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526	https://historysoa.com/items/show/526	The Author, Vol. 23 Issue 06 (March 1913)	<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+06+%28March+1913%29"><em>The Author</em>, Vol. 23 Issue 06 (March 1913)</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>	1913-03-01-The-Author-23-6					157–186																		<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=1913-03-01">1913-03-01</a>							6			19130301	The Huthbor.<br /> <br /> Monthly.)<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> <br /> <br /> Vou. X XILI.—No. 6.<br /> <br /> Marca 1, 1913.<br /> <br /> [Price SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 874 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS :<br /> AUTORIDAD, LONDON.<br /> <br /> —____—_e——_e—__<br /> <br /> NOTICES.<br /> <br /> — ++<br /> <br /> TCR 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 /> 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 /> ease. 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 /> SO<br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> —_——&gt;— +<br /> <br /> “Tj YROM time to time members of the Society<br /> } desire to make donations to its funds in<br /> <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 /> <br /> increasing, and it is hoped will, in time, cover<br /> <br /> the needs of all the members of the Society.<br /> <br /> <br />  <br /> <br /> THE PENSION FUND.<br /> —+<br /> <br /> N January, the secretary of the Society<br /> <br /> I laid before the trustees of the Pension<br /> <br /> Fund the accounts for the year 1912, as<br /> settled by the accountants. After giving the<br /> matter full consideration, the trustees in-<br /> structed the secretary to invest a sum of £300<br /> in the purchase of Buenos Ayres Great<br /> Southern Railway 4°% Extension Shares, 1914,<br /> £10 fully paid. The number of shares pur-<br /> chased at the current price was twenty-five<br /> and the amount invested £296 1s. 11d.<br /> <br /> The trustees desire to thank the members<br /> of the Society for the continued support which<br /> they have given to the Pension Fund.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £4,764 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> <br /> <br /> Nominal Value.<br /> <br /> £ 6s. a<br /> Local Loans ......-seeeeeeree 500 0 0<br /> Victoria Government 8% Consoli-<br /> <br /> dated Inscribed Stock .......- 291 19 11<br /> London and North-Western 3%<br /> <br /> Debenture Stock ........-+-- 250 0 O<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates ......-- 200 0 0<br /> Cape of Good Hope 33% Inscribed<br /> <br /> Stock 6... 20sec ee ec teens 200 0 0<br /> Glasgow and South-Western Rail-<br /> <br /> way 4%, Preference Stock .... 228 0 0<br /> New Zealand 34% Stock........ 247 9 6G<br /> Irish Land 23°% Guaranteed Stock 258 0 0<br /> Corporation of London 23%<br /> <br /> Stock, 1927—57.....--.- sees 4388 2 4<br /> Jamaica 34% Stock, 1919-49 .. 18218 6<br /> Mauritius 4°% 1987 Stock ...... 120 12 1<br /> Dominion of Canada, C.P.R. 33%<br /> <br /> Land Grant Stock, 1938 ...... 198 38 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock ........-- 237 0 O<br /> Central Argentine Railway Or-<br /> <br /> dinary Stock ..........-.0+-. 232 0 O<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 .......-.. 250 0 O<br /> 55 Buenos Ayres Great Southern<br /> <br /> Railway 4°% Extension Shares,<br /> <br /> 1914 (fully paid) ..........-- 550 0 O<br /> <br /> 3 Central Argentine Railway £10<br /> Preference Shares, New Issue.. 80 0 0<br /> <br /> THE AUTHOR.<br /> <br /> <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 /> October 1, 1912.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> anccooooooesosescoesosesoo<br /> <br /> Subscriptions.<br /> <br /> 1912. £ eg<br /> Oct. 2, Todhunter, Dr. John. 1 6<br /> Oct. 10, Escott, T. H. S. : - 0 8<br /> Oct. 10, Henderson, R. W. Wright 0 5<br /> Oct. 10, Knowles, Miss M. W. . 0 3<br /> Oct. 11, Buckley, Reginald . 0-5<br /> Oct. 12, Walshe, Douglas 0 10<br /> Oct. 12, “‘ Penmark” . : 0 10<br /> Oct. 15, Sinclair Miss Edith . 0 10<br /> Oct. 16, Markino, Yoshio Lot<br /> Oct. 20, Fiamingo, Carlo 0 5<br /> Oct. 29, Henley, Mrs. . : ta<br /> Nov. 8, Jane, L. Cecil . 0 5<br /> Nov. 14, Gibb, W. 0 6<br /> Dec. 4, De Brath, S. . : 0 5<br /> Dec. 4, Sephton, The Rev. J. 0° 5<br /> Dec. 4, Cooper, Miss Marjorie 0 10<br /> Dec. 7, MacRitchie, David 0.5<br /> Dec. 11, Fagan, James B. 1 0<br /> Dec. 27, Dawson Forbes 0 10<br /> <br /> 19138.<br /> <br /> Jan. 8, Toynbee, William (in addi-<br /> <br /> tion to his present sub-<br /> <br /> scription). 010 0<br /> Jan. 9, Gibson, Frank . ; 0 5 8<br /> Jan. 29, Blackley, Miss E. L. 0 5 0<br /> Jan. 31, Annesley, Miss Maude 010 6<br /> Feb. 6, Rothenstein, Albert . 0 7G<br /> Feb. 10, Bradshaw, Percy V. 010 6<br /> <br /> Donations.<br /> <br /> 1912.<br /> <br /> Oct. 2, Stuart, James . ‘ 1 £<br /> Oct. 14, Dibblee, G. Binney . - 0 16<br /> Oct. 14, Michell, The Right Hon.<br /> <br /> Sir Lewis, C.V.O. 5 5<br /> Oct. 17, Ord, H. W. . : Ce<br /> Oct. 20, Yorke-Smith, Mrs. . &gt; @ &amp;<br /> Nov. 10, Hood, Francis . = . 0 2<br /> Nov. 20, Kennard, Mrs. N. H. 5 0<br /> Dec. 4, McEwan, Miss M. S. 0 10<br /> Dec. 4, Kennedy, E. B. 0 5<br /> Dec. 11, Begarnie, George . «0 3<br /> Dee, 11, Tanner, James T. 3 8<br /> Dec. 11, Toplis, Miss Grace . 0 5<br /> <br /> esos oooeses 89S<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> oad Dec.<br /> Dec.<br /> ZT Dec.<br /> 9G Dec.<br /> a Dec.<br /> <br /> &gt;» Jan.<br /> 6 «CJ an.<br /> sl Jan.<br /> Jan.<br /> . Jan.<br /> s— Jan.<br /> 5 Jan.<br /> <br /> ist Jan.<br /> is Jan.<br /> isu Jan.<br /> <br /> , Jan.<br /> 5 G Jan.<br /> fs&amp; Jan.<br /> [| Jan.<br /> | Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> THE AUTHOR.<br /> COMMITTEE NOTES.<br /> <br /> —+~&gt;—+<br /> <br /> 14, Watson, Mrs. Herbert A. .<br /> 14, French, Mrs. Warner<br /> <br /> 17, Smith, Miss Sheila Kaye .<br /> 17, Marras, Mowbray<br /> <br /> 27, Edwards, Percy J. .<br /> <br /> 1913.<br /> <br /> 1, Risque, W. H.<br /> <br /> 1, Rankin, Mrs. F. M.<br /> <br /> 2, Short, Miss L. M.<br /> <br /> 2, Mackenzie, Miss J.<br /> <br /> 2, Webling, Miss Peggy<br /> <br /> 3, Harms, Mrs. EH.<br /> <br /> 8, Church, Sir Arthur,<br /> <br /> K.C.V.O., ete.<br /> <br /> 4, Douglas, James A.<br /> <br /> 4, Grant, Lady Sybil<br /> <br /> 6, Haultain, Arnold<br /> <br /> 6, Beveridge, Mrs. :<br /> <br /> 6, Clark, The Rev. Henry<br /> <br /> 6, Ralli, C. Searamanja .<br /> <br /> 6, Lathbury, Miss Eva .<br /> <br /> 6, Pryce, Richard<br /> <br /> 7, Gibson Miss L. 8.<br /> <br /> 10, K. : :<br /> <br /> 10, Ford Miss May<br /> <br /> 12, Greenstreet, W. J.<br /> <br /> 14, Anon . :<br /> <br /> 15, Maude Aylmer<br /> <br /> 16, Price, Miss Eleanor .<br /> <br /> 17, Blouet, Madame<br /> <br /> 90, P. HH. andM. K. ..<br /> <br /> 22. Smith, Herbert W. .<br /> <br /> 25, Anon, . ; :<br /> <br /> 27, Vernede, R. E. :<br /> <br /> 29, Plowman, Miss Mar ;<br /> <br /> 29, Todd, Miss Margaret, M.D.<br /> <br /> 31, Jacobs, W. W.<br /> <br /> 1, Davy, Mrs. E. M.<br /> <br /> 8, Abraham, J. J.<br /> <br /> 4, Gibbs, F. L. A.<br /> <br /> 4, Buckrose, J. E. :<br /> <br /> 4, Balme, Mrs. Nettleton .<br /> <br /> 6, Coleridge, The Hon. Gilbert<br /> <br /> 6, Machen, Arthur :<br /> <br /> 6, Romane-James, Mrs. ;<br /> <br /> 6, Weston, Miss Lydia . :<br /> <br /> 14, Saies, Mrs. F. H. (in addi-<br /> tion to her subscription)<br /> <br /> 14, Maunsell, A. E. Lloyd<br /> <br /> 14, O’Higgins, H. G. .<br /> <br /> 15, Stephens, Dr. Ricardo<br /> <br /> 15, Jones, Miss E. H.<br /> <br /> 17, Whibley, Charles<br /> <br /> —<br /> <br /> CH OOOu<br /> <br /> COPE OH OH ONHOOCOOCHH OHM COCO OPO WOORNWH ooocooo<br /> <br /> eceoocece<br /> <br /> _<br /> <br /> _<br /> <br /> or or Or Or C1 ©<br /> <br /> jal<br /> oO Or &amp; Or 09 Or Cr bo Oo ee<br /> <br /> te<br /> <br /> —<br /> Ane eH AHF COCK ONF NHK OOC RH SH Or<br /> <br /> _<br /> <br /> Ot Ore OLS<br /> <br /> cooocoocoF<br /> <br /> cococoooaoooaocooanoascooocosooocosoecece|ce|ces ooococo<br /> <br /> ASTAADSS<br /> <br /> HE February meeting of the Committee<br /> was held at the Committee Room of the<br /> Society, 18, Queen Anne’s Gate, S.W.,<br /> <br /> on the 8rd ult.<br /> <br /> The committee dealt first with elections.<br /> Thirty-three members and associates were<br /> elected, bringing the total elections for the<br /> year—that is, for the two months of 1913—up<br /> to sixty-seven. The committee accepted,<br /> with regret, resignations for the past two<br /> months, to the number of thirty-two. At<br /> the beginning of the year the resignations are,<br /> naturally, more numerous than during other<br /> periods, and the number is not unreasonable<br /> considering the size of the Society, nor above<br /> the number for the corresponding two months<br /> of last year.<br /> <br /> The solicitor then reported on the cases that<br /> had passed through his hands. In the first<br /> case the defendant had agreed to pay the<br /> amount of the debt and costs. The second,<br /> referring to a claim for dramatic fees, had<br /> been withdrawn by the plaintiff on the death<br /> of the defendant, and the solicitors’ charges<br /> had been defrayed by the member concerned.<br /> The next two cases related to unsatisfied<br /> judgments. In the first, the solicitor reported<br /> that he had obtained a sum of £10 and was<br /> still pressing the defendants for the balance,<br /> but was doubtful whether anything more<br /> would be recovered. In the second, after<br /> considerable difficulty, the defendant had been<br /> found and had undertaken to pay the debt by<br /> small instalments per week. Two _instal-<br /> ments had already been paid. Of two actions<br /> for accounts and money against a publisher,<br /> one had been settled, where the claim was for<br /> a small amount. In the second, an arrange-<br /> ment had been made for the payment of the<br /> sum due, under the personal guarantee of one<br /> of the directors of the company, and_ the<br /> solicitor hoped that the matter would be<br /> satisfactorily carried through. Against another<br /> publisher there were two claims. In _ one,<br /> the author had received part of the money<br /> he had paid towards the production of his<br /> book on the understanding that the contract<br /> should be cancelled, and that he should be<br /> free to deal elsewhere. In the second, as<br /> the solicitor remarked, there was the usual<br /> struggle to get the publisher to produce the<br /> book approximately in accordance with his<br /> contract. In a claim against a music pub-<br /> lisher, as no reply had been received, the<br /> solicitor was instructed to proceed at once,<br /> <br /> <br /> 160<br /> <br /> Three claims against another firm had been<br /> delayed owing to the fact that the representa-<br /> tive of the firm was abroad, but on the repre-<br /> sentative’s return to England, immediate<br /> action, it was decided, would be taken. The<br /> solicitor then reported a case between a<br /> composer and an English music publisher<br /> which had been settled without going into<br /> Court. The publisher had undertaken to<br /> withdraw all the offending copies and to<br /> deface the plates. Some difficult questions<br /> arising under the Copyright Act were next<br /> reported by the solicitor. The questions<br /> arose under the mechanical contrivances<br /> sections of the Act. The committee decided<br /> that nothing could be done until one of the<br /> members was willing to allow the Society to<br /> take action on his behalf. As the point in<br /> question is likely to arise very shortly, it will<br /> soon, no doubt, be possible for the Society to<br /> carry through a test case.<br /> <br /> The solicitor reported at length on a question<br /> of alleged libel arising out of a review. After<br /> a careful consideration and on the opinion of<br /> the Society’s lawyers, the committee decided<br /> that it would be impossible to support the<br /> member in an action.<br /> <br /> The secretary then placed one or two<br /> disputes before the committee for their<br /> consideration. ‘The committee decided to<br /> take up a case of the infringement of dramatic<br /> rights, but in a case of infringement of an<br /> author’s book rights in Canada, they instructed<br /> the secretary to interview the author and<br /> discuss matters with him, as the case seemed<br /> likely to involve the Society in expense which<br /> the committee hardly felt justified in incurring.<br /> Another case of alleged infringement of copy-<br /> right in England the committee decided to<br /> take up, subject to the solicitors’ opinion on<br /> the evidence being in favour of an action.