and<br />
it is desirable that the knowledge of their contents should be<br />
diffused as widely as possible. In the case of these<br />
publications no steps will ordinarily be taken to enforce<br />
the rights of the Crown in respect of copyright. The<br />
rights of the Crown will not, however, lapse, and should<br />
exceptional circumstances appear to justify such a course<br />
it will be possible to assert them. In such a case, the<br />
Department concerned should acquaint the Controller<br />
of the Stationery Office as early as possible of the special<br />
circumstances which render it desirable to depart from the<br />
general rule permitting full and free reproduction of works<br />
in these categories, and the Controller will, subject to the<br />
direction of Their Lordships, take such measures as may<br />
seem appropriate to enforce the right of the Crown.<br />
<br />
Acts of Parliament must not, except when published<br />
under authority of the Government, purport on the<br />
face of them to be published by authority.<br />
<br />
<br />
<br />
SCALE FOR ADVERTISEMENTS.<br />
<br />
<br />
<br />
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.)<br />
Frout Page ave ae so aes a w.£4 0<br />
<br />
Other Pages ave ae eas aa ake eee on SO<br />
Half of a Page .., aes uae ses ssa ave aan eo 10<br />
Quarter of a Page a . O1<br />
Eighth of a Page cay ee vie sa O<br />
Single Column Advertisements a é per inch 0<br />
Reduction af 20 per cent. made for a Series of Six and of 25 per cent. for<br />
<br />
Twelve Insertions.<br />
<br />
All letters respecting Advertisements should be addressed to J. F.<br />
Bstmont & Co,, 29, Paternoster Square, London, E.C.<br />
<br />
0<br />
0<br />
0<br />
5 6<br />
70<br />
6 0<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
HOW TO USE THE SOCIETY.<br />
<br />
=<br />
<br />
i; VERY member has a right toask for and to receive<br />
K advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. The<br />
Secretary of the Society is a solicitor; but if there is any<br />
special reason the Secretary will refer the case to the<br />
Solicitors of the Society. Further, the Committee, if they<br />
deem it desirable, will obtain counsel’s opinion without<br />
any cost to the member. Moreover, where counsel’s<br />
opinion is favourable, and the sanction of the Committee<br />
is obtained, action will be taken on behalf of the aggrieved<br />
member, and all costs borne by the Society.<br />
<br />
2. Remember that questions connected with copyright<br />
and |publishers’ agreements do not fall within the experi-<br />
ence of ordinary solicitors. Therefore, do not scruple to use<br />
the Society.<br />
<br />
3. Before signing any agreement whatever, send<br />
the document to the Society for examination.<br />
<br />
4, Remember always that in belonging to the Society<br />
you are fighting the battles of other writers, even if you<br />
are reaping no direct benefit to yourself, and that you are<br />
advancing the best interests of your calling in promoting<br />
the independence of the writer, the dramatist, the composer.<br />
<br />
5. The Committee have arranged for the reception of<br />
members’ agreements and their preservation in a fire-<br />
proof safe. The agreements will, of course, be regarded as<br />
confidential documents to be read only by the Secretary,<br />
who will keep the key of the safe. The Society now offers:<br />
(1) To stamp agreements in readiness for a possible action<br />
upon them. (2) To keep agreements. (3) To enforce<br />
payments due according to agreements. Fuller particu-<br />
lars of the Society’s work can be obtained in the<br />
Prospectus.<br />
<br />
6. No contract should be entered into with a literary<br />
agent without the advice of the Secretary of the Society.<br />
Members are strongly advised not to accept without careful<br />
consideration the contracts with publishers submitted to<br />
them by literary agents, and are recommended to submit<br />
them for interpretation and explanation to the Secretary<br />
of the Society.<br />
<br />
This<br />
The<br />
<br />
7. Many agents neglect to stamp agreements,<br />
must be done within fourteen days of first execution.<br />
Secretary will undertake it on behalf of members.<br />
<br />
8. Some agents endeavour to prevent authors from<br />
referring matters to the Secretary of the Society ; so<br />
do some publishers. Members can make their own<br />
deductions and act accordingly.<br />
<br />
9. The subscription to the Society is £1 1s. per<br />
annum, or £10 10s. for life membership.<br />
<br />
———+——_ - —_____<br />
<br />
WARNINGS TO THE PRODUCERS<br />
OF BOOKS.<br />
<br />
— + —<br />
<br />
ERE are a few standing rules to be observed in an<br />
agreement. There are four methods of dealing<br />
with literary property :—<br />
<br />
I. Selling it Outright.<br />
This is sometimes satisfactory, if a proper price can be<br />
<br />
55<br />
<br />
obtained. But the transaction should be managed by a<br />
competent agent, or with the advice of the Secretary of<br />
the Society.<br />
<br />
II. A Profit-Sharing Agreement (a bad form of<br />
agreement),<br />
<br />
In this case the following rules should be attended to:<br />
<br />
(.) Not to sign any agreement in which the cost of pro-<br />
duction forms a part without the strictest investigation.<br />
<br />
(2.) Not to give the publisher the power of putting the<br />
profits into his own pocket by charging for advertisements.<br />
in his own organs, or by charging exchange advertise-<br />
ments. Therefore keep control of the advertisements,<br />
<br />
(3.) Not to allow a special charge for “office expenses,’’<br />
unless the same allowance is made to the author.<br />
<br />
(4.) Not to give up American, Colonial, or Continenta}<br />
rights.<br />
<br />
(5.) Not to give up serial or translation rights.<br />
<br />
(6.) Not to bind yourself for future work to any publisher.<br />
As well bind yourself for the future to any one solicitor or<br />
doctor |!<br />
<br />
III. The Royalty System.<br />
<br />
This is perhaps, with certain limitations, the best form<br />
of agreement. It is above all things necessary to know<br />
what the proposed royalty means to both sides. It is now<br />
possible for an author to ascertain approximately the<br />
truth. From time to time very important figures connected<br />
with royalties are published in Zhe Author,<br />
<br />
IY. A Commission Agreement.<br />
<br />
The main points are :—<br />
<br />
(1.) Be careful to obtain a fair cost of production.<br />
(2.) Keep control of the advertisements.<br />
<br />
(3.) Keep control of the sale price of the book,<br />
<br />
General.<br />
<br />
All other forms of agreement are combinations of the four<br />
above mentioned.<br />
<br />
Such combinations are generally disastrous to the author,<br />
<br />
Never sign any agreement without competent advicefrom<br />
the Secretary of the Society.<br />
<br />
Stamp all agreements with the Inland Revenue stamp.<br />
<br />
Avoid agreements by letter if possible.<br />
<br />
The main points which the Society has always demanded<br />
from the outset are :—<br />
<br />
(1.) That both sides shall know what an agreement<br />
means.<br />
<br />
(2.) The inspection of those account books which belong<br />
to the author. We are advised that this is a right, in the<br />