<br /> <br /> The next question was one of some impor-<br /> tance. The editor of a magazine received a<br /> contribution from one of the members of the<br /> Society. He published it without any refer-<br /> ence before publication to the author as to<br /> terms, and after it had been published sent<br /> the author a cheque, and, at the same time,<br /> a printed receipt which stated that the cheque<br /> was in full payment for the copyright. Other<br /> cases closely allied were also brought before<br /> the committee. Certain editors, it appeared,<br /> were in the habit of sending cheques, the<br /> endorsement of which purported to convey the<br /> copyright of the article to the paper, in spite<br /> of the fact that a contract made before publica-<br /> tion provided for the trarsfer of the serial<br /> rights only. The committee felt that the<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> matter was of considerable importance, as<br /> many authors in need of money, rather than —<br /> <br /> take action and run the risk of having their<br /> <br /> contributions refused in the future, endorse the<br /> cheque. This has the same effect as signing<br /> the form of receipt mentioned in the first<br /> instance. In either event the authors are pre-<br /> vented from re-publishing their work in book<br /> form without the sanction of the proprietors<br /> of the magazines or papers. The secretary was<br /> instructed to raise the whole matter in The<br /> Author, but before doing so, the committee<br /> decided to communicate with certain papers<br /> that are accustomed to issue cheques bearing<br /> on their backs the receipt form in question, in<br /> order to obtain, if possible, their views on the<br /> position. In the last case, a case of dispute<br /> between an author and a printer, the committee<br /> gave instructions as to the line of settlement.<br /> The next matter before the committee was<br /> an important question of copyright between<br /> Great Britain and the United States. Mr. E.<br /> J. MacGillivray had been asked to explain to<br /> the committee his view of the situation ; this<br /> he did, in full detail. The committee under-<br /> stood from their correspondent in America<br /> that the issues had been referred to the<br /> Foreign Office, and it was accordingly decided<br /> that the chairman, with the secretary and<br /> Mr. MacGillivray should communicate with<br /> the Foreign Office on the matter, but that,<br /> before any appointment was sought, a minute<br /> of the proposed representation of the Society&#039;s —<br /> views should be sent to all members of the ~<br /> committee in order that the chairman of the —<br /> Society might be fully instructed as to the line —<br /> to adopt. p<br /> The secretary reported that, in accordance —<br /> with the decisions come to at the last meeting,<br /> he had addressed to the editors of various<br /> important papers and magazines a letter<br /> settled by the chairman of the Society, raising _<br /> the question of payment of contributions<br /> on acceptance or within a reasonable time —<br /> from acceptance. The secretary reported the<br /> receipt of valuable answers to the letters sent —<br /> out, the editors in question recognising the —<br /> difficulties of the situation and the views of<br /> the committee. The committee decided to<br /> wait further replies, and then to consider the<br /> line of action to be taken. It is hoped to make |<br /> some authoritative declaration on the subject<br /> in The Author.<br /> At the suggestion of the Composers’ Sub- —<br /> Committee, the Committee of Management —<br /> decided to send a circular to British composers, —<br /> dealing with certain important questions —<br /> arising out’of the transfer of their copyrights, —<br /> <br /> <br /> <br /> <br />  <br /> <br /> iby<br /> <br /> TOME<br /> <br /> jade.<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> and with the forms of contract placed before<br /> them by music publishers—this with a view<br /> to combined and effective action. The secre-<br /> tary read a letter which had been approved<br /> by the Composers’ Sub-Committee, and it was<br /> agreed that it should be sent.<br /> <br /> It was decided to invest £150 out of the Life<br /> Membership Account, the amount to be added<br /> to the Capital Fund.<br /> <br /> The committee passed the Annual Report,<br /> which had been circulated to them during the<br /> month of January. The accounts and financial<br /> statement had been delayed owing to the fact<br /> that the accountants had not completed the<br /> audit, and it was decided that this should be<br /> circulated at the earliest possible moment in<br /> order that the Report might then be printed.<br /> <br /> A question raised by a member of the com-<br /> mittee as to the Society charging a commission<br /> on all moneys obtained by legal action was<br /> considered, and the committee decided to<br /> refer it to the Council.<br /> <br /> The question of a new advertisement con-<br /> tract was next discussed, and the secretary<br /> was instructed to settle the form of contract<br /> and carry it through as soon as possible.<br /> <br /> It was decided to give the League of Authors<br /> in the United States all possible assistance, but<br /> the committee regretted that they were<br /> unable to accept an offer of interchange of<br /> membership between the two Societies.<br /> <br /> A question was raised as to the sale of cheap<br /> edition rights by American publishers, and it<br /> was decided that if any member should bring<br /> forward a clear case, the committee would,<br /> under legal advice, fight the matter in the<br /> American Courts.<br /> <br /> Papers forwarded by a Danish Literary<br /> Agency and by the Dutch Society of Authors<br /> were considered and noted for the benefit of<br /> members of the Society.<br /> <br /> The committee have to thank Mrs. Went-<br /> worth James for a donation of £2, contribution<br /> to the Capital Fund, paid out of a sum of £10<br /> recovered during the month by the Society on<br /> her behalf.<br /> <br /> ——_ +<br /> <br /> Dramatic SuB-COMMITTEE.<br /> <br /> Tur second meeting of this sub-committee<br /> was held on Friday, February 21, at 13, Queen<br /> Anne’s Gate, S.W. After the signing of the<br /> minutes of the previous meeting, the sub-<br /> committee considered the question of the<br /> agenda for the Conference of Dramatists. The<br /> committee decided, however, to defer the settle-<br /> ment of the date till the next meeting, as also<br /> <br /> 161<br /> <br /> the agenda. It is hoped that before that meeting<br /> a satisfactory issue may be come to in regard<br /> to the Managerial Treaty.<br /> <br /> A circular referring to the Collection Bureau<br /> was ordered to be set up in type, that it might<br /> be discussed finally at the next meeting, with<br /> a view either to circularising the dramatic<br /> section, or to printing it in The Author, for the<br /> benefit of members of the Society.<br /> <br /> The question of foreign agents then came<br /> forward, and the arrangement of the terms on<br /> which the agents appointed should conduct<br /> the business of the Society was considered.<br /> The secretary read letters he had received<br /> from the agents, and he was instructed as to<br /> the terms of his replies. He was also instructed<br /> to write to the Society of Dramatic Authors<br /> in Berlin.<br /> <br /> Mr. Walter Jordan, the agent of the Society<br /> in the United States, had forwarded to the<br /> Society’s office lists of plays produced by the<br /> stock companies in America. These lists the<br /> secretary submitted to the meeting, and the<br /> secretary was instructed to go through them as<br /> soon as they arrived and, in those cases where<br /> he saw English authors’ works being pro-<br /> duced, to write to the authors, if they were<br /> members of the Society, enquiring whether<br /> the performances had been authorised or not.<br /> <br /> The dramatic cases were then discussed.<br /> The secretary reported that the Committee of<br /> Management had taken up a case of alleged<br /> infringement of copyright on behalf of one of<br /> the members. Another case was reported of<br /> a difficulty experienced by a member of the<br /> Society with an agent in Hungary. As none<br /> of the members of the sub-committee could<br /> give any information about the gentleman in<br /> question, the secretary was instructed to make<br /> what enquiries he could on_ behalf of the<br /> member through the Society’s Hungarian<br /> lawyers, and to report. The third case was<br /> one of alleged plagiarism of one of the members’<br /> plays by a play by another dramatist. The<br /> member concerned put before the sub-com-<br /> mittee a full statement of the resemblances<br /> between the two plays, and a report on the<br /> position was read to the sub-committee. The<br /> sub-committee decided to refer the matter to<br /> the solicitors of the Society, and to request<br /> them to report their views on the case to the<br /> next meeting of the Committee of Management,<br /> with a recommendation that the Committee of<br /> Management should take the matter in hand,<br /> if the solicitors’.opinion was favourable to the<br /> member’s claim.<br /> <br /> The consideration of the dramatic pamphlet<br /> was adjourned to the next meeting.<br /> <br /> <br /> 162<br /> <br /> ComvosErs’ SuB-COMMITTEE<br /> <br /> THE Composers’ Sub-Committee met at<br /> the committee room of the Society of Authors,<br /> 13, Queen Anne’s Gate, on Saturday, Feb-<br /> ruary 8, at 11 o&#039;clock. After the reading<br /> of the minutes of the previous meeting<br /> the agenda were considered. The first<br /> matter before the sub-committee was Messrs.<br /> Curwen’s agreement. A letter which had<br /> been received from the firm, in answer to<br /> certain comments submitted to them by the<br /> sub-committee, was considered. The sub-com-<br /> mittee came to the conclusion that Messrs.<br /> Curwen’s desire to have entire control of the<br /> performing rights and mechanical instrument<br /> rights could not be approved, and instructed<br /> the secretary to write to Messrs. Curwen<br /> accordingly, pointing out the reason for the<br /> sub-committee’s conclusions. They further<br /> instructed the secretary to point out that as<br /> the agreement had already been published in<br /> The Author as approved by the sub-committee,<br /> it would be necessary to insert in The Author<br /> a statement of the sub-committee’s inability<br /> to accept the agreement in its new and altered<br /> form.<br /> <br /> The next question related to an agreement<br /> from another publishing house which had<br /> been offered to one of the members of the<br /> Society, and it was decided to publish a<br /> criticism of the document in a future issue of<br /> The Author.<br /> <br /> The secretary then read a circular letter<br /> which had been approved by the Committee<br /> of Management, and which it was decided to<br /> send round to composers—both those who<br /> were, and those who were not members of the<br /> Society. Suggestions were made with a view<br /> to enabling the secretary to obtain for the<br /> circular the widest possible circulation. It<br /> is hoped to send to at least 500 composers,<br /> in order, if possible, to obtain a strong com-<br /> bination of composers to act in unison for the<br /> benefit of the profession.<br /> <br /> The secretary reported the result of an<br /> action taken by the Committee of Management<br /> for a composer, against a. music-publishing<br /> firm. The result had been entirely satis-<br /> factory, and the secretary mentioned that he<br /> had received a letter of thanks from the<br /> composer concerned.<br /> <br /> ‘A letter from the Society&#039;s solicitor dealing<br /> with certain difficult points arising under<br /> section 19 of the Copyright Act was read, and<br /> the secretary explained that the Committee<br /> of Management would be willing to consider<br /> taking action in a case when one was pre-<br /> <br /> THE AUTHOR.<br /> <br /> sented, in order to obtain the opinion of the<br /> Courts on the points raised.<br /> <br /> Another agreement from a publishing house<br /> dealing with American rights was read, and it<br /> was agreed to ask a representative of the firm<br /> to call and discuss the questions arising out<br /> of it with the sub-committee.<br /> <br /> —— +<br /> <br /> Cases.<br /> <br /> Durine the past month twenty-two cases<br /> have passed through the secretary’s hands.<br /> It is as well to mention from time to time that<br /> these cases are matters in which the secretary<br /> actually intervenes between the author and the<br /> publisher, editor, or manager, and not those<br /> cases on which the secretary only gives advice<br /> to the member.<br /> <br /> Demands for the return of MSS. have been<br /> the most numerous. Of these the secretary<br /> has dealt with ten. In four cases the MSS.<br /> have been returned, in two cases the editors<br /> have given every assistance in their power, but<br /> have been unable to find the MSS., and no<br /> further action has been possible owing to the<br /> fact that legal evidence has been wanting. Of<br /> the four remaining cases two have only recently<br /> come to the office, and in the other two no<br /> answer has as yet been received.<br /> <br /> There have been six demands for money.<br /> Of these three have been successful and cheques<br /> have been paid. The other three are ina satis-<br /> factory state. In two of the cases there has<br /> been a slight dispute as to the amount, but<br /> cheques have been promised as soon as the<br /> figures have been settled, and in the last case,<br /> although a cheque has not been received, a date<br /> has been fixed for payment.