nature of a common law right, which cannot be denied or<br />
withheld.<br />
<br />
(3.) Always avoid a transfer of copyright.<br />
<br />
$<<br />
<br />
WARNINGS TO DRAMATIC AUTHORS.<br />
<br />
—<br />
<br />
EVER sign an agreement without submitting it to the<br />
Secretary of the Society of Authors or some com-<br />
petent legal authority.<br />
<br />
2. It is well to be extremely careful in negotiating for<br />
the production of a play with any one except an established<br />
manager.<br />
<br />
3. There are three forms of dramatic contract for plays<br />
in three or more acts :—<br />
<br />
(a.) Sale outright of the performing right. This<br />
is unsatisfactory. An author who enters inte<br />
such a contract should stipulate in the contract<br />
for production of the piece by a certain date<br />
and for proper publication of his name on the<br />
play-bills,<br />
56<br />
<br />
(b.) Sale of performing right or of a licence to<br />
perform on the basis of percentages on<br />
gross receipts. Percentages vary between 5<br />
and 15 per cent. An author should obtain a<br />
percentage on the sliding scale of gross receipts<br />
in preference to the American system, Should<br />
obtain a sum in advance of percentages. A fixed<br />
date on or before which the play should be<br />
performed. :<br />
<br />
(c.) Sale of performing right or of a licence to<br />
perform on the basis of royalties (é.c., fixed<br />
nightly fees). This method should be always<br />
avoided except in cases where the fees are<br />
likely to be small or difficult to collect. The<br />
other safeguards set out under heading (@.) apply<br />
also in this case.<br />
<br />
4, Plays in one act are often sold outright, but it is<br />
better to obtain a small nightly fee if possible, and a sum<br />
paid in advance of such fees in any event. It is extremely<br />
important that the amateur rights of one-act plays should<br />
be reserved.<br />
<br />
5. Authors should remember that performing rights can<br />
be limited, and are usually limited, by town, country, and<br />
time, This is most important.<br />
<br />
6. Authors should not assign performing rights, but<br />
should grant a licence to perform. The legal distinction<br />
is of great importance,<br />
<br />
7, Authors should remember that performing rights in a<br />
play are distinct from literary copyright. A manager<br />
<br />
holding the performing right or licence to perform cannot<br />
<br />
print the book of the words.<br />
<br />
8. Never forget that United States rights may be exceed-<br />
ingly valuable. ‘hey should never be included in English<br />
agreements without the author obtaining a substantial<br />
consideration,<br />
<br />
9. Agreements for collaboration should be carefully<br />
drawn and executed before collaboration is commenced.<br />
<br />
10. An author should remember that production of a play<br />
is highly speculative : that he runs a very great risk of<br />
delay and a breakdown in the fulfilment of his contract.<br />
He should therefore guard himself all the more carefully in<br />
the beginning.<br />
<br />
11. An author must remember that the dramatic market<br />
is exceedingly limited, and that for a novice the first object<br />
is to obtain adequate publication.<br />
<br />
As these warnings must necessarily be incomplete, on<br />
account of the wide range of the subject of dramatic con-<br />
tracts, those authors desirous of further information<br />
are referred to the Secretary of the Society.<br />
<br />
+e — —______<br />
<br />
REGISTRATION OF SCENARIOS AND<br />
ORIGINAL PLAYS.<br />
<br />
1<br />
<br />
ay fone sy typewritten in duplicate on foolscap paper<br />
forwarded to the offices of the Society, together with<br />
a registration fee of two shillings and sixpence, will<br />
<br />
be carefully compared by the Secretary or a qualified assis-<br />
tant. One copy will be stamped and returned to theauthor<br />
and the other filed in the register of the Society. Copies<br />
of the scenario thus filed may be obtained at any time by<br />
the author only at a small charge to cover cost of typing.<br />
<br />
Original Plays may also be filed subject to the same<br />
rules, with the exception that a play will be charged for<br />
at the price of 2s. 6d. per act.<br />
<br />
THE AUTHOR.<br />
<br />
DRAMATIC AUTHORS AND AGENTS.<br />
ag<br />
RAMATIC authors should seek the advice of the<br />
Society before putting plays into the hands of<br />
agents. As the law stands at present, an agent<br />
who has once had a play in his hands may acquire a<br />
perpetual claim to a percentage on the author’s fees<br />
from it. As far as the placing of plays is concerned,<br />
it may be taken as a general rule that there are only<br />
very few agents who can do anything for an author<br />
that he cannot, under the guidance of the Society, do<br />
equally well or better for himself. The collection of fees<br />
is also a matter in which in many cases no intermediary is<br />
required. For certain purposes, such as the collection of<br />
fees on amateur performances, and in general the trans-<br />
action of frequent petty authorisations with different<br />
individuals, and also for the collection of fees in foreign<br />
countries, almost all dramatic authors employ agents; and<br />
in these ways the services of agents are real and valuable.<br />
But the Society warns authors against agents who profess<br />
to have influence with managers in the placing of plays, or<br />
who propose to act as principals by offering to purchase<br />
the author’s rights. In any case, in the present state of<br />
the law, an agent should not be employed under any<br />
circumstances without an agreement approved of by the<br />
Society.<br />
————_+——_—_<br />
<br />
WARNINGS TO MUSICAL COMPOSERS.<br />
ESS<br />
ITTLE can be added to the warnings given for the<br />
assistance of producers of books and dramatic<br />
authors. It must, however, be pointed out that, as<br />
a rule, the musical publisher demands from the musical<br />
composer a transfer of fuller rights and less liberal finan-<br />
cial terms than those obtained for literary and dramatic<br />
property. The musical composer has very often the two<br />
rights to deal with—performing right and copyright. He<br />
should be especially careful therefore when entering into<br />
an agreement, and should take into particular consideration<br />
the warnings stated above.<br />
———————_e—_—_e—__<br />
<br />
STAMPING MUSIC.<br />
<br />
<br />
<br />
The Society undertakes to stamp copies of music on<br />
behalf of its members for the fee of 6d. per 100 or part<br />
of 100. The members’ stamps are kept in the Society’s<br />
safe. The musical publishers communicate direct with the<br />
Secretary, and the voucher is then forwarded to the<br />
members, who are thus saved much unnecessary trouble.<br />
<br />
0<br />
THE READING BRANCH.<br />
epee<br />
<br />
EMBERS will greatly assist the Society in this<br />
M branch of its work by informing young writers<br />
of its existence. Their MSS. can be read and<br />
treated as a composition is treated by a coach. The term<br />
MSS. includes not only works of fiction, but poetry<br />
and dramatic works, and when it is possible, under<br />
special arrangement, technical and scientific works. The<br />
Readers are writers of competence and experience. The<br />
<br />
fee is one guinea,<br />
oe<br />
<br />
REMITTANCES.<br />
<br />
<br />
<br />
<br />
<br />
The Secretary of the Society begs to give notice<br />
that all remittances are acknowledged by return of post.<br />
All remittances should be crossed Union of London and<br />
Smiths Bank, Chancery iLane, or be sent by registered<br />
letter only.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 5T<br />
<br />
GENERAL NOTES.<br />
<br />
——<br />
<br />
IMPERIAL COPYRIGHT.<br />
<br />
WE understand that by Orders in Council the<br />
Copyright Act is extended to the following terri-<br />
tories under Imperial Protection :—<br />
<br />
The Bechuanaland Protectorate, Hast Africa Protecto-<br />
rate, Gambia Protectorate, Gilbert and Ellice Islands<br />
Protectorate, Northern Nigeria Protectorate, Northern<br />
Territories of the Gold Coast, Nyasaland Protectorate,<br />
Northern Rhodesia, Southern Rhodesia, Sierra Leone Pro-<br />
tectorate, Somaliland Protectorate, Southern Nigeria<br />
Protectorate, Solomon Islands Protectorate, Swaziland,<br />
Uganda Protectorate, and Wei-hai-wei. The Act is also<br />
extended to Cyprus.<br />
<br />
Another Order in Council extends the protection<br />
of the Act to works of the following countries<br />
within the area of the Statute :—<br />
<br />
Belgium, Denmark and the Faroe Islands, France,<br />
Germany and the German Protectorates, Hayti, Italy,<br />
Japan, Liberia, Luxemburg, Monaco, Norway, Portugal,<br />
Spain, Sweden, Switzerland, and Tunis, belonging to the<br />
Copyright Union; also to works published in Austria-<br />
Hungary.<br />
<br />
To COMPOSERS.<br />
<br />
THE special attention of composers who are<br />
members of the Society is drawn to the article<br />
appearing elsewhere in this issue on the collec-<br />
tion bureau, and also to the reference to that<br />
bureau in the notes of the Committee of<br />
Management and of the Composers’ Sub-<br />
Committee.<br />
<br />
The committee have sanctioned the collec-<br />
tion of fees for mechanical instrument repro-<br />
ductions, due under section 19 of the Act, as<br />
they feel that any delay may tend to prejudice<br />
seriously the position of composers, for the<br />
payment of fees started from July of the present<br />
year. The committee considered that the<br />
commissions being charged by publishers and<br />
others for such collection were exorbitant.<br />
The commission to be charged by the Society<br />
has not yet been fixed, but the committee<br />
confidently hope that it will be considerably<br />
less than the charges already referred to.<br />
Three houses, it is known, have offered to<br />
collect the fees for composers whose works are<br />
published by them, on the following terms.<br />
After deduction of expenses of collection— a<br />
wholly indeterminate quantity—to pay 30 per<br />
cent. of what remains, to themselves, leaving<br />
the composer with a bare 70 per cent. The<br />
following may well represent the practical<br />
result of such a system. Say a publisher<br />
collects £100. He would then put in the rent<br />
<br />
of office for collection and other details of<br />
clerkship at, say, £20, or perhaps more (no<br />
figure is fixed), leaving a balance of £80. He<br />
would then pay himself, for no apparent reason,<br />
except that the composer has been fool enough<br />
to agree to the arrangement, 30 per cent., and<br />
would hand over the balance, £54, to the<br />
composer. This system practically means that<br />
the composer is putting 50 per cent. of his<br />
property into the hands of a publisher who has<br />
no claim on it whatever, for doing a piece of<br />
work which most agents would willingly and<br />
gladly do 50 per cent. cheaper. In the case of<br />
composers whose mechanical instrument fees<br />
do not amount to a very high figure, the<br />
expenses of collection may leave them in a very<br />
poor position, indeed. Even with the best<br />
intentions in the world, without reference to<br />
the publisher’s windfall of 30 per cent., any<br />
firm collecting fees on this basis can hardly<br />
fail to do injustice to the composer, as to appor-<br />
tion the expenses of collection fairly among all<br />
the composers affected would be a herculean<br />
task.<br />
<br />
The fairest offer, so far, which has been made<br />
to composers, is the offer made by a certain<br />
company, mentioned in a previous number of<br />
The Author, to pay the whole of the balance to<br />
the composer after deducting 25 per cent.,<br />
but in both these cases, that is, in the case of<br />
the publishers and in the case of the company,<br />
it is made a sine qua non that the composer<br />
shall assign all his rights of mechanical<br />
reproduction. Quite apart from the fees which<br />
are claimed, this condition is unsatisfactory<br />
<br />
and absurd.<br />
0<br />
<br />
THE REY. PROF. W. W. SKEAT.<br />
<br />
— +> +—_<br />
<br />
EATH has removed the Rev. Professor<br />
<br />
W. W. Skeat, Professor of Anglo-<br />
<br />
Saxon at the Cambridge University<br />
<br />
since 1878, and one of the most distinguished<br />
members of this Society.<br />
<br />
Professor Skeat had obtained a deservedly<br />
high reputation as an authority on the English<br />
language, and his Etymological Dictionary<br />
had shown him to be a scholar in the very<br />
first class. His edition of Chaucer is, in its<br />
way, a classic of a classic, and students, and,<br />
indeed, the English public generally, have<br />
suffered a great loss in the death of one so<br />
erudite and so sincere in every subject that<br />
he made his own.<br />
<br />
The Press has drawn attention to the fact<br />
that as a student of Pickwick he obtained<br />
the second prize in Calverley’s examination,<br />
58<br />
<br />
held so long ago as 1857. We well remember<br />
the good founder of the Society, Sir Walter<br />
Besant, telling the story of that examination,<br />
for he was the winner of the first prize when<br />
his friend the Professor took the second.<br />
<br />
The Society of Authors owes a deep debt of<br />
gratitude to Professor Skeat for the warm<br />
support which he always gave it. He joined<br />
the Society in 1884, being one of the first of<br />
that small band who willingly stood by their<br />
old friend in the good cause which sometimes,<br />
in those days, appeared to be a lost cause.<br />
The death of an original member brings back<br />
recollections, full of sadness, for there are<br />
very few left now. It was due entirely to<br />
that small body of men of strong purpose and<br />
unselfish ideals, which met together in that<br />
year that the Society owes its present pros-<br />
perous position.<br />
<br />
The Author also has lost a good friend.<br />
The Professor was a constant reader of the<br />
magazine, and contributed many articles to<br />
its columns, dealing with points in classical<br />
English which were of interest. The thorough-<br />
ness and accuracy of his knowledge of the<br />
English language cannot be exaggerated, and<br />
the wideness and depth of the range of his<br />
studies makes it indeed difficult to replace<br />
such an ardent and cultivated scholar.<br />
<br />
—————1+—>—+ —___<br />
<br />
THE COLLECTION BUREAU.<br />
<br />
1<br />
<br />
fF\HE committee, with the approval of the<br />
<br />
Council of the Society of Authors, have<br />