<br /> <br /> In three cases out of four demands for<br /> accounts, the accounts have been rendered.<br /> The fourth is still in the course of settlement,<br /> the publisher having promised the returns<br /> within the next week.<br /> <br /> One dispute on an agreement has been<br /> settled, and one complicated question of moneys<br /> due on accounts is in the course of favourable<br /> negotiations.<br /> <br /> There are very few cases left over from<br /> former months. ‘There is no matter which has<br /> not either been placed in the hands of the<br /> solicitors or concerning which replies have not<br /> been received from the opposite party and a<br /> settlement promised.<br /> <br /> <br /> <br /> ——<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR. 163<br /> <br /> Elections.<br /> <br /> Barnes-Lawrence, Ash-<br /> ley ;<br /> <br /> Blake, Ernest<br /> <br /> Blunt, Reginald .<br /> <br /> _~ Bradshaw, Percy V.<br /> Brooks, H. Jamyn :<br /> Brown, R. Cuthbert .<br /> Crawford, Albert Ed-<br /> <br /> ward Bredin<br /> <br /> L Finck, Hermann :<br /> <br /> Foxwell, A. K., M.A.<br /> Lond.<br /> <br /> Greenaway, Mrs. O. C.-.<br /> <br /> y7 Greene, Harry Plun-<br /> kett ; : ‘<br /> Harding, Ernest<br /> Charlton<br /> <br /> Harington, Miss Ethel .<br /> Hinton, Arthur<br /> <br /> Jones, E. Hasler<br /> Korbay, Francis .<br /> <br /> Lawrence, Margery<br /> <br /> Menzies, Mrs. Stuart of<br /> Wood Hall<br /> <br /> O’Mara, H. M. S. :<br /> <br /> Quirke, Helen M. L.<br /> (Ellen Svala)<br /> <br /> 7 Rothenstein, Albert .<br /> <br /> Round, Mina (Maurice<br /> Reynold).<br /> <br /> Sargent, Miss Maud E. .<br /> <br /> Schlenssner, Miss Ellie<br /> <br /> Simpson, Mrs. Katha-<br /> <br /> rine.<br /> <br /> Vernon, George . ‘<br /> <br /> Silton Rectory,<br /> Zeals, Wilts.<br /> <br /> 12, Carlyle Man-<br /> sions, Chelsea,<br /> S.W.<br /> <br /> 87, Dacres Road,<br /> Forest Hill, S.E.<br /> Savage Club, Adelphi<br /> <br /> Terrace, W.C.<br /> <br /> 14, Devonport Street,<br /> Hyde Park, W.<br /> 71, Carlisle Road,<br /> <br /> Eastbourne.<br /> <br /> 207, Adelaide Road,<br /> N.W.<br /> <br /> 19a, Wellesley Road,<br /> Harrow - on - the -<br /> Hill, Middlesex.<br /> <br /> 42, West Cromwell<br /> Road, Earl’s<br /> Court, S.W.<br /> <br /> 48, Iverna Gardens,<br /> W.<br /> <br /> 1, Hartington Road,<br /> Chorlton-cum-<br /> Hardy, Manches-<br /> ter:<br /> <br /> 14, St. John’s Wood<br /> Road, N.W.<br /> <br /> Portalegre, Portugal.<br /> <br /> 47, Devonshire<br /> Street, W.<br /> <br /> Eversleigh, Wol-<br /> verhampton.<br /> <br /> Crickett Court, Il-<br /> minster.<br /> <br /> Swanage, Dorset.<br /> <br /> 17, Yarrell Mansions,<br /> Queen’s Club<br /> Gardens, W.<br /> <br /> Savile Club, 107,<br /> Piccadilly, W.<br /> <br /> 11, rue d’Artois,<br /> Paris (8 emi).<br /> <br /> Chasefield, Grove<br /> Road, Havant,<br /> Hants.<br /> <br /> 44, Rosslyn Hill,<br /> Hampstead, N.W.<br /> <br /> Piazza S. Barto-<br /> lomeo degli Ar-<br /> meni 8-2, Genoa,<br /> Italy.<br /> <br /> Vickers, John H., B.A. Offley Grove, New-<br /> port, Shropshire.<br /> <br /> Weston, Miss Lydia ~. 28, Gwydyr Man-<br /> sions, Hove, Sus-<br /> sex.<br /> <br /> a<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> 4<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 oftice<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 /> AGRICULTURE.<br /> <br /> RursaL DENMARK AND ITs Lessons. By H. River<br /> Haaearp. New Edition. 8 x 54. 335 pp. (The<br /> Silver Library.) Longmans. 33s. 6d.<br /> <br /> Ture Utiiry Poutrry Crus YEAR Book AnD REGISTER.<br /> Edited by A. A. Strrone. 72x 5. 114 pp. 68z.,<br /> Lincoln’s Inn Fields.<br /> <br /> ART.<br /> <br /> Tue BritisH ScHoout. An Anecdotal Guide to the Britisk<br /> Painters and Painting in the National Gallery. By<br /> E. V. Lucas. 63 x 4}. 264 pp. Methuen. 2s. 6d. n.<br /> <br /> Tue Yrar’s Art, 1913. Compiled by A. C. R. CartEr.<br /> 74 x 43. 598 pp. Hutchinson.<br /> <br /> BIOGRAPHY.<br /> <br /> A Littie Sister. By Maurice Lanprievx. Translated<br /> from the Third French Edition by Leonora L. YORKE<br /> <br /> Surrn. 7: x 5. xvii +303 pp. Kegan Paul. 5s. n.<br /> <br /> DEVOTIONAL.<br /> <br /> Tue Way oF Victory. By JEAN Roperts. 2s., 1s., 6d.<br /> <br /> Tur Emancipation or Woman. By JEAN ROBERTS.<br /> Mowbray. ls.<br /> <br /> DRAMA AND ELOCUTION.<br /> <br /> Peur Gyxt. By Henrik Issen. A New Translation by<br /> R. Exuis Roperts. 7} x 54. xxix + 254 pp. Martin<br /> Secker. 5s. n.<br /> <br /> Passers-By. A Play in Four Acts. By C. Happon<br /> CHamBers. 6} x 5. 139 pp. Duckworth. 2s.<br /> <br /> Five Onu-Act Prays: The Dear Departed, Fancy Free,<br /> The Master of the House, Phipps, The Fifth Command-<br /> ment. By S. Houcuron, author of Hindle Wakes.<br /> 7; x 42. 111 pp. Sidgwick &amp; Jackson. 1s. 6d. n.<br /> <br /> EDUCATIONAL.<br /> <br /> Wuere Epvcation Fars. By Preston Were. With<br /> an Introduction by the Rigur Hon. Lorp SHEFFIELD<br /> 74 x 5. 114 pp. Ralph, Holland. 1s. n.<br /> <br /> FICTION.<br /> <br /> Tur Ware Case. By Gerorce Pisypett. Methuen<br /> &amp; Co. 6s.<br /> <br /> Our Own Country. By Lovurse Sracpoote Kunny.<br /> Dublin: James Duffy, Ltd. 2s.<br /> <br /> Nevertuetess. By Isapen Smrrx, author of Mated,<br /> The Minister&#039;s Guest, etc. Alston Rivers. 6s.<br /> <br /> <br /> 164<br /> <br /> Joux CHRISTOPHER. JOURNEY’S Enp. By Roman<br /> Rottanp. Translated by GILBRET CANNAN. 7Z Xx 5.<br /> 540 pp. Heinemann. 6s.<br /> <br /> Tue BeLoveD ENemy. By E. Marta ALBANESI. 73 x 5.<br /> <br /> 323 pp. Methuen. 6s.<br /> <br /> Swirr Nick or THE YorK Roap. By GEORGE EpGAR.<br /> 73 x 5. 412 pp. Mills &amp; Boon. 6s.<br /> <br /> Skipper Anne. A Tale of Napoleon’s Secret Service. By<br /> Maran Bower. 74 x 5. 316pp. Hodder &amp; Stough-<br /> ton. 6s.<br /> <br /> East or THE SHapows. By Mrs. Husurt Barcvay.<br /> 73 x 5. 304 pp. Hodder &amp; Stoughton. 6s.<br /> <br /> PaRENTAGE. By Guapys MENDL. 72 x 5. 308 pp.<br /> Chapman &amp; Hall. 6s,<br /> <br /> CHILD oF THE Storm. By H. Riper HaGGARD. 72 Xx 5.<br /> 348 pp. Cassell. 6s.<br /> <br /> An Arram or Sats. By J. C. Snairu. 74 x 5<br /> 351 pp. Methuen. 6s.<br /> <br /> Concert Prrcu. By Frank Dansy. 7} X 43. 380 pp.<br /> Hutchinson. 6s.<br /> <br /> Tue Lirtir Grey SHor. By P. J. BREBNER. 74 x 5.<br /> 312 pp. Hodder &amp; Stoughton. 6s.<br /> <br /> Tue Peart Stringer. By Praay WEBLING. 7j X 5.<br /> <br /> 313 pp. Methuen. 6s.<br /> <br /> THe Lapy oF THE Canartes. By Sr. Jonn Lucas:<br /> 7k x 5. 346 pp. Blackwood. 6s.<br /> <br /> New WINE AND OLp Borries. By ConsTANCE SMEDLEY.<br /> 74 x 43. 307 pp. Fisher Unwin. 6s.<br /> <br /> A Master or Deception. By RicHarpD MaRsH.<br /> 336 pp. Cassell. 6s.<br /> <br /> Tur Hovsr oF THE OTHER WORLD.<br /> <br /> 7% Xx 5.<br /> <br /> By VioLtet TWEE-<br /> <br /> DALE. 7% x 5. 320 pp. John Long. 6s.<br /> <br /> dipary’s Career. By Parry Truscott. 7} x 5<br /> 305 pp. Werner Laurie. 6s.<br /> <br /> Her Srcrer Lire. By Rosurr Macuray. 7} X 5<br /> 312 pp. F.V. White. 6s.<br /> <br /> Puyiiipa Fouts Mz. By Mary L. PENDERED. 73 X 5.<br /> 286 pp. Mills and Boon. 63.<br /> <br /> No Otner Way. By Louis Tracy. 7} X 9. 318 pp.<br /> <br /> Ward Lock. 6s.<br /> <br /> Tun LANE THAT HAD NO TuRNING. By GILBERT PARKER.<br /> <br /> 260 pp. (Sevenpenny Library.) 6} x 44. Hodder<br /> &amp; Stoughton.<br /> <br /> Tu ExpLorrs or BRIGADIER GERARD. By A. Conan<br /> Doyie. (Cheap Reprint.) 6} x 44. 334 pp. Smith<br /> Elder. 1s. n.<br /> <br /> Vurtep Women. By MarMapUKE PICKTHALL, 7} X 5.<br /> <br /> 320 pp. Nash. 6s.<br /> <br /> Wo,. By Mavrice Drake. 7} X 5. 316 pp. Methuen.<br /> 6s.<br /> <br /> Hetexa Brerr’s Carzer. By Desmond CoKE. 7] X 9.<br /> 320 pp. Chapman &amp; Hall. 6s.<br /> <br /> Her Convict Huspanp. By Marte Connor LEIGHTON.<br /> <br /> 73 x 5. 320 pp. Ward Lock. 6s.<br /> HISTORY.<br /> France. By Cecrs Huaptam. 8} X 5k. 408 pp. (The<br /> Making of the Nations.) Black. 7s. 6d. n.<br /> MILITARY.<br /> BrermsH Batrues: Crucy. By Hrare BELLoc.<br /> 64 x 44. 113 pp. Swift. 1s. n.<br /> MUSIC.<br /> <br /> A Coxcisp History or Music. For the Use of Students.<br /> By the Rey. H. G. Bonavia Hunt, Mus.D., F.R.S.E.<br /> New and Cheaper Edition. 63} x 4. 184 pp. Bell.<br /> 28. n.<br /> <br /> THE AUTHOR.<br /> <br /> NATURAL HISTORY.<br /> <br /> A History or British Mammats. By Geratp E. H.<br /> BarRett- HAMILTON. Part XIII. 10. x. Oe<br /> pp. 313—360. Gurney &amp; Jackson. 2s. 6d. n.<br /> <br /> POETRY.<br /> <br /> Porms. By JosEpHINE V. Rows.<br /> Lynwood. 2s. 6d. n.<br /> <br /> POLITICAL.<br /> <br /> Tur Lorps or THE Devit’s Panavise, By G. SIDNEY<br /> PATERNOSTER. 7% x 5. 327pp. Stanley Paul. 5s.n.<br /> <br /> 7% x 5. 224 pp.<br /> <br /> REPRINTS.<br /> Tur Dynasts. By Tuomas Harpy. Parts I. and II.<br /> <br /> xvi + 404 pp. Part IV. 423 pp. (Wessex Edition.)<br /> 9 x 53. Macmillan. 7s. 6d. n. each.<br /> SCIENCE.<br /> <br /> Voucanozs. Their Structure and Significance. By T. G.<br /> Bonney, Sc.D., LL.D. Third Edition. 379 pp. _6s. n.<br /> Tus INTERPRETATION OF Rapium. By F. Soppy, F.R.8.<br /> Third Edition. Revised and Enlarged. 284 pp. 6s.n.<br /> Herepity. By J. A. THomson. Second Edition.<br /> <br /> 667 pp. 9s. n. (The Progressive Science Series.<br /> 8} x 53. Murray.<br /> THEOLOGY.<br /> <br /> Tur Lieut or Inpra. By Haroup Beasiy. A New and<br /> Revised Edition of ‘Other Sheep.” 74 x 43. 224 pp.<br /> Hodder and Stoughton. Is. n.<br /> <br /> TOPOGRAPHY.<br /> <br /> Gattant Lirree Waxes. Sketches of its People, Places,<br /> and Customs. By JEANNETTE Marks. 7} X 0-<br /> 189 pp. Constable. 5s. n.<br /> <br /> ——_+— &gt; o—_—__<br /> <br /> LITERARY, DRAMATIC, AND MUSICAL<br /> NOTES.<br /> <br /> —+—&lt; + —<br /> <br /> Messrs. Macmillan &amp; Co. announce the pub-<br /> lication in April of the first two volumes of<br /> the “‘ Bombay Edition of the Works of Rudyard<br /> Kipling,” containing all the author’s writings,<br /> verse and prose, newly arranged and cor-<br /> rected by himself. The edition, which will<br /> be limited to 1,050 copies, will occupy twenty-<br /> three volumes, and the first of every set will<br /> be autographed by Mr. Kipling. Two<br /> volumes will appear every two months until<br /> the edition is complete. The price will be<br /> one guinea net per volume, and the work will<br /> only be sold as a whole.<br /> <br /> The same firm are the publishers of Mr.<br /> Maurice Hewlett’s ‘‘ Helen Redeemed and<br /> Other Poems,” a volume of verse mainly<br /> concerned with classical subjects; the prin-<br /> cipal poem occupies half the book, which<br /> concludes with fourteen sonnets and some<br /> fragments.<br /> <br /> <br /> <br /> <br />  <br /> <br /> 00<br /> <br /> ab<br /> th<br /> <br /> E<br /> 100<br /> Ye<br /> HE<br /> OE<br /> <br /> &gt; a<br /> : We ors Seog<br /> <br /> re<br /> <br /> ¢ *-<br /> Ser pe i Sang int sa Sa poe Gath<br /> <br /> oe ~ ee<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> Messrs. Macmillan have also recently pro-<br /> duced ‘ Portraits and Speculations,” a col-<br /> lection of essays by Mr. Arthur Ransome on<br /> literary and artistic topics; “ Highways and<br /> Byways in Somerset,” Mr. Edward Hutton’s<br /> contribution to the Highways and Byways<br /> Series ; and “‘ The Reef,’ Mrs. Edith Wharton’s<br /> new novel, the scenes of which are chiefly laid<br /> in France.<br /> <br /> Mr. Arnold Bennett’s new novel, ‘“‘ The<br /> Regent,” is published by Messrs. Methuen<br /> &amp; Co.<br /> <br /> “The Faith of All. Sensible People,” by<br /> Mr. David Alec Wilson, is appearing this<br /> spring through the same firm, at the price of<br /> 2s. 6d. net.<br /> <br /> Miss Ellen Key’s latest work is a survey of<br /> the feminist question in its entirety, and is<br /> published by Messrs. G. P. Putnam’s Sons<br /> under the title of “‘ The Woman Movement,”<br /> with an introduction from the pen of Mr.<br /> Havelock Ellis. The author includes in her<br /> book a statement of what she considers to be<br /> the new phase upon which the feminist move-<br /> ment is entering, in which the claim to exert<br /> the rights and functions of man is less impor-<br /> tant than the claim of woman’s rights as the<br /> mother and educator of the coming generation.<br /> <br /> A second edition of Professor Charlton<br /> Bastian’s ‘‘The Origin of Life,’ with an<br /> important appendix and two new plates, is<br /> published by Messrs. Watts &amp; Co. at 3s. 6d.<br /> A French translation of the same work, by<br /> Professor L. Guimet, is appearing through M.<br /> Lamertin, of Brussels.<br /> <br /> Mr. Herbert Jenkins, Ltd., is about to pro-<br /> duce an anonymous book entitled ‘* National<br /> Revival, a Restatement of Tory Principles,”<br /> with a preface by Lord Willoughby de Broke.<br /> It is claimed for this that it re-affirms the<br /> vital principles of Conservatism, and appeals<br /> eloquently to the Conservative elements in<br /> the nation to rally round a new ideal of<br /> patriotism, a new conception of national<br /> policy; that it vindicates the Conservative<br /> conception of the Constitution, and develops<br /> a Conservative doctrine of social reform, which<br /> provides a real alternative to the panaceas of<br /> Radical-Socialism; and that it gives to<br /> patriotic Englishmen of every class a new<br /> confidence, a new inspiration, and a new hope.<br /> <br /> Mr. A. Abram has brought out, through<br /> Messrs. George Routledge and Sons in England<br /> and Messrs. KE. P. Dutton &amp; Co. in the United<br /> States, a book on “‘ English Life and Manners<br /> in the Later Middle Ages,” with 77 illustra-<br /> tions from contemporary prints reproduced<br /> from MSS. at the British Museum, &amp;c. In an<br /> <br /> 165<br /> <br /> appendix of over 50 pages a detailed list of<br /> authorities is furnished. The price of the<br /> English edition is 6s.<br /> <br /> Father Sebastian Boden has written the<br /> preface to “A Little-Sister,”’ translated by<br /> Miss Leonora L. Yorke-Smith from the French<br /> of Mgr. Maurice Landrieux, Vicar-General of<br /> Rheims. Messrs. Kegan, Paul, Trench, Tritbner<br /> &amp; Co. are the publishers.<br /> <br /> Messrs. Hutchinson &amp; Co. publish on<br /> the 4th inst Mr. Philip W. Sergeant’s “ Little<br /> Jennings and Fighting Dick Talbot: a Life<br /> of the Duke and Duchess of Tyrconnel.”’<br /> This is an attempt to do justice, late in the<br /> day, to James II.’s great Irish Viceroy and<br /> his wife, who have suffered heavily in the<br /> past from the “‘ Whiggishness”’ (as the late<br /> Mr. Andrew Lang expressed it once) of the<br /> muse of English history. The work is in two<br /> volumes and is illustrated with 17 portraits.<br /> <br /> The same publishers have added to their<br /> Colonial Library Mr. F.. Bancroft’s “ The<br /> Veldt Dwellers,’ which appeared in 6s. form<br /> last October and has gone through six editions.<br /> They are now bringing out a sequel to this<br /> Anglo-Boer War story, under the title of<br /> “Thane Brandon.” Mr. Bancroft has dis-<br /> posed of the American rights of both “ The<br /> Veldt Dwellers’? and ‘‘ Thane Brandon” to<br /> Messrs. Small, Maynard &amp; Co.<br /> <br /> Mrs. Mary Gaunt brought out last month,<br /> through Mr. T. Werner Laurie, her new novel,<br /> ‘“‘ Every Man’s Desire,” a story of life in West<br /> Africa, a part of the world with which she is<br /> well acquainted. She has started for an<br /> expedition through unknown China, after a<br /> visit to her brother-in-law, Dr. Morrison, in<br /> Peking.<br /> <br /> A second edition has appeared of Mr. C. E.<br /> Gouldsbury’s ‘‘ Life in the Indian Police,” of<br /> which the publishers are Messrs. Chapman &amp;<br /> Hall.<br /> <br /> The same firm last month, published Miss<br /> Violet A. Simpson’s new novel, “ The Beacon<br /> Watcher.”’<br /> <br /> Mr. James Baker, F.R.G.S., has published,<br /> through the Bodley Head, “Austria: Her<br /> People and their Homelands.’’ The book is<br /> illustrated with forty-eight pictures in colour,<br /> and is issued at 21s. net.<br /> <br /> Messrs. Longmans announce that they have<br /> in preparation a limited issue of a book by<br /> Mr. J. G. Millais, the son of the artist and a<br /> well-known naturalist, on ‘“ British Diving<br /> Ducks.” It will be published in two quarto<br /> volumes, and is intended to afford a complete<br /> history of all the species of diving ducks that<br /> are indigenous in or visitors to the British<br /> <br /> <br />  <br /> <br /> 166<br /> <br /> Isles. The illustrations will be on an un-<br /> usually elaborate scale.<br /> <br /> Messrs. Ralph, Holland &amp; Co., have issued<br /> a book entitled ‘‘ Where Education Fails,” by<br /> Mr. Preston Weir. Additional interest is lent<br /> to the work by the fact that the introduction is<br /> contributed by Lord Sheffield, better known<br /> among educationists as the Hon. Lyulph<br /> Stanley.<br /> <br /> Mr. G. Sidney Paternoster has published,<br /> through Messrs. Stanley Paul &amp; Co. at the<br /> price of 5s. net, “ The Lords of the Devil’s<br /> Paradise. The grim story of rubber collec-<br /> tion in the Putumayo.” The author has been<br /> for twenty-two years connected with Truth.<br /> He has collected the stories of the witnesses<br /> and collated the evidence. In this book he<br /> tells the story in its entirety.<br /> <br /> “ Rita’s ’ new novel, “‘ A Grey Life,” is a<br /> romance of Bath in the seventies and eighties—<br /> a period not hitherto touched on by authors<br /> writing of the famous City of Waters. A<br /> brilliant Irish adventurer is the central figure of<br /> the tale. The publishers are Messrs. Stanley<br /> Paul.<br /> <br /> The same firm has just produced Mr.<br /> Rafael Sabatini’s ‘‘ The Strolling Saint,’ the<br /> imaginary memoirs of Augustine, Lord of<br /> Mondolfo, at the time of the Italian<br /> Renaissance.<br /> <br /> Miss Annesley Kenealy’s “The Poodle<br /> Woman,” is the first of a Votes-for-Women<br /> series of 6s. novels from the same house.<br /> ““&#039;The Poodle Woman ”’ is a love-story, as well<br /> as an attempt to answer the question, What<br /> do women want ?<br /> <br /> Messrs. Stanley Paul are also the publishers<br /> of four novels—Mr. Hamilton Drummond’s<br /> «¢ Sir Galahad of the Army”; Miss Theodora<br /> Wilson Wilson’s ‘A Modern Ahab”; Miss<br /> May Wynne’s “The Destiny of Claude ” ;<br /> and Mr. Charles McEvoy’s “‘ Brass Faces ””—<br /> and of Mrs. Edith Cuthell’s ‘A Vagabond<br /> Courtier.’’ In the last-named biography, Mrs.<br /> Cuthell returnsto the period of her‘* Wilhelmina,<br /> Margravine of Baireuth.” In it she tells,<br /> from his letters and memoirs, the story of<br /> <br /> Baron von Péllnitz, courtier of Frederic I. of<br /> Prussia, Frederic William, Frederic the<br /> Great, the Princess Palatine, the Duchesse<br /> d’Orléans, and several other European<br /> royalties.<br /> <br /> Messrs. Mills &amp; Boon have published a new<br /> novel by Miss Mary L. Pendered. It is<br /> called ‘‘ Phyllida Flouts Me,” and is a country<br /> comedy, laid in Northamptonshire. The hero<br /> is a farmer, and the villain turns out to be a<br /> woman! Phyllida is the heroine, who reads<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> poetry, while her father worships roses, and<br /> her mother runs the farm. She “* flouts ”’ her<br /> true lover and takes up with an engaging —<br /> artist who proves exceedingly disappointing,<br /> But all ends as well as library readers expect.<br /> <br /> Messrs. Mills &amp; Boon are also the publishers _<br /> of Mr. George Edgar’s ‘‘ Swift Nick of the<br /> York Road,” a story of the romantic type,<br /> dealing with life on the highway, its hero being ~<br /> Swift Nick Nevison, who really made the<br /> journey to York for which Dick Turpin got the<br /> credit.<br /> <br /> Mr. Richard Marsh’s new novel, “* A Master<br /> of Deception,” is issued by Messrs. Cassell &amp; Co.<br /> <br /> Mrs. E. W. Savi’s “The Daughter-in-Law ”<br /> (Messrs. Hurst &amp; Blackett) has its scene laid<br /> in India, a country with which the author<br /> displays a thorough acquaintance. Mrs. Savi<br /> has also had a complete story, of which the<br /> title is ‘‘ The Saving of a Scandal,”’ accepted by<br /> the editors of The Red Magazine. :<br /> <br /> Messrs. Holden &amp; Hardingham, who brought<br /> out Miss Edith Kenyon’s Welsh novel, “ The<br /> Wooing of Mifanwy,” will follow this in May<br /> with another from the same pen, entitled,<br /> ‘*The Winning of Gwenora.”<br /> <br /> Miss Beatrice Kelston is the author of ©<br /> ‘Seekers Every One,” the publishers being —<br /> Messrs. John Long, Ltd. The story deals with —<br /> a girl driven by disappointed love to go upon<br /> the stage.<br /> <br /> Miss Peggy Webling last month had a novel,<br /> “The Pearl Stringer,’ published by Messrs<br /> Methuen.<br /> <br /> Mr. Max Rittenberg has three books appear<br /> ing this year. A first novel, called “Th<br /> Mind-Reader,”’ will be brought out in April -<br /> by Messrs. Appleton both in London and in_<br /> New York. A second book, a story of public<br /> school life with the title of ‘‘ The Cockatoo,” —<br /> is to be published in May by Messrs. Sidgwick<br /> &amp; Jackson. Another novel, the title of which —<br /> is not definitely settled, is scheduled for<br /> September by Messrs. Methuen in London, and<br /> Messrs. Appleton in New York. :<br /> <br /> Mr. S. B. Banerjea, author of ‘‘ Tales of<br /> Bengal,” ‘‘ Indian Detective Stories,” ete., 1s<br /> writing a romance dealing with modern”<br /> crime, the scene of which is laid partly in<br /> England and partly in Sweden. The hero<br /> falls in love with a girl, who firmly refuses<br /> to marry him, as she is ‘“‘ wedded to a sacred<br /> cause,” which she will not disclose. A riv<br /> appears on the scene, and the two decide<br /> upon a novel plan of settling their difference.<br /> They fall, however, in the clutches of th<br /> “‘ wickedest man on earth,’? who has resolved<br /> to commit the most revolting crime that<br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> human being can think of. The two rivals<br /> resolve to thwart his scheme. What they do,<br /> under what circumstances they discover their<br /> lady love, and what becomes of the “ sacred<br /> eause ’’ are, so far, the secret of the author.<br /> <br /> Mr. Banerjea is also translating an Oriental<br /> tale, which, in his opinion, almost resembles<br /> the *“‘ Arabian Nights ” in its breadth of con-<br /> ception and flight of imagination. It is small<br /> in bulk, but makes very entertaining reading<br /> for both young and old. :<br /> <br /> Early in March Messrs. Ouseley will publish<br /> Mr. Harry Tighe’s new novel, “‘ A Watcher of<br /> Life.” The book opens with a sketch of life<br /> in a modern French country house. From<br /> there it takes the reader to Paris, London,<br /> Surrey, and the South Austrian Tyrol, de-<br /> picting houses and scenes well known to the<br /> author.<br /> <br /> We learn from the ‘‘ Poetry Bookshop,” of<br /> 35, Devonshire Street, Theobalds Road, that<br /> owing to the exceptional demand for “ Geor-<br /> gian Poetry, 1911—12” (3s. 6d. net), pub-<br /> lished in December last, there has been much<br /> difficulty in the prompt execution of orders,<br /> and many of those who were anxious to obtain<br /> copies of the first edition have been unavoid-<br /> ably disappointed. The second edition is<br /> exhausted. A third edition is ready, and all<br /> orders can now be promptly executed.<br /> <br /> Last month, at Glasgow, Mr. William Miles<br /> gave the fourth of his recitals from the poetical<br /> works of Mr. Mackenzie Bell. Like its pre-<br /> decessors, the recital was well attended and<br /> successful.<br /> <br /> Mr. Clifford King has had the satisfaction,<br /> rare for a writer of verse, of seeing his<br /> **Poems’’ (Messrs. Kegan Paul, Trench,<br /> Triibner &amp; Co.) run into a fourth edition.<br /> <br /> Mr. E. Hamilton Moore’s ‘“‘ An Idyll and<br /> Other Poems,” published by Messrs. Melrose,<br /> is a collection very varied, both in subject and<br /> in manner of treatment. The principal feature<br /> is a series of octosyllabic verses in sonnet form.<br /> <br /> Mr. H. Osmond Anderton’s ‘‘ The Song of<br /> Alfred” (Messrs. Constable) is an epic dedi-<br /> cated ‘To All the Folk of All the Britains,”<br /> and tells in ballad measure the story of the<br /> first true King of England.<br /> <br /> Miss Josephine Rowe subdivides her<br /> “Poems”? (Messrs. Lynwood &amp; Co.) under<br /> the heads of Irish Lays and Lyrics, Poems of<br /> Human Nature, London Lays, Poems of<br /> Passion, Poems for Children, and Poems of<br /> Nature. One or two have already appeared<br /> serially.<br /> <br /> Miss Gertrude Robins’s collection of plays,<br /> ‘Makeshifts and Realities,’ has been pub-<br /> <br /> 167<br /> <br /> lished in a fourth and revised edition by<br /> Mr. Werner Laurie at 1s. net.<br /> <br /> ‘* A Woman of Imagination” is a four-act<br /> play, written by Lloyd St. Clair and privately<br /> printéd. It deals with the influence of a<br /> young woman upon her surroundings—which<br /> include a middle-aged, money-making husband.<br /> <br /> In “ Living Music’ Mr. Herbert Antcliffe<br /> endeavours to indicate the main currents of<br /> modern music (in its more serious aspects),<br /> while disclaiming any intention of providing<br /> a complete guide to the tendencies and in-<br /> fluences now at work. In small compass the<br /> author covers a great deal of ground, and the<br /> volume is a worthy addition to the Joseph<br /> Williams Series of handbooks on music. We<br /> note that in The Churchman for January<br /> Mr. Antcliffe had an article on ‘ Congrega-<br /> tional Singing,’ and in the February West-<br /> minster Review one on Franz Liszt.<br /> <br /> Miss Josephine Riley’s ‘‘ Notes of Lessons<br /> on Pattern Drafting’ (Sir Isaac Pitman &amp;<br /> Sons) is a volume with numerous plates,<br /> addressed to the Schools of the Dominions,<br /> and dealing with the teaching of needlework.<br /> Generally speaking, the book includes lessons<br /> in pattern-drafting and cutting-out, graduated<br /> for all classes. The author aims at presenting<br /> a recognised system which, correlated with art,<br /> can be earried from class to class; based on<br /> the latest requirements of the Board of<br /> Education.