<br />
decided that a bureau for the collection<br />
of members’ royalties might with ad vantage<br />
be started for the members. Some of the<br />
members of the Society have delegated such<br />
collection to literary, dramatic and musical<br />
agencies, but it is believed that there must be<br />
others who would value an organisation which,<br />
for a moderate commission, would collect<br />
their royalties under contracts entered into<br />
with publishers, theatrical managers, amateur<br />
dramatic societies, ete. Under the new Copy-<br />
right Act some such bureau is required if<br />
authors, dramatists, and composers, are to<br />
receive the full benefit of the increased protec-<br />
tion which that act affords. There is no<br />
intention whatever to extend the work of<br />
the Society to embrace the scope of the<br />
usual literary agency. The committee have<br />
definitely sanctioned the collection of fees on<br />
mechanical reproductions under Clause 19 of<br />
<br />
THE AUTHOR.<br />
<br />
the new Copyright Act, on behalf of any<br />
composers, members of the Society, who care<br />
to entrust the collection of these fees to the<br />
Society. This was an urgent matter. The<br />
question of the commission to be charged,<br />
they have referred to the Composers’ Sub-<br />
Committee, but, in the meantime, any composer<br />
who chooses to put his work into the hands of<br />
the Society, can have his mechanical instru-<br />
ment fees collected at a less commission,<br />
pending the fixing of the exact percentage.<br />
Under that section it is necessary that stamps<br />
should be provided for sale at fixed prices,<br />
to the producers of mechanical instruments.<br />
It must be understood, therefore, that the<br />
composer will have to pay for the cost of the<br />
stamps. The question of the collection of fees<br />
for dramatists has been referred to the<br />
Dramatic Sub-Committee, which body will, in<br />
due course, report to the Committee of Manage-<br />
ment. The question of the commission to be<br />
charged on sums collected under other contracts<br />
will be considered at the next meeting of the<br />
Committee of Management. It is hoped that,<br />
before the end of the year, it will be possible to<br />
give to the members of the Society fuller details<br />
of the work which the Society has taken in<br />
hand. Meanwhile, if any member has any<br />
suggestions to make, the Committee of Manage-<br />
ment will be pleased to receive and to consider<br />
letters sent to the Society’s offices, while they<br />
would also like to draw the attention to the<br />
guarantee fund. It is proposed to call up<br />
25 per cent. of the guarantee immediately,<br />
but it is hoped to make the bureau self-<br />
supporting in the course of two or three years<br />
at the outside. The sum already guaranteed<br />
<br />
<br />
<br />
is £670.<br />
<br />
EGE Ue<br />
PUBLISHERS’ ROYALTY AGREEMENTS.<br />
LIMITATIONS.<br />
<br />
I.<br />
<br />
T is the habit of publishers in their printed<br />
| forms of contract to ask for various rights.<br />
Some ask for the copyright, some an<br />
unlimited licence to publish, some a limited<br />
licence, some one thing and some another.<br />
Each one will ask for as much as he thinks he<br />
can get and, if the author is ignorant of the<br />
methods of dealing with his property, he<br />
generally yields up much more than is either<br />
necessary or right.<br />
But it would not be fair to leave the author<br />
with this statement only.<br />
No author should transfer his copyright to a<br />
<br />
<br />
<br />
<br />
<br />
<br />
ee,<br />
<br />
<br />
<br />
THE AUTHOR. 59<br />
<br />
publisher while he preserves a continuing in-<br />
terest in his work.<br />
<br />
This being the case, he grants to the pub-<br />
lisher a licence to publish in book form.<br />
<br />
This article, therefore, proposes to explain<br />
what limitations can be placed on a publisher<br />
so far as book publication is concerned. It<br />
must never be forgotten that the publisher is<br />
the agent of the author and not the principal.<br />
<br />
Book publication, then, can be limited as<br />
follows :—<br />
<br />
1. As to country.<br />
<br />
2. As to time.<br />
<br />
8. As to edition.<br />
<br />
4. As to price and format.<br />
<br />
1. Limitation as to country.<br />
<br />
Publication in the English language is<br />
generally limited to (1) Great Britain and<br />
Ireland, the Colonies and Dependencies thereof<br />
(sometimes Canada excepted); (2) The United<br />
States and Canada; (8) Tauchnitz editions<br />
which cover most of the Continent and a great<br />
many of the non-copyright countries of South<br />
America, Russia, Turkey, ete.<br />
<br />
To the English publisher it is sufficient to<br />
grant a licence to publish in Great Britain and<br />
Ireland, the Colonies and Dependencies thereof.<br />
<br />
It is possible, however, if the English pub-<br />
lishers continued to handle the Colonial markets<br />
so badly, that some different arrangement may<br />
be forthcoming by stimulating the Colonial<br />
publishers to enter into contracts direct with<br />
the English authors. Already the English<br />
publishers have in most cases lost the Canadian<br />
market, and complaints are coming in from<br />
all sides. The authors complain that their<br />
Colonial sales are small, and the Colonial pub-<br />
lishers and booksellers state that they find<br />
no push and enterprise among the English<br />
publishers.<br />
<br />
The United States publishers, owing, no<br />
doubt, to local conditions, have secured the<br />
Canadian market, but there is no reason what-<br />
ever why, with their American goods, they<br />
should be pushing out the work of British<br />
authors in Australia and New Zealand. If<br />
<br />
they continue their energetic career, it may<br />
pay the English author best to get the<br />
American publishers to take over his Colonial<br />
market. One English author has already done<br />
so with success.<br />
<br />
At present, however, speaking generally, it is<br />
best to license the English publisher to take<br />
the Colonial market, with the exception of<br />
Canada, but he should undertake to publish in<br />
the Colonies, and should not merely take the<br />
licence and then let the market lie idle.<br />
<br />
In regard to Canada, if a suitable arrange-<br />
<br />
ment can be made with a Canadian publisher,<br />
it would be better for the author to make the<br />
contract direct. If the United States pub-<br />
lisher or the English publisher holds the<br />
licence for this market some percentage of the<br />
profits will go into his pockets, which might<br />
well be shared in just proportions between the<br />
author and the Canadian publisher.<br />
<br />
If it should prove impossible, owing to the<br />
lack of Canadian enterprise, to make a contract<br />
direct, then, with some regret, it must be stated<br />
that it will be best to leave the matter with the<br />
publisher in the United States. Many of these<br />
enterprising gentlemen have already got offices<br />
in Montreal and Toronto, and nearly all of<br />
them have busy agents working over the<br />
Dominion.<br />
<br />
These remarks refer to the book trade under<br />
the present Colonial laws. What advice it may<br />
be necessary to give if the self-governing<br />
Dominions legislate for themselves it is impos-<br />
sible at present to say. It may be necessary<br />
to contract, in every case, direct with a Colonial<br />
publisher, or it may be an author’s misfortune<br />
to be the victim of licensed piracy, when no<br />
contract will be of any avail.<br />
<br />
When the time comes the proposition will<br />
be met.<br />
<br />
So much for Colonial book rights. It is now<br />
necessary to consider the question of a licence<br />
to publish in the United States. Again we<br />
should like to repeat the formula.<br />
<br />
No author should transfer his copyright to<br />
a publisher while he preserves a continuing<br />
interest in his work.<br />
<br />
Under the peculiarly unfair arrangement at<br />
present existing between Great Britain and the<br />
United States it is necessary, first, that the book<br />
should be printed from type set up in the<br />
<br />
United States, and then published within a sixty |<br />
<br />
days’ limit of the publication within the British<br />
Empire. This is a general statement. For<br />
fuller details and other technicalities further<br />
reference must be made by the reader. It has<br />
been stated by one author in a book of advice<br />
to his brethren that it is not worth while to<br />
bother about the American market. To this<br />
dictum we would raise the strongest objection.<br />
The United States publishers are already push-<br />
ing the books of English authors out of Canada<br />
and Australia, and it is of the utmost import-<br />
ance that the United States copyright should<br />
be preserved, if possible.<br />
<br />
The agent is, to some degree, responsible for<br />
this slackness with regard to the States, and<br />
the author should insist upon greater effort and<br />
alacrity. Some authors, indeed, whose books<br />
appear to suit the taste of the American public,<br />
<br />
<br />
60<br />
<br />
obtain a greater sale there than they obtain<br />
in Great Britain. It requires, no doubt, more<br />
trouble to negotiate these rights, but this is no<br />
reason why they should be neglected.<br />
<br />
Now, owing to the fact that publication must<br />
be approximately simultaneous and_ that<br />
everything must be done by correspondence,<br />
an author should be ready and begin to nego-<br />
tiate these rights at least six months before he<br />
attempts the English market. :<br />
<br />
His negotiations should be carried on by him-<br />
self or his agent, and should never be left with<br />
the publisher.<br />
<br />
The reason for this is simple. First, as has<br />
already been mentioned, a publisher is not a<br />
literary agent. Secondly, a publisher will<br />
generally only negotiate with one or two<br />
United States houses with whom he may have<br />
personal connection instead of going steadily<br />
through all ‘the responsible United States<br />
firms. Thirdly, when the publisher has the<br />
business in hand the English author has gener-<br />
ally made his contract for publication in Great<br />
Britain, and the publisher is therefore anxious<br />
to get the book on the market, and chafes at<br />
what he may consider the author’s unreason-<br />
able demands and delays. Fourthly, the author<br />
is generally bound to share some of his profit<br />
with the publisher, who will ask considerably<br />
more than the usual agent’s charges. Lastly,<br />
it often pays the publisher better to sell sheets<br />
or stereos to the United States, losing the<br />
copyright for the author, than to gain the<br />
copyright and share the profits.<br />
<br />
An author, therefore, cannot be urged too<br />
strongly to endeavour to obtain these rights<br />
for himself, and to make his effort at least six<br />
months before he offers to an English publisher.<br />
Besides, if he has placed his work in the States,<br />
an English publisher will almost certainly take<br />
the work without demur. The argument for<br />
one is an argument for the other.<br />
<br />
He must not wake up suddenly when he has<br />
completed all his arrangements for the Empire,<br />
and discover that he has other rights, and<br />
valuable rights, that he might have cbtained.<br />
<br />
English authors must remember the United<br />
States market is a valuable market, in some<br />
cases, and with some books more valuable than<br />
the English.<br />
<br />
If, however, for one reason or another, no<br />
American publisher will handle the work, then<br />
it is as well to have a clause in the English<br />
agreement allowing the publisher to sell sheets<br />
or stereos to the United States, but at a<br />
moderate profit to himself and not in accord-<br />
ance with the usual exorbitant demand. He<br />
can send these out before any pirate can get<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
the book and copy it, and the United States<br />
publisher can get the first run of the States<br />
market and secure his profit. Indeed, there<br />
appears to be a sort of unwritten understanding<br />
among the best class publishers in the States<br />
not to interfere with this kind of publication<br />
from another firm. If the book, however, is<br />
extraordinarily successful then the unscru-<br />
pulous pirate will, of course, step in.<br />
<br />
The last publication in book form in the<br />
English language is the publication by Baron<br />
Tauchnitz.<br />
<br />
This form of publication is best negotiated<br />
through a literary agent, if the author employs<br />
one, or by the author himself. It should not<br />
be left in the hands of the publisher, who<br />
is not a literary agent. If, however, an<br />
offer comes from Tauchnitz consequent on<br />
the action of the publisher, if, in other<br />
words, he has worked successfully for the<br />
author as a literary agent, then the author<br />
should give him the usual agency fee of 10 per<br />
cent. In no circumstances should he allow<br />
these rights to be exclusively in the hands of<br />
the publisher to make whatever contract he<br />
thinks fit, and in no circumstances should he<br />
allow the publisher to take 59 per cent. of the<br />
profits, for writing, perhaps, to letters.<br />
<br />
A warning should be given here of a serious<br />
difficulty that has arisen under the contracts<br />
for the purchase of the cheap 7d. rights put<br />
forward by the firm of Messrs. Nelson & Son.<br />
These contracts are limited—and rightly so,<br />
when the Tauchnitz rights are so valuable—to<br />
Great Britain, her Colonies and Dependencies<br />
and to the production in book form at the price<br />
of 7d. The contract is in most cases thus<br />
strictly limited. But Messrs. Nelson, having<br />
prepared a special paper cover, proceed to<br />
export the books to France and to sell them at<br />
one frane. Such action is, of course, a distinct<br />
breach of contract. Messrs. Nelson have<br />
endeavoured to justify their action. The<br />
author, must, therefore, be put on his guard. If<br />
he is offered a contract from a firm of publishers<br />
for a cheap reproduction, unlimited as_ to<br />
country, he may be selling his Tauchnitz rights<br />
and may lose a chance of a further market.<br />
This should not be, for, as a rule, Tauchnitz<br />
can cover a much wider area abroad than any<br />
English publisher, and can, therefore, pay a<br />
better price.<br />