<br /> <br /> Last month was published. by Messrs.<br /> Methuen, ‘‘ Health through Diet,’”’ by Kenneth<br /> G. Weis, L.A.C.P. Lond, M.B.CS5. Eng.,<br /> with the advice and assistance of Alexander<br /> Haig, M.A., M.D. The sub-title of the book<br /> shows that it is ‘‘a practical guide to the<br /> uric-acid-free diet, founded on eighteen years<br /> of personal experience.”<br /> <br /> Mr. E. J. Solano edits ‘‘ The Imperial Army<br /> Series of Training Manuals,’ written by officers<br /> of the regular Army, and published by Mr.<br /> John Murray, at 1s. each. Of these manuals,<br /> four have been issued, on Physical Training<br /> (senior and junior courses), Drill and Field<br /> Training, and Signalling; and others are<br /> announced on Musketry, Field Engineering,<br /> Camp Training, and First Aid.<br /> <br /> Those who have read Mr. Jeffery Farnol’s<br /> “The Broad Highway ” will welcome an illus-<br /> trated edition at the price of 10s. 6d. The<br /> illustrations are by G. E. Brock, and the book<br /> will make a sound present.<br /> <br /> Yet another monthly review is on the market<br /> at the moderate price of 1s. net. The English<br /> Review was the first. Now the British Review<br /> follows; does it intend to outstrip its rival ?<br /> <br /> <br /> 168<br /> <br /> In the prospectus it is stated, “ The outlook<br /> will be imperial ; whilst all sides will be given<br /> impartial hearing, combined with fearless<br /> candour in proclaiming facts. Literature and<br /> criticism will be treated from the newest stand-<br /> points.” This latter statement is reassuring,<br /> for the present treatment of literature and<br /> criticism needs some revision.<br /> <br /> Mr. Eveleigh Nash published last month a<br /> volume by Clare Jerroldon “ The Married Life<br /> of Queen Victoria,” in which both the Queen<br /> and her Consort are shown “according to<br /> contemporary information and impressions,<br /> rather than in the purely and impossibly<br /> idealistic way of the various lives written<br /> upon them.”<br /> <br /> Professor Geddes has written, ‘‘ The Masque<br /> of lLearning’’—a medieval and modern<br /> pageant of education throughout the ages.<br /> which is to be produced in the Great Hall of<br /> the University of London on the evenings of<br /> March 11, 12, 18, 14 and 15, under the general<br /> direction and stage managership of Mrs.<br /> Percy Dearmer. Tickets may be obtained of<br /> Messrs. Chappell &amp; Co., and of the Masque<br /> Secretary, Crosby Hall, Chelsea.<br /> <br /> We regret that, owing to an oversight, we<br /> omitted to mention a book published last<br /> summer by Mr. Allen Fea, through Mr.<br /> Eveleigh Nash. It was entitled ‘‘ Old World<br /> Places,” and treated principally of the Mid-<br /> lands and the Fen Country. There were fifty<br /> illustrations to the work.<br /> <br /> DramarTIc.<br /> <br /> On January 24, at the Abbey Theatre<br /> Dublin, Mr. Sidney Paternoster’s play, “‘ The<br /> Dean of St. Patrick’s,’’ was produced for the<br /> first time, the Abbey No. 2 Company making<br /> a very good show in it. The aspect of Jonathan<br /> Swift which is presented in Mr. Paternoster’s<br /> work is the romantic Dean, the lover of Stella<br /> and Vanessa; and the story is made to end<br /> with the bringing of the news of Stella’s death<br /> to the broken-down wreck that once was so<br /> imposing a figure. The playwright has been<br /> very ambitious in his attempt to put Swift<br /> upon the stage, but he met with more than a<br /> small measure of success, whether or not his<br /> play is destined to be seen in London one day.<br /> <br /> In Mr. Jerome K. Jerome’s ‘“‘ Esther Cast-<br /> ways,” at the Prince of Wales’s Theatre, Miss<br /> Marie Tempest made a notable hit, and if the<br /> author cannot be said to have used a very<br /> novel theme, he certainly has worked out his<br /> plot in a manner calculated to show off his<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> leading lady to excellent advantage, and<br /> provided visitors to the Prince of Wales’s,<br /> with a good evening’s entertainment. a<br /> Mr. Edward Knoblauch, in collaboration<br /> with Mr. Wilfred Coleby, and with the assist- —<br /> ance of Mr. Cyril Maude in the title rile, has —<br /> tickled London with ‘‘ The Headmaster,” and —<br /> the only grievance which one can bring ~<br /> <br /> against all concerned in the production is that<br /> <br /> the spectator at the Playhouse cannot make _<br /> up his mind whether he is witnessing a farce<br /> or an idyll. But, whichever it is, it is vastly<br /> attractive, and has already added another to<br /> Mr. Knoblauch’s successes as a collaborator.<br /> <br /> Mr. Stanley Houghton’s “‘ Trust the People” _<br /> was produced at the Garrick Theatre on ~<br /> February 6, and within a few days we heard ~<br /> that the Chancellor of the Exchequer had been —<br /> to see it, while the Speaker and the Colonial —<br /> Secretary had written to the author to con- —<br /> gratulate him on the success of the electioneer- _<br /> ing scenes in the play. The leading part, the<br /> man of the people, who has risen to be Cabinet —<br /> Minister, was played by Mr. Arthur Bourchier. —<br /> <br /> Mr. H. V. Esmond produced his three-act —<br /> comedy, ‘‘ Eliza Comes to Stay,” at the —<br /> Criterion Theatre, on February 12, the Eliza —<br /> being Miss Eva Moore (Mrs. Esmond), and the —<br /> author playing hero. A capital start was ~<br /> made, and, to judge by the first week’s houses, —<br /> a prosperous career seems in store for the play. —<br /> <br /> Mr. William Archer’s version of Ibsen’s —<br /> great historical drama, known in this country —<br /> as ‘‘ The Pretenders,’ met with a genuine —<br /> artistic triumph at the Haymarket on<br /> February 13.<br /> <br /> At the Comedy Theatre on February 15, ~<br /> ““Lady Noggs, Peeress,’’ an adaptation by<br /> Miss Cicely Hamilton, from Mr. Edgar Jepson’s ©<br /> novel of that name, was presented for the first<br /> time to a sympathetic audience. :<br /> <br /> Mr. Basil Gill has recently accepted a play, —<br /> which Mr. Tighe has written in collaboration -<br /> with Mr. Cecil Rose, and hopes to produce it —<br /> at an early date. a<br /> <br /> A new comedy entitled ‘‘ Her side of the<br /> House,”’ by Mr. Letchmere Worrall and Miss —<br /> Atté Hall, has been put into rehearsal at the ©<br /> Aldwych, and will be produced on March 4.<br /> <br /> The Theatre in Eyre gave two performances<br /> on January 31 at Crosby Hall, More&#039;s”<br /> Garden, Chelsea Embankment, the selected<br /> pieces being “‘ The Veil of Happiness,’’ trans- —<br /> lated from the French of M. Georges<br /> Clemenceau (ex-Premier of France), ane<br /> ‘*Home from the Ball ’’—according to th<br /> Times report, “‘a quite charming little fane<br /> by Edith Lyttelton.”<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> PARIS NOTES.<br /> <br /> 2 ee<br /> ry E que demande la Cité,” is a little<br /> : ) 2 volume containing twenty causeries,<br /> by M. Raymond Poincaré. The<br /> .vesf President of the Republic informs the young<br /> sen men of to-day what their country expects of<br /> od them, and explains to them the working of<br /> ‘sev French social life. It is a book to be read<br /> “1 9% by Frenchmen and foreigners alike, for in it<br /> . a4 the author explains clearly much that should<br /> _4 « be known concerning the State, the Constitu-<br /> ‘act tion, the President of the Republic, the Minis-<br /> vt ters, the Chamber of Deputies, the Senate,<br /> ed the Budget, Taxes and Military Service.<br /> e4 No one is better qualified for giving this<br /> ‘sola information than M. Raymond Poincaré.<br /> ~ 6H He was elected Deputé at the age of twenty-<br /> “ove. seven, Minister of Education when thirty-two,<br /> ed) then Minister of Finances, Senator, Rappor-<br /> / 9) teur Général du Budget. He has been a Member<br /> 4 i, of the French Academy for some years, and<br /> ee was elected President of the Conseil des<br /> #iailf Ministres in 1912, and President of the French<br /> 99%) Republic in 1913.<br /> <br /> T ‘The book of the month, which everyone<br /> ef 4) is now reading is “La Mort,” by Maurice<br /> $58M Maeterlinck. It came out some little time<br /> # 02) ago as a serial, and now that it is in volume<br /> ma) form it promises to be as much read as<br /> <br /> “The Treasure of the Humble.”<br /> <br /> ‘Ta Maison brile,’? by Paul Margueritte,<br /> is another of the clever novels by this author,<br /> the theme of which is the question of divorce. In<br /> “ Les Fabrecé ” we had an excellent example<br /> of solidarity, and saw all the members of the<br /> family sacrificing their own interests for th&gt;<br /> general good. In “La Maison brile,’’ the<br /> husband is unhappily married, but, for the<br /> sake of his two children, he will not repudiate<br /> his wife. Finally, in order to marry again, he<br /> decides to ask for a divorce, but his wife will<br /> not consent to this, until she finds it is to her<br /> interest. The story is an interesting one and<br /> is cleverly handled.<br /> <br /> “Les Sables mouvants,’’ by Collette Yver,<br /> is another novel by the author of “‘ Princesses<br /> de Science.” Most of this writer’s books are<br /> written with some special purpose. In this<br /> one a curious psychological study is given to<br /> us, but the book is too crowded. ‘There is<br /> matter enough for two or three stories con-<br /> tained in one.<br /> <br /> “Le Duc Rollon,” by Léon de Tinseau, is<br /> a story which opens in the year 2000 and the<br /> scene is laid in Washington. The book is a<br /> curious one and not at all in the usual style<br /> of this author.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> 169<br /> <br /> “ Pernette en Escapade” is a distinctly<br /> adventurous story by Charles Foley. Per-<br /> nette, as the title indicates, is one of the<br /> emancipated. She goes as far as she can in<br /> her adventure, and the situation becomes<br /> dramatic. The story is told in a_ bright,<br /> amusing way.<br /> <br /> La Fontaine has been very much in vogue<br /> this winter. M. Faguet has been lecturing<br /> on him, and M. Louis Roche gives a most<br /> interesting ‘volume entitled “‘ La Vie de Jean<br /> de La Fontaine.’”’ We have a full account of<br /> him as a child, and as a man, and, after reading<br /> this book, much that had seemed almost<br /> incomprehensible in his life is explained.<br /> <br /> “Au Chevet de la Turquie,’ by Stephane<br /> Lauzanne, is an account of a recent journey<br /> to Constantinople. The author had forty days’<br /> experience of the struggles of a dying Empire.<br /> <br /> ‘De la Plata a la Cordillére des Andes ”’ is<br /> the title of Jules Huret’s second volume on<br /> the Argentine. No better guide than M.<br /> Huret exists for the exploration of foreign<br /> countries. In the books he has written on<br /> America and Germany we are accustomed to<br /> strict impartiality and accurate information.<br /> He is a conscientious writer and a keen observer,<br /> and, while preparing his books he does not<br /> neglect the one essential thing for the subject<br /> he has undertaken, namely, to study it himself<br /> before writing on it, and this study, for M.<br /> Huret, usually means long months of exile in<br /> the country about which he intends to write.<br /> As a result of this thoroughness, the books<br /> he gives us are trustworthy documents, which<br /> will remain as landmarks in the history of<br /> nations, supplying information as_ to the<br /> physical, political, and human aspects of the<br /> countries described.<br /> <br /> “ [’Kpitre au fils de loup,” by Bahiou ‘lah,<br /> the founder of Bahaism, has been translated<br /> from the Persian into French by M. Hippolyte<br /> Dreyfus. “Le Fils de Loup,”’ was the name<br /> given to the High Priest of Ispahan, on account<br /> of his cruelty. Under the form of an open<br /> letter, Bahiou’llih explains to him the object<br /> of his mission, and reminds him of the chief<br /> events of his troubled life. It was the last<br /> work written by this prophet of a religion<br /> which claims to embrace all religions (as the<br /> keynote to Bahaism is universal fraternity).<br /> In 1892, Bahiou’llah died at St. Jean d’Acre.<br /> There is a fairly large group now in Paris of<br /> disciples of this prophet, and the members of<br /> the group are of all nationalities.<br /> <br /> “‘ Saynetes et Farces ”’ is the title of a little<br /> volume by M. Maurice Bouchor, which will<br /> be of great service for amateur theatricals.<br /> <br /> <br /> 170<br /> <br /> “ Alfred Tennyson,” by M. Frédéric Choisy,<br /> is a remarkable study of the works and per-<br /> sonality of the English Poet Laureate. The<br /> author&#039;s object is to give the French reader<br /> a clearer idea than he has hitherto had of a<br /> poet who is comparatively little known in<br /> France.