<br />
If the English publisher is limited as to<br />
country and price, then the English author<br />
must see that the contract is adhered to, or<br />
must obtain equivalent damages for loss of the<br />
Tauchnitz market.<br />
<br />
It is possible that this important question<br />
<br />
<br />
<br />
<br />
ee ee a apes ee<br />
<br />
<br />
<br />
/ rights in foreign languages.<br />
sold for a sum down, or for a sum down in<br />
<br />
<br />
<br />
THE AUTHOR. 61<br />
<br />
of cheap edition rights may be dealt with<br />
more fully in another article.<br />
<br />
Next come the translation rights or book<br />
These are usually<br />
<br />
advance of royalties.<br />
<br />
They are sometimes limited as to country,<br />
but generally only limited as to language.<br />
<br />
The serial rights are not infrequently<br />
included in the sale, and if there is any chance<br />
of the work meeting with success in this form<br />
when translated, then the author should get a<br />
just portion of the returns.<br />
<br />
Finally, now that copyright in translations<br />
runs for the whole period of copyright, if<br />
published within ten years from the date of<br />
publication in the country of origin, an author<br />
who takes any pride in his work should either<br />
retain to himself some right of approving the<br />
translation before it is placed on the market,<br />
or be very sure of the capacity of his translator<br />
before he makes the assignment.<br />
<br />
(To be continued.)<br />
—<br />
COLONIAL PUBLICATION,<br />
<br />
—+-—~<>—+ —<br />
<br />
N article under the above title in the<br />
October number of The Author,<br />
contains the statement that English<br />
<br />
works—in comparison with American—do not<br />
get a fair circulation on the Colonial markets.<br />
My own experience in the matter may be of<br />
interest. When my first novel was published,<br />
jast autumn, I happened to be in Australia,<br />
and naturally I took a paternal interest in my<br />
first-born. Before it arrived in the Common-<br />
wealth a Sydney literary agent warned me<br />
that it would have little chance of success in<br />
competition with the new American books.<br />
He added the amazing explanation that<br />
Australian buyers disliked English books on<br />
account of their pornographic tendency. The<br />
agent probably did not know a great deal<br />
about the contents of the books he handled—<br />
he was agent for everything that came in his<br />
way, from fire insurance to sheep dip—but<br />
it was certainly true that English paper-<br />
covered books, with suggestive covers and<br />
titles, occupied prominent positions on the<br />
bookstalls.<br />
<br />
I did not believe that the pornographic<br />
portion of the English output could be large<br />
enough to affect the reputation of the whole.<br />
A more credible explanation was _ forth-<br />
coming when my own book arrived. Wishing<br />
to see a copy of the Colonial edition I asked<br />
<br />
for it at one of the leading shops. The book-<br />
seller told me that he had not got it, was not<br />
likely to get it, and knew nothing about it.<br />
He added that the book could not be worth<br />
reading, or his London agents would have sent<br />
him some copies of it. When I meekly told him<br />
that I was the author of the book he made<br />
amends by explaining how it was that he knew<br />
nothing of it. He left the purchase of<br />
English books, he said, entirely to his London<br />
agents, who sent him out whatever they<br />
thought best. He never replaced books that<br />
he sold, except under exceptional circumstances,<br />
as a book that had been in brisk demand might<br />
be forgotten during the three months that must<br />
elapse before fresh stocks could be obtained<br />
from England. He bought American books<br />
because the representatives of American<br />
publishers called on him and were able to tell<br />
him all he needed to know about the contents<br />
of the books that he sold. To stock American<br />
books was therefore less of a speculation than<br />
to stock English ones. A New Zealand gentle-<br />
man, a large buyer of books, told me that he<br />
bought all his books from a London bookseller,<br />
as the choice among those offered for sale<br />
<br />
- locally was so limited.<br />
<br />
Though many Australasian booksellers are<br />
men with literary tastes, some bring to their<br />
business qualifications that would serve them<br />
equally well if they sold candles or mousetraps.<br />
A Sydney lady who read my book was so<br />
sporting as to order twenty-four copies of it,<br />
to be sent to twenty-four of her friends as<br />
Christmas presents. The bookseller, not<br />
having my novel in stock, without consulting<br />
his customer, sent out twenty-four copies of<br />
a new American novel instead. When the<br />
lady remonstrated with him, he pleaded that<br />
as the two books were equally new and were<br />
sold at the same price, there was nothing to<br />
choose between them. He knew nothing, of<br />
course, about the contents of either work.<br />
I was credibly informed afterwards by a<br />
publisher’s agent that his profit on the<br />
American book was double what he would have<br />
got by selling mine. The same gentleman told<br />
me that in order to capture the Australasian<br />
market American publishers allow Australasian<br />
booksellers a profit so large that they have<br />
none left for themselves; that, in fact, they<br />
practically let the bookseller get them at the<br />
price it costs to produce them. The buyer,<br />
however, pays the same price as he would for<br />
an English book.<br />
<br />
So far my complaint has been against the<br />
Australasian bookseller. English publishers,<br />
too, must share the responsibility of allowing<br />
62<br />
<br />
American books to shoulder English ones out<br />
of the market. One New Zealand bookseller<br />
ordered thirty copies of my book on the<br />
strength of a notice of it that he had seen in<br />
a trade journal. He sold these out in three<br />
weeks and applied to the Melbourne representa-<br />
tive of my publisher for more copies. Tle<br />
was referred to the London house. Before<br />
leaving Australasia I called on my publisher’s<br />
local representative, and asked if it were true<br />
that he could not supply my book. He told<br />
me that he had originally received only twelve<br />
copies of my book, that he had disposed of all<br />
these to one bookseller soon after they had<br />
arrived, and had never replaced them. He<br />
had had a number of applications for the book,<br />
but had referred each applicant to the London<br />
house. He admitted that he could have sold<br />
a hundred copies if he had had them.<br />
<br />
It is necessary to add that as I know of one<br />
English publishing firm that is admirably<br />
represented in Australasia, and as others may<br />
be equally well represented for anything I<br />
know to the contrary, my remarks must not<br />
be applied too generally. My evidence shows<br />
that there is something wrong with the<br />
Australasian book trade—so far as it concerns<br />
the English author—but it does not show the<br />
extent of the evil.<br />
<br />
<br />
<br />
——__+_>__+—__—__<br />
<br />
WRITING THE SHORT STORY.*<br />
<br />
<br />
<br />
HE above work has been written by<br />
J. Berg Esenwein, editor of a monthly<br />
magazine. The publishers, in a preface,<br />
<br />
state as follows :—<br />
<br />
“This treatise is confidently recommended<br />
for class-room use because of several important<br />
considerations. Its inspirational method and<br />
logical order are based upon the best pedago-<br />
gical approach.”<br />
<br />
There is no doubt that certain points<br />
in the technical development of the short<br />
story may be taught, just as certain points<br />
in the technical development of the essay,<br />
but no class-book will make a person capable<br />
either of writing a short story or a read-<br />
able essay. Indeed, in our humble opinion,<br />
the machine-made short story is likely to be<br />
a considerably worse production than the<br />
machine-made essay. The author writes with<br />
the experience resulting from a lifetime of<br />
observation, and we do not wish to decry the<br />
<br />
<br />
<br />
* “Writing the Short Story,’ by J. Berg Esenwein.<br />
Andrew Melrose.<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR.<br />
<br />
value of the book so far as such a book is<br />
valuable.<br />
<br />
If any author thinks that he or she may<br />
fail in placing short stories, through lack of<br />
power to master the technical difficulties, it<br />
will certainly be worth while to purchase a<br />
copy of this book and to peruse its contents.<br />
<br />
<br />
<br />
Op de<br />
<br />
THE AUTHOR AS PUBLISHER.<br />
<br />
—+—~ + —<br />
<br />
LITTLE book*has been produced entitled<br />
“The Author as Publisher.” The<br />
publishers of the book are :—Messrs.<br />
<br />
Grant and Woods, of 31, Ampton Street, Grays<br />
Inn Road, W.C., and the price of the book is<br />
1s. net.<br />
<br />
The book is a small one of some fifty pages<br />
but will hardly repay the reading. It is full<br />
of theories, but has not come down to definite<br />
figures and practical issues except on one<br />
or two occasions, and then the figures are<br />
misleading and inaccurate and the statements<br />
contradictory.<br />
<br />
The writers of the book put forward three<br />
objections to the production of books by the<br />
authors themselves.<br />
<br />
(1) The author is not a man of business.<br />
<br />
(2) He needs capital.<br />
<br />
(8) He has no experience in the distribu-<br />
<br />
tion of books.<br />
<br />
These are all weighty and sound objections,<br />
especially the second one. They then endeav-<br />
our to show that these are really no objections.<br />
<br />
The writers of the book state that the average<br />
cost of production of a book, even including<br />
‘pushing,’ may be roughly estimated at<br />
about £50. The Society of Authors, as a<br />
general rule, has no inclination to bolster up<br />
publishers’ prices, but could hardly accept<br />
this figure as a fair one. Indeed, as will be<br />
shown later, the writers themselves seem to<br />
contradict this figure.<br />
<br />
The advantages they mention are, that an<br />
author would bear his own losses and enjoy<br />
his own profits, and that, most probably, such<br />
a system would tend to diminish, to a con-<br />
siderable extent, the enormous output of<br />
worthless books. The writers also state that<br />
the author of a technical book very often knows<br />
his own market better than the publisher, and,<br />
therefore, he could reach it so much easier.<br />
Again we are inclined to differ, for the pub-<br />
lishers of technical books, if they know their<br />
business, must make it a point that their<br />
distributing agents should have the necessary<br />
<br />
<br />
<br />
<br />
<br />
<br />
THE AUTHOR. 63<br />
<br />
knowledge of how to obtain the technical<br />
markets.<br />
<br />
The writers propose to get over the difficulty<br />
of the publisher by the union of several authors<br />
together for the publication, each paying the<br />
cost of production of his own book and his own<br />
proportion of advertisement, but, they go on<br />
to say, that when the books are bound and<br />
ready for delivery there must be of necessity<br />
a distributing office in the Metropolis; there<br />
must be also a clerk to do the accounts ; there<br />
must be also a responsible manager, and, in<br />
time, they state, an advertising department<br />
would be necessary, perhaps also a foreign<br />
department. Personally, we should have<br />
included all these details in the term “* push-<br />
ing ”’ mentioned above, and if these details are<br />
taken into consideration, and there were ten<br />
people joined together, they would find that<br />
the ultimate cost per book was considerably<br />
over £50.<br />
<br />
Until the writers of the book come down to<br />
figures, hard and fast, so long will it be useless<br />
discussing any further the proposition they<br />
put forward. It is true, and the writers have<br />
touched the point, that in some cases authors<br />
of technical subjects can sell their own books<br />
as well as, if not better than, the publisher.<br />
There are authors of technical subjects doing<br />
a great deal of lecturing to students, who<br />
find that by keeping the printing and produc-<br />
tion of their own books in their own hands,<br />
they can obtain larger profits and as good a<br />
circulation as they may want. This example<br />
must not be quoted as illustrative of the rule,<br />
but as an exception.<br />
<br />
The advantages of going to a publisher are<br />
evident, they arise from the fact, that the<br />
publisher’s travellers can handle a hundred<br />
books at a time, whereas, the author who has<br />
only one book, has to go to the same expense<br />
for handling one book as the publisher goes to<br />
for handling a hundred. In the same way,<br />
in the matter of advertisements, a publisher<br />
can easily obtain a reduction for large and<br />
frequent advertisements that an author of one<br />
book cannot obtain. Again, if a really capable<br />
manager for the Authors’ Union business, was<br />
obtained, the manager would certainly, as<br />
soon as he had found his own power, set up<br />
publishing himself. The writers quote the<br />
<br />
© + case of Mr. Ruskin as an author who published<br />
uf | | his own works, but has not the result been the<br />
1 | firm of Messrs. George Allen and Son.<br />
<br />
There is no doubt that if an author has the<br />
<br />
<br />
<br />
“| power and the capacity and the knowledge,<br />
‘© only obtained after long years of training, he<br />
<br />
might be able in exceptional cases, to do much<br />
<br />
better by publishing his own books, than he<br />
would do if they were produced through a<br />
publisher, but we do not advocate the system<br />
at the present time, while authors remain<br />
artists, and publishers remain tradesmen.<br />
<br />
We have written at some length on this<br />
question, at greater length than is justified by<br />
the contents of the book, because the subject<br />
has been brought forward on two or three<br />
occasions recently. The arguments against<br />
co-operative publishing are many and fatal,<br />
but it is impossible to gather them all within<br />
the compass of a short review.<br />
<br />
—————__ e ~»>_ + —__ —_—<br />
<br />
CORRESPONDENCE.<br />
<br />
—— +e<br />
CO-OPERATIVE PUBLISHING.<br />
LE:<br />
<br />