<br /> <br /> Among the more interesting articles in the<br /> Reviews lately are the following ones in the<br /> Revue hebdomadaire, “‘ Les Effets d’une Per-<br /> sécution sur la Vie d’une Eglise,” by Georges<br /> Goyau; “Un Lorrain (M. Raymond Poin-<br /> caré),’’ by M. Louis Madelin, and in the Figaro<br /> an excellent article by André Beaunier on<br /> “ Pere et Fils,” the translation of “ Father<br /> and Son,” by Edmund Gosse.<br /> <br /> We learn with great pleasure that Brazil<br /> has now decided to join the Berne Convention.<br /> The late M. Edouard Sauvel was largely<br /> instrumental in bringing this about. He was<br /> seconded by M. de Lalande, French Minister<br /> in Rio, and thanks are due to the Senator<br /> Guanabara for presenting the proposition to<br /> the Brazilian Congress and getting the Bill<br /> through within a year.<br /> <br /> A curious legal case has just been tried in<br /> Italy. Sardou’s play, ‘“* Fédora,” was given<br /> in Paris in 1882, but was not published in<br /> France until 1908. In 1883 Sardou authorised<br /> M. Bersezio to put on the stage an Italian<br /> translation of ‘“ Fédora.” The drama was<br /> printed and published in Italian in 1892 by<br /> Messrs. Treves. In 1889 Bersezio retroceded<br /> his rights to Sardou, and after Sardou’s death,<br /> his heirs transferred the Italian rights in<br /> “Fédora”’ to M. Riceardi for a period of<br /> twenty-five years, dating from January 1,<br /> 1910. In August, 1911, M. Lombardi put on<br /> Bersezio’s translation in Rome, at the Adriano<br /> Theatre. M. Riccardi claimed an indemnity.<br /> The case was tried, and the verdict was in<br /> favour of M. Riccardi. M. Lombardi claimed<br /> that ‘‘ Fédora’’ was in the domaine public,<br /> and that, by virtue of other special laws,<br /> he had a right to use this translation of<br /> Bersezio’s. The case was brought before a<br /> higher court. By virtue of the law of 1882,<br /> the Court maintained that Bersezio, having<br /> fulfilled all the formalities necessary, and<br /> then having retroceded his rights to Sardou,<br /> and M. Riccardi, having arranged with the<br /> heirs of Sardou, he alone had the right<br /> to use the translation in question. M. Lom-<br /> bardi has, therefore, lost his case.<br /> <br /> Maurice Donnay’s play, in four acts, ‘* Les<br /> Eclaireuses,’’ has been, and still is, a great<br /> success at the Comédie Marigny.<br /> <br /> At the Vaudeville, Sacha Guitry’s play,<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> &gt;<br /> <br /> ‘La Prise de Berg-op-Zomm,’<br /> bill.<br /> <br /> ‘“‘La Femme Seule,” is being given at the<br /> Gymnase, and at the Variétés, “‘ L’Habit vert,”<br /> a comedy in four acts, by M.M. Robert de Flers<br /> and Gaston A de Caillavet.<br /> <br /> is still on the<br /> <br /> &gt;<br /> <br /> Autys HALLARD.<br /> <br /> <br /> <br /> “Ce que demande la Cité.”<br /> “La Mort.” (Fasquelle.)<br /> “La Maison brile.” (Plon.)<br /> “ Les Sables mouvants.” (Calmann-Lévy.)<br /> “Le Duc Rollon.” (Calmann-Levy.)<br /> “Pernette en Escapade.”’ (Tallandier.)<br /> <br /> “La Vie de Jean de La Fontaine.” (Perrin.)<br /> ** Au Chevet de la Turquie.” (Fayard.)<br /> “ De la Plata 4 la Cordillére des Andes.”<br /> “ L’Epitre au fils du loup.”<br /> <br /> (Hachette.)<br /> <br /> (Fasquelle.)<br /> (H. Champion.)<br /> <br /> THE COLONIAL BOOK TRADE.<br /> <br /> <br /> <br /> i? is very flattering to The Author to know<br /> that its renown has gone round the world<br /> and back again. Towards the end of last<br /> <br /> year certain articles were published in its<br /> <br /> columns dealing with Colonial copyright. One<br /> of these was re-published in the enterprising<br /> periodical known as the Publishers’ Weekly in<br /> the United States. This got into the hands of<br /> the editor of a periodical called The Bookfellow,<br /> published in Sydney, Australia, and the editor<br /> has devoted some two pages to traversing<br /> the statements made in the article that<br /> originally appeared in The Author. He<br /> begins by denying the following statement<br /> that ‘‘ English works—in comparison with<br /> <br /> American—do not get a fair circulation on the<br /> <br /> Colonial markets.” In answer to that he<br /> <br /> states as follows :—<br /> <br /> “* Speaking for Australia and New Zealand, this is untrue ;<br /> every bookseller will agree with us that this is untrue ;<br /> statistics will prove it to be untrue. Look at the contrast<br /> between Australian imports from Great Britain—value in<br /> 1911 £618,043 ; and from America—value 1911 £53,668.<br /> ‘Works’ means general literature; and nearly all<br /> general literature that we sell is published in Great Britain.<br /> Tf what is meant (but not said) is fiction, the statement is<br /> still untrue; English novels in comparison with American<br /> do get a fair circulation on the Australian market. They<br /> get the lion’s share of the circulation; there is no doubt<br /> whatever about that.”<br /> <br /> We are very glad to print this statement, but<br /> still wonderful stories are told of the energy<br /> and push of the American book agent. The<br /> editor then turns from general literature to<br /> novels, thinking apparently that the Society of<br /> Authors and The Author represent writers of<br /> fiction only, and he gives some facts about<br /> the Australian book trade that are worth<br /> <br /> reprinting :—<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> “ A bookseller usually has to leave the first purchase of<br /> books to his London agent—simply because most books<br /> cannot be shown round at the Australian distance on or<br /> before publication. The bookseller himself remains an<br /> active controlling foree; he orders a likely seller in<br /> advance of publication, or if he gets insufficient stock of<br /> what looks a likely seller, he cables at once for a fresh<br /> supply. All the time he is on the look-out for steady<br /> sellers with the hope of a long run. Unluckily most<br /> English novels are not sellers—to our sorrow. They are<br /> worth about the number of copies the London agent sends ;<br /> and then ‘ it isn’t worth re-ordering.’ That isn’t the fault<br /> of the bookseller ; it’s the fault of the books.”<br /> <br /> He continues with a statement headed<br /> <br /> “‘ DIFFERENCE IN ‘ CoLoNIAL’ PUBLISHERS.”<br /> <br /> ‘Tt is quite correct to say that some London publishers<br /> are worth, for ‘ Colonial’ sale, a lot more to an author than<br /> are others. Some publishers simply drop their novels on<br /> the market ; if they sell, welland good ; if they don’t sell,<br /> the publisher makes his profit on the average. Others<br /> circulate a few review copies. Others really push every<br /> book with the aid of local agents; and these, we may<br /> modestly say, supplement agents’ visits to the trade—<br /> which, because of the vast extent of territory to cover, can<br /> only be made annually or semi-annually—by advertising<br /> to the trade in The Bookfellow. It stands to reason that<br /> these pushing publishers in relation to our trade are the<br /> best for authors who have an eye to ‘ Colonial royalties.’<br /> The publisher who keeps his goods before trade and public<br /> all the time pushes many a languid or reluctant bookseller<br /> to purchase. Booksellers aren&#039;t infallible, and sometimes<br /> they turn down a book which, when it is pushed by the<br /> publisher, turns up trumps. So that, on this head, there<br /> is some truth in our author&#039;s complaint. But it is the<br /> business of his publisher, not of booksellers, to see that his<br /> book gets the fullest Australasian publicity. And if his<br /> publisher doesn’t do that, and he values his ‘ Colonial ’<br /> royalties, the cure for his complaint is not to abuse the<br /> bookseller, but to change his publisher.”<br /> <br /> This latter paragraph certainly contains<br /> some valuable information for the benefit of<br /> the members of the Society. It now remains<br /> to discover, if possible, those publishers to<br /> whom the editor of The Bookfellow makes<br /> reference. But the statement on which all<br /> these articles have been written is still true,<br /> that the Colonial sales in proportion to the<br /> English sales are not as large as they should be.<br /> Colonials are better buyers of books because<br /> there are fewer and in some cases no lending<br /> libraries. The returns on the accounts should<br /> therefore show a better proportionate result.<br /> Why don’t they ?<br /> <br /> ——_—___-_+-—¢—<br /> <br /> DRAMATISATION OF NOVELS AND<br /> PUBLICATION OF PLAYS.<br /> <br /> +<br /> Important AMERICAN DECISIONS.<br /> <br /> HE Report of the Register of Copyrights<br /> in the United States for the vear<br /> 1911—1912 contains two important<br /> <br /> eases, which more particularly concern the<br /> <br /> <br /> <br /> <br /> <br /> 17i<br /> <br /> interests of British dramatic authors and<br /> novelists owing to the change in the law<br /> effected by the Copyright Act, 1911. Under<br /> the Act the public performance of a play is no<br /> longer equivalent to publication, and_ the<br /> novelist is given the exclusive right of dramatis-<br /> ing his novel. These changes in the law are<br /> very material to the American cases reported<br /> below, which were decided before the new<br /> Copyright Act came into operation.<br /> <br /> The question in the first case is one which<br /> may arise under the English law, namely,<br /> whether the manufacturer of films, for produc-<br /> tion by cinematograph of scenes taken from a<br /> novel, has infringed the copyright of the<br /> novelist, who has the exclusive right of<br /> dramatising his work.<br /> <br /> The second case calls attention to the fact<br /> that British authors resident in England are<br /> entitled to protection in respect of unpublished<br /> works by the common law in the United States ;<br /> while by the English Copyright Act the<br /> common law rights are abolished, and the<br /> statute gives no protection to American<br /> authors resident in the United States in respect<br /> of their unpublished works. The abrogation<br /> of the common law rights has a serious effect,<br /> since the public performance of a play no<br /> longer amounts to publication according to<br /> English law; and the so-called “ copyright<br /> performance ”’ of a play in England will not<br /> confer the statutory right which attaches to a<br /> published work. The American dramatist<br /> must print and publish his play in order to<br /> acquire statutory copyright in England, but<br /> the English dramatist is entitled to protection<br /> in the United States without publication.<br /> <br /> Karem Co. v. Harper Bros.<br /> <br /> This was an appeal by the Kalem Co. against<br /> an order restraining an infringement of the<br /> copyright in the novel “ Ben Hur” by the<br /> late Gen. Lew Wallace. The appellant com-<br /> pany were manufacturers of films, which were<br /> used in cinematograph reproductions, and they<br /> employed someone to read the novel and to<br /> write a description of certain scenes, which<br /> might be reproduced in cinematograph exhibi-<br /> tions. They took photographs of these scenes<br /> and manufactured films, which they advertised<br /> under the title ‘‘ Ben Hur.’’ They then sold<br /> the films, and public representations were given<br /> of these scenes in cinematograph exhibitions.<br /> <br /> It was contended that, as authors have the<br /> statutory right of dramatising their novels. the<br /> representation of the scenes, which was founded<br /> upon a dramatisation of the story, was an<br /> infringement of the author’s copyright.<br /> <br /> <br /> 172<br /> <br /> On the other hand, it was urged on behalf<br /> of the appellant company that an attempt was<br /> being made to extend copyright to ideas, as<br /> distinguished from the words in which those<br /> ideas were clothed, and further that they had<br /> not infringed the copyright, because they did<br /> not exhibit the pictures, but merely made the<br /> films and sold them.<br /> <br /> The Court held that the novel was dramatised<br /> by what the appellants had done, for drama<br /> may be achieved by action as well as by<br /> speech. Action could tell a story, display all<br /> the most vivid relations between men, and<br /> depict every kind of human emotion, without<br /> the aid of a word. A novel might be drama-<br /> tised by pantomine, and it made no difference<br /> whether the effect was produced by living<br /> figures, or mechanical means, or reflection from<br /> a glass. The essence of the matter was not<br /> the mechanism employed, but that the<br /> spectators saw the incidents of the story or the<br /> story lived.<br /> <br /> Further, the appellants had invoked by<br /> advertisement the use of their films for<br /> dramatic reproduction of the story, and that<br /> was the purpose for which the films were<br /> made. If they did not contribute to the<br /> infringement it would be impossible to do so<br /> except by taking part in the final act.<br /> <br /> The appellants had infringed the copyright<br /> in the novel and the appeal was dismissed.<br /> <br /> FERRIS v. FROHMAN.