Sir,—I have just arisen from a dream;<br />
kindly allow me the pleasure of relating it<br />
to you. It was a reforming sort of utopian<br />
fantasy concerning a young author, whose<br />
name did not transpire and is matterless; but<br />
for the sake of clearness, let us speak of him<br />
as Needful. Usually it is not the man who<br />
matters, it is what he does. So it was with<br />
my dream character.<br />
<br />
Now Needful’s lines had not been cast in<br />
pleasant places. The forces of necessity and<br />
inclination had combined in a nefarious plot<br />
to make of him an author, with the result of<br />
a plentiful crop of disappointments, scattered<br />
illusions, some sourness, and enough strengthen-<br />
ing of character to make for the betterment of<br />
the man. Being unsure of himself, he had, at<br />
the outset, followed the example of some other<br />
writers, by submitting his MSS. to certain<br />
eminent litterateurs. These had accorded him<br />
more than sufficient praise to send him hope-<br />
fully forth on the rough road of authorship ;<br />
they had dubbed his work “‘ distinctive,” ‘‘ of<br />
a fine literary flavour,’ ‘‘ with character,<br />
humour, ability in dialogue,’ ete. He was |<br />
also a maker of verse and plays which won him<br />
equally kind remarks from prominent members<br />
of his adopted profession.<br />
<br />
This is the position that Needful appeared<br />
to me to possess at the opening of my dream.<br />
*“ Alas for the frailty of human hopes,” especi-<br />
ally youthful literary ones. He had sent his<br />
MSS. to publishers, and had them returned to<br />
him, some with polite letters of rejection ; some<br />
with regrets that the work was not sufficiently<br />
sensational, not ‘‘ popular’? enough; and<br />
some with requests to see other efforts. But<br />
64<br />
<br />
most of the rejections were accompanied by<br />
offers to publish his work at his own expense,<br />
and some of the offers came from the front<br />
rank of long-established firms. My friend, of<br />
the dream, had a shelfful of sad reminders that<br />
there are more things in the realm of publica-<br />
tion than are imagined in a young author's<br />
philosophy. Of his three published books—<br />
the first, a critique, had died of the malady<br />
known as clever mystification ; the second,<br />
a volume of verse, had occasioned a storm of<br />
abuse, which he—forgetting the similar cases<br />
of Keats, Byron, Shelley, Tennyson, ete.—<br />
omitted to take as praise, and thereon swore<br />
an eternal severance from every thought akin<br />
to poetry ; whilst of his royalties on the third,<br />
a romance, he was robbed by a fraudulent<br />
publisher, with whom he had signed an agree-<br />
ment that completely tied his hands in the<br />
matter of retaliation.<br />
<br />
Thus much for the making of Mr. Needful.<br />
But now came a change: just after the begin-<br />
ning of my dream Needful was startled<br />
almost out of his wits by being left half a<br />
million pounds by a relative who had gone<br />
out to the Colonies and been forgotten.<br />
Having gained possession of the money he<br />
spent a week in close thought on one subject.<br />
Then (and here comes the peculiar part of the<br />
dream) he came to you with the idea that had<br />
cost him seven days in bringing to a workable<br />
conclusion. Roughly, this was the uniting<br />
of all British authors in a publishing company.<br />
Well, as might be expected in the face of such<br />
a radical innovation, those who were most to<br />
benefit by the project held dubiously aloof.<br />
But that did not deter Needful. He was<br />
determined to save them even in spite of them-<br />
selves. So he, with your practical help,<br />
founded, and endowed in a way, a sort of<br />
Syndicate of British Authors. Entirely at<br />
his expense a huge building was put up in<br />
the W.C. district, a part of it being fitted with<br />
all the necessary machinery, etc., for a very<br />
large printing and publishing business, the<br />
remainder was a club room, library, theatre,<br />
restaurant and sleeping rooms. ‘This place,<br />
stored and supplied to the last detail, Needful<br />
gave to the Committee of the Syndicate, to be<br />
held in perpetuity by them and their successors<br />
for the sole use of the Syndicate. As to the<br />
benefits of this institution, the membership<br />
was one guinea per year; for which the mem-<br />
ber was supplied with a club, a private theatre,<br />
ete., and had his books published, the whole<br />
solely at working cost, he receiving every penny<br />
of clear profit on his work.<br />
<br />
Of course, what had kept the authors from<br />
<br />
THE AUTHOR.<br />
<br />
putting their money (such as had any) into the<br />
project was the fear that it would not pay.<br />
Now, with a free gift of the whole concern and<br />
a level start at no more cost than a guinea<br />
each, in they came—necessity-driven animals<br />
into the ark of self-protection. In a short<br />
time every author in Britain, whose work would<br />
pay for its publication, was a member of the<br />
Syndicate. Each book was issued on its<br />
merits, and, in the case of the more literary,<br />
cleared its cost partially owing to the good<br />
repute of the Syndicate. Outside publishers<br />
of books became practically nil; such as did<br />
survive lived on publishing for the dead, and<br />
on ‘‘ commission ” work for wealthy scribblers<br />
of no merit.<br />
<br />
Thus ended my dream, and I awoke sadly<br />
to realise that I had but dreamt, and to sink<br />
back on my pillow, murmuring—“ If this be<br />
dreaming, let me sleep and dream it o’er again.”<br />
<br />
Under the impression that this will interest<br />
you, and all authors who would help to form<br />
a co-operative publishing concern,<br />
<br />
I am, Sir,<br />
Faithfully yours,<br />
A. DREAMER.<br />
1 ——<br />
<br />
Il.<br />
<br />
Sir,—Disraeli remarks in his “‘ Calamities ”<br />
that authors are the most ingenious and the<br />
most enlightened class of the community, and<br />
the least remunerated. .. Some are forced<br />
to exist by means that are painful to describe,<br />
while others end their lives in apathy and<br />
despair.<br />
<br />
This is terribly true, and there is ample<br />
evidence to prove that one of the causes of<br />
these dire struggles with penury is the flagrant<br />
evil of the unsatisfactory publishing arrange-<br />
ments, from which there seems no escape at.<br />
present.<br />
<br />
If authors would but co-operate and bring<br />
their ‘‘ ingenuity and enlightenment ” to bear<br />
upon this most distressing state of affairs, we<br />
fully believe that they could obtain redress of<br />
their grievances. The remedy is in their own<br />
hands, and we venture to suggest that authors<br />
should formulate a system by which the<br />
publishing business would be more under their<br />
personal control, and thus prevent further<br />
* calamities.”” We suggest that this is possible,<br />
and in view of establishing, say, The Authors’<br />
Publishing Association, we should like to hear<br />
any objections against it, and shall be pleased<br />
to communicate with those who are in favour<br />
and willing to assist.<br />
<br />
ANNABEL GRay. | https://historysoa.com/files/original/5/522/1912-11-01-The-Author-23-2.pdf | publications, The Author |