<br /> <br /> In this appeal Mr. Ferris claimed the<br /> statutory copyright in the play entitled “ The<br /> Fatal Card,” by Mr. Haddon Chambers and<br /> Mr. B. C. Stephenson, who were British sub-<br /> jects resident in London at the time of its<br /> composition in 1894, The play was performed<br /> in London on September 6, 1894, and had not<br /> been copyrightea by the authors in the United<br /> States. Mr. Frohman acquired American<br /> rights under an agreement, and the play had<br /> been represented by him in the United States.<br /> Mr. George McFarlane made an adaptation of<br /> the play and assigned his rights to Mr. Ferris,<br /> who copyrighted it in August, 1900, and repre-<br /> sented it in the United States. The adapted<br /> play contained the essential features of the<br /> original play, though it differed in various<br /> details.<br /> <br /> On behalf of Mr. Frohman it was contended<br /> that, as the performance of the play in England<br /> was not publication, the authors had not lost<br /> their common law rights; and that it was not<br /> necessary to comply with the statutory<br /> provisions for the protection of the copyright.<br /> <br /> THE AUTHOR.<br /> <br /> Butit was argued that the English authors being<br /> domiciled in England were not entitled to<br /> common law rights in the United States, and<br /> that Mr. Ferris having copyrighted his adapta-<br /> tion of the play in America was the owner of<br /> the statutory copyright.<br /> <br /> The Court held that the authors of the<br /> “Fatal Card’? had a common law right of<br /> property and were entitled to protection against<br /> its unauthorised use in the United States.<br /> The common law right was not lost by public<br /> performance of the play, which was_ not<br /> equivalent to publication. The play had not<br /> been printed and published, and the statute<br /> did not deprive the authors of their common<br /> law right. The adaptation of the play was a<br /> piratical composition, and Mr. Ferris could<br /> not secure the fruits of piracy by copyrighting<br /> it under the statute.<br /> <br /> The judgment of the Supreme Court of<br /> Illinois, which had decided against the claim<br /> of Mr. Ferris, was affirmed.<br /> <br /> Haroitp Harpy.<br /> <br /> —_—_—__—_.——e____<br /> <br /> RIGHTS IN UNPUBLISHED MANUSCRIPT.<br /> <br /> ++<br /> <br /> CANADIAN Law SvIT.<br /> <br /> (Published by permission of the editor of the<br /> “* Publisher&#039;s Weekly,” U.S.A.<br /> <br /> LAWSUIT of considerable interest to<br /> both publishers and authors has just<br /> <br /> been decided by the High Court of<br /> Justice of Ontario. In effect, the case is a<br /> sequel to an earlier case which was fully re-<br /> ported in the Publishers’ Weekly of October 28,<br /> 1911. Briefly, an author, Dr. W. D. LeSueur,<br /> of Ottawa, was invited to prepare a life of<br /> William Lyon Mackenzie for the “ Makers of<br /> Canada” series, published by Morang &amp; Co.<br /> Through the courtesy of the Mackenzie family,<br /> he was allowed access to a collection of papers<br /> and documents left by Mackenzie and, with<br /> the assistance of this material, compiled his<br /> biography. When his manuscript was sub-<br /> mitted, however, it was found that he had<br /> taken such a prejudiced view of the subject<br /> that it was deemed inadvisable to publish his<br /> work in the series, and another life was pre-<br /> pared in its place.<br /> Doubtless influenced by the Mackenzie<br /> family, Morang &amp; Co. refused to return the<br /> manuscript to Dr. LeSueur. The latter sent<br /> back the money which had been paid him in<br /> the first instance and brought suit against the<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> ‘ide publishers for the recovery of his property.<br /> 4 The case was carried from court to court, and<br /> 22. was finally decided in favour of the plaintiff<br /> -~by the Supreme Court of Canada in October,<br /> “61911. The Court directed that Morang &amp; Co.<br /> of should forthwith hand over the manuscript to<br /> <br /> 6 the author.<br /> <br /> 4 Following the return of the manuscript Mr.<br /> 5 £G. G. S. Lindsey, grandson of Mackenzie and<br /> 2m custodian of his papers, took steps to prevent<br /> ~ ej its publication by Dr. LeSueur. He brought<br /> <br /> ‘i suit against him to compel him to deliver up<br /> <br /> ii all extracts from and copies of any manu-<br /> “to, scripts, books, papers, writings, and docu-<br /> ‘gg; ments of every kind, obtained from the<br /> ‘sal Mackenzie collection, and to restrain him from<br /> i4gq publishing them or causing them to be pub-<br /> sei lished. This case has just been heard, and<br /> <br /> ) judgment in favour of the plaintiff delivered on<br /> idsl January 9.<br /> a ‘Tt seems to me clear,” said Mr. Justice<br /> <br /> @ Britton in rendering his decision, ‘* that the<br /> lq plaintiff (Lindsey) and the late Charles Lindsey<br /> <br /> q) (plaintiff&#039;s father) supposed that the defen-<br /> <br /> &lt;6 dant (LeSueur) intended to write of William<br /> <br /> I Lyon Mackenzie as one of the men in Canadian<br /> sid history who can fairly be called, speaking<br /> &quot;45 colloquially, as one of the ° Makers of Canada.’<br /> <br /> 7% The conduct of the defendant and what he<br /> <br /> 2 said warranted the plaintiff and Charles<br /> uJ Lindsey in so thinking. I must find as a fact<br /> 4 that the defendant gave the plaintiff and<br /> 3 Charles Lindsey to understand that the views<br /> * and feclings of the defendant towards Mac-<br /> ed kenzie were friendly, and that his attitude in<br /> <br /> | presenting Mackenzie to the public was a fair<br /> °f@ one, that he had no bias against Mackenzie,<br /> ‘es and that-he had no feeling or opinion which<br /> <br /> »# would prevent him, as a writer, from truly<br /> 2#/@ presenting the facts and circumstances of<br /> 1 Mackenzie’s life and character. The defen-<br /> 4b dant, in my opinion, intended that the plaintiff<br /> <br /> bes and Charles Lindsey should believe as they<br /> vb. did in reference to defendant’s feeling and<br /> 46 attitude.<br /> - “At the time of defendant’s arrangement<br /> with the plaintiff, the defendant did hold<br /> strong views against Mackenzie. At that<br /> time the defendant intended to write the life<br /> of Mackenzie on other than conventional lines.<br /> ‘He intended to write of Mackenzie, not as one<br /> of the ‘ Makers of Canada,’ but as a ‘ puller-<br /> down,’ as was stated during the trial.<br /> <br /> “J am of the opinion, upon the evidence,<br /> that the defendant made use of the Mackenzie<br /> collection of books and papers other than was<br /> in accord with the understanding between<br /> him and the plaintiff and Charles Lindsey.<br /> <br /> <br /> <br /> 173<br /> <br /> The use was made contrary to the wish, and<br /> contrary to what was known to be the wish,<br /> of the plaintiff&#039;s father. It is inconceivable<br /> upon the facts that either Charles Lindsey or<br /> the plaintiff would have permitted access to<br /> the Mackenzie papers had either known or<br /> supposed that such manuscript as the defen-<br /> dant produced would have resulted. It is<br /> plain to me that the defendant knew that he<br /> could not have obtained access to the collec-<br /> tion had he revealed his true feelings or<br /> declared his real intention. :<br /> <br /> ‘“No question of copyright is involved. It<br /> is a question of getting access to the house of<br /> another and using the property therein for<br /> personal purposes, different to what was con-<br /> sented to by the owner.”<br /> <br /> W. A.C.<br /> <br /> —_—_——_—_+—_&gt;—_o—__—__<br /> <br /> THE SORROWS OF A FREE-LANCE.<br /> <br /> —+—&lt;—+—<br /> <br /> HIS subject has been tackled before, but<br /> every day competition gets keener, and<br /> the “‘ sorrows” greater; a few hints<br /> <br /> may help ‘‘ would-be ” writers.<br /> <br /> The free-lance offers something for sale, the<br /> supply of which far exceeds the demand ; no<br /> editor requires any free-lance, every free-lance<br /> requires some editor, what is more, requires<br /> many editors if he is to make a living with his<br /> pen. Strikingly uncommon, clever people<br /> compel attention—there is always room on the<br /> top—but these mostly are annexed by editors,<br /> becoming members of the staff of well-known<br /> papers, or their work is commissioned. They<br /> sueceed ; but they cease to be typical free-<br /> lances.<br /> <br /> Now, each person should ask himself, if he<br /> really has something to say, and if he is<br /> prepared to face obstacles and rebuffs, endless<br /> anxiety, and disappointments in order to say<br /> it. If he thinks he can make an easy living<br /> by free-lancing, he is much mistaken; it is<br /> quite possible for a free-lance to have contri-<br /> buted to over thirty publications, included<br /> among thenumber being Is. and 6d. magazines,<br /> and yet not make a net income of £40 a year.<br /> If anyone wishes, let him try and see for him-<br /> self whether the game is. worth the candle.<br /> The most important thing of all is for him to<br /> find out what the character of the paper is, and<br /> what the views of the editor are, also what<br /> regular contributors he has already working<br /> for him, and what subjects he has already<br /> dealt with. All this “scouting,” is very<br /> difficult, and constitutes the “via erucis ”” of<br /> <br /> <br /> *<br /> <br /> 174<br /> <br /> whoever tramps Grub Street with something<br /> to sell. Advertisements increase daily, the<br /> staff does a good deal of the letterpress,<br /> agencies supply endless illustrations, topical<br /> subjects take up much space, so that it<br /> becomes hard for even a willing editor to<br /> squeeze in the work of a new free-lance, unless<br /> by doing so he believes he is enhancing the<br /> worth of the magazine he edits. It is a<br /> question of the survival of the fittest amongst<br /> the too numerous publications, the editor<br /> must make his paper pay, and is forced to<br /> snuff out all mediocrities from its pages.<br /> <br /> There are only three ways of reaching the<br /> powers that be :—<br /> <br /> 1st. Sending manuscripts by post.<br /> <br /> 2nd. Interviewing the editors.<br /> <br /> 3rd. Writing a_ preliminary<br /> suggestions.<br /> <br /> The first is the worst system. It is as easy<br /> to get MSS. sent at random, accepted for<br /> publication, as it is for a blindfolded man to<br /> hit a target ; only a crack shot succeeds.<br /> <br /> The second is arduous labour; for the<br /> editors have no time to spare, detest being<br /> interviewed, do not require contributions, and<br /> resent being cross-questioned as to what they<br /> do want. They look upon the person carrying<br /> a pile of manuscripts as.one generally looks at<br /> a hawker, sometimes with pity, generally with<br /> irritation.<br /> <br /> The third is, to my mind, the less thorny<br /> path ; if no answer is received, one can take it<br /> for granted that contributions are not required,<br /> or that what one offers is unsuitable; if any<br /> subject appeals to the editor, he is almost sure<br /> to ask for the article to be submitted to him ;<br /> it also has the advantage of placing twenty or<br /> thirty subjects before his notice. This could<br /> not be done ina brief interview ; and if method<br /> number (1) were adopted, it would entail a<br /> fearful postage expense to the author in<br /> manuscript and a fearful loss of time to the<br /> editor.<br /> <br /> If once a subject is asked for, a careful study<br /> of the style of the publication should be made<br /> by reading a few back numbers. An idea<br /> must be formed as to what class of people it<br /> eaters for; every paper caters for a different<br /> public. The same subject would have to be<br /> dealt with entirely differently, if meant for<br /> a ls. magazine, or a 3d. rag. But—and here<br /> the “‘ sorrows ”’ come in, if the article does get<br /> accepted, the author must wait and see when<br /> it gets published and how and when he gets<br /> paid for it; he will often have to send in his<br /> account or solicit payment repeatedly. When<br /> he receives a cheque in any other profession,<br /> <br /> letter with<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> his troubles would be at an end ; not so with th<br /> free-lance. At the back of the cheque he wil<br /> find: ‘All British rights,’ ‘* Copyright,’<br /> ** Artist’s rights,’”’ “‘ All author’s rights,” “* Al<br /> rights,’ ‘‘ Serial rights,” and many mor<br /> assertions of “rights”? for which he has no<br /> bargained for, and which he only vaguel<br /> understands. If he signs the cheque he ma<br /> land himself into no end of trouble in th<br /> future ; if he does not sign, or alters the wordin<br /> of the cheque, he cannot get payment ;<br /> asserts himself, or in any way ruffles the<br /> editors, he never will be allowed to contribut<br /> to their papers again, so that he is hemmed in<br /> on every side. As matters now stand, the<br /> author is always at a disadvantage. Of course.<br /> a good agent could overcome all these difficul-<br /> ties, but where are “‘ good ”’ agents to be found ?.<br /> More often by going to them one only gets<br /> more sorrows. Be not deceived—financially<br /> free-lancing is a poor game against uneven<br /> odds; morally—well—to me at least, it has<br /> been very well worth while.<br /> <br /> A FREE-LANCE.<br /> <br /> <br /> <br /> ee<br /> <br /> MAGAZINE CONTENTS.<br /> <br /> — +<br /> <br /> Bookman.<br /> Charles Reade. By Lewis Melville.<br /> George Saintsbury. By Thomas Seccombe.<br /> A French Study of Chaucer. By W. H. Hudson.<br /> Bookman Gallery. Mr. Maurice Baring. By Robert<br /> Birkmyre.<br /> ENGLISH.<br /> Phoneties and Poetry. By Lascelles Abercrombie.<br /> Copyright and the Case of Coleridge Taylor. By Dr.8.<br /> Squire Sprigze.<br /> Under the Collar.<br /> FoRTNIGHTLY.<br /> Greek Drama: The Dance. By G. Warrett Cornish.<br /> The Aims and Dutiés of a National Theatre.<br /> <br /> NATIONAL.<br /> <br /> A Great Artist and his Little<br /> Richmond, K.C.B.<br /> The Early Years of Madame Royale.<br /> <br /> Critics. By Sir Wm. _<br /> <br /> By Austin Dobson. -<br /> <br /> <br /> <br /> <br /> <br /> SCALE FOR ADVERTISEMENTS,<br /> <br /> <br /> <br /> <br /> <br /> [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT,] e<br /> <br /> Front Page £4 0 0<br /> Other Pages &lt;6 O38<br /> Halt of a Page ... «= 110-9<br /> Quarter of a Page « O16 6<br /> Highth of a Page ins ae ane ae Le<br /> Single Column Advertisements perinch 0 6 0<br /> <br /> Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for<br /> Twelve Insertions,<br /> <br /> All letters respecting Advertisements should be addressed to J. F.<br /> Be.mMont &amp; Co., 29, Paternoster Square, London, B.C. ae<br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> HOW TO USE THE SOCIETY.<br /> ——<br /> <br /> &amp; VERY member has a right toask for and to receive<br /> HK 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&#039;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 /> 9. 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 /> 7. Many agents neglect to stamp agreements,<br /> must be done within fourteen days of first execution.<br /> Secretary will undertake it on bebalf of members.<br /> <br /> This<br /> The<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, op £10 10s. for life membership.<br /> <br /> ————_—_+—_+___—_<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> oo<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 vrice can be<br /> <br /> 175<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 /> Il. A Profit-Sharing Agreement (a bad form of<br /> agreement).<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements.<br /> <br /> (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 Continental<br /> rights.<br /> <br /> (5.) Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher,<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It is now<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in 7he Author,<br /> <br /> 1¥. 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 /> Allother forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> (1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> tothe author. Weare 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 /> EVER sign an agreement without submitting it to the<br /> <br /> ce ges<br /> ~<br /> N Secretary of the Society of Authors or some com-<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<br /> in three or more acts :—<br /> <br /> (a.) Sale outright of the performing right. This<br /> is unsatisfactory. An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> dramatic contract for plays<br /> <br /> <br /> 176<br /> <br /> (0.) 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 inadvance 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 (2.c., fixed<br /> nightly fees). I&#039;his method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in any event. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5, Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time. This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<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 /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable, ‘They should never be included in Hnglish<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 /> —__+—_—&gt;—_ _—_____<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> ——<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> <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 /> Original Plays may also be filed subject to the same<br /> <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 /> <br /> <br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> —_— oe *<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&#039;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 /> —-—~&gt;——_______<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> —_——— +<br /> <br /> ITTLE can be added to the warnings given for the<br /> assistance of producers of books and dramatic<br /> authors. It must, however, be pointed out that, as<br /> <br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> ee ee ge<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&#039;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 /> ———_—+-9 +<br /> THE READING BRANCH.<br /> <br /> mga<br /> EMBERS will greatly assist the Society in this<br /> branch of its work by informing young writers<br /> <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 /> <br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea.<br /> ~~ e<br /> REMITTANCES.<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 Lane, or be sent by registered<br /> letter only.<br />  <br /> <br /> THE AUTHOR.<br /> <br /> COLLECTION BUREAU.<br /> <br /> ———+<br /> <br /> up : i a Society undertakes to collect accounts and moneys<br /> T due to authors, composers and dramatists.<br /> <br /> : 1. Under contracts for the publication of their<br /> .2d70% works.<br /> © 2, Under contracts for the performance of their works<br /> a, Dae and amateur fees. .<br /> ae 3. Under the Compulsory Licence Clauses of the Copy-<br /> , right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments ;—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> <br /> mie office, the expenses are more than covered, the Committee<br /> ie of Management will discuss the possibility of reducing the<br /> commission.<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> <br /> <br /> ———_——__+ &gt;<br /> <br /> CHANGE OF ADDRESS.<br /> <br /> —— &gt;<br /> <br /> Ox and after March 1, 1913, the Society’s<br /> Offices will be at No. 1, Central Buildings,<br /> Tothill Street, Westminster, S.W.<br /> <br /> <br /> <br /> GENERAL NOTES.<br /> <br /> —— +<br /> CHANGE OF ADDRESS.<br /> <br /> Ow1nc to the great increase in the Society’s<br /> work, it has been necessary to remove into<br /> larger offices.<br /> <br /> On and after March 1, the Society—and its<br /> recent established Collection Bureau—will<br /> occupy rooms at No. I, Central Buildings,<br /> Tothill Street, Westminster, 5.W<br /> <br /> GENERAL MEETING.<br /> <br /> Tyr Annual General Meeting of the Society<br /> —notice of which, with the Annual Report for<br /> 1912, will be sent to all members and associates<br /> during the current month—will be held on<br /> Thursday, April 3, at 4.30, at the rooms of the<br /> Society of Arts, 18, John Street, Adelphi, W.C.<br /> <br /> Avuruors, DRAMATISTS, AND CHARITIES.<br /> <br /> Ir is a common experience of authors to<br /> receive requests for the contribution of gratui-<br /> <br /> <br /> <br /> 177<br /> <br /> tous literary work, to be published in some<br /> annual or other production on behalf of<br /> charities. While we have nothing to urge<br /> against the charities for which these appeals<br /> are made, we do wish to suggest to authors<br /> that there are more direct and more advan-<br /> tageous ways of supporting a charity than<br /> by acceding to these requests. If the author<br /> is really interested in, and anxious to help<br /> the charity, it is far better that he should<br /> make a donation to its funds than that he<br /> should give gratuitous literary work to be<br /> published in an annual very often run by one<br /> man under no effective control. In the former<br /> ease, the author is reasonably sure of the<br /> charity getting the benefit of his benevolence,<br /> but in the latter he has no such guarantee.<br /> There are always expenses attaching to these<br /> projects, with the result not infrequently that<br /> very little is left for the cause for which the<br /> project was started. Moreover, it is not a<br /> good thing for the public to get accustomed<br /> to the fact that authors are in the habit of<br /> contributing literary work for nothing.<br /> <br /> Associated with this question of gratuitous<br /> contributions from authors to literary annuals<br /> is the question of the terms given by dramatic<br /> authors to amateur societies for the per-<br /> formances of their works. Dramatists are con-<br /> stantly being asked to consent toa reduction of<br /> fees on the ground that the performance is to<br /> be given for the benefit of some charity. Here,<br /> also, our advice to the dramatist is to refuse<br /> the request, but to send a donation direct to<br /> the charity. By adopting this course he<br /> will be sure of the charity getting the full<br /> contribution, and will have the satisfaction of<br /> knowing that he is not lowering the standard<br /> rate for his work.<br /> <br /> $$ ——__—_<br /> <br /> THE JUMP OF THE CAT.<br /> <br /> —-———<br /> <br /> &gt; a letter which, at the request of Mr. John<br /> Long, Manager of Messrs. John Long, Ltd.,<br /> was published in The Author for Feb-<br /> <br /> ruary, 1913, the following statement occurs :-—<br /> <br /> <br /> <br /> “Phere is no bigger gamble in the commercial world<br /> than publishing as, after all, it is really a toss of the coin<br /> which way the cat will jump.”<br /> <br /> It seems, however, that we need not toss<br /> the coin, because it is quite clear from the<br /> beginning which way the cat will jump. The<br /> quadruped, however agile, can only jump one<br /> way, while the other ways are fenced off.<br /> <br /> <br /> LD<br /> <br /> 17%<br /> <br /> The following proposal from Messrs. John<br /> Long, Ltd., was placed before a member of the<br /> <br /> <br /> <br /> Society, whose leave we have for its<br /> reproduction :—<br /> [copy.]<br /> 12, 13 &amp; 14 Norris STREET,<br /> Joux Lone, Limirep, HAYMARKET,<br /> Publishers. Lonpon.<br /> 15th May, 1912.<br /> DEAR ,—I have received my reader’s report on<br /> <br /> this and, on the whole, it may be considered favourable.<br /> The MS., however, would have to be revised in parts<br /> where you are too profuse. This could be dealt with later<br /> on.<br /> <br /> You have not yet that hold on the public as would<br /> induce me to advise my firm to undertake the entire<br /> risk in publishing the book; therefore, we could only<br /> entertain publication conditional to your contributing<br /> towards the expenses. Authors now-a-days must have a<br /> sufficient public to warrant a publisher running the whole<br /> risk in producing and publishing his work.<br /> <br /> With regard to the amount you should contribute<br /> towards th expenses. We should mention that, if you<br /> can give u a really good book and will at the same time<br /> sink £500, we feel sure we can ensure a permanent demand<br /> for all you write. It would be a good and sound invest-<br /> ment and one which we feel sure you would not regret.<br /> With respect to this £500. The integral portion of it<br /> would be spent in advertising, and a handsome royalty<br /> would be paid to you on all sales. If you think well of<br /> the suggestion, we shall be pleased to lay before you the<br /> whole scheme.<br /> <br /> We feel certain you can write, and there is no reason<br /> why you should not gain a footing, but at the same time<br /> you must be prepared for a fair outlay in order to secure<br /> a sound literary foundation.<br /> <br /> Very truly yours,<br /> (Signed) Joun Lone.<br /> <br /> On receipt of this proposal, the author, for<br /> whom Messrs. John Long had already pub-<br /> lished one book, enquired for further details,<br /> to which request the following letter is a reply.<br /> An alternative scheme was also submitted,<br /> but the one which follows was especially<br /> advocated :—<br /> <br /> [cory.]<br /> <br /> 12, 13 &amp; 14 Norris StREET,<br /> <br /> JoHN Lone, LIMITED, HaAyYMARKET,<br /> <br /> <br /> <br /> Publishers. Lonpon.<br /> 30th May, 1912.<br /> DEAR ,—I have your letter of the 24th inst. and<br /> <br /> now set forth the alternative terms upon which my firm<br /> is prepared to publish the above :<br /> <br /> <br /> <br /> (1)<br /> <br /> That you pay to us the sum of £500 (£250 when you sign<br /> the agreement and £250 when the work is in type) in<br /> consideration of which we should produce the book in the<br /> best style, publish at the outset at the nominal price of<br /> 6s. per copy, advertise in the leading London, Provincial<br /> and possible Irish newspapers to a sum not less than £400<br /> (full details of the expenditure of which would in due course<br /> be submitted to you) and pay to you every six months the<br /> following royalties :—<br /> <br /> (a) 1s. 6d. per copy on all sales of the English 6s. edition.<br /> <br /> (6) 3d. per copy on all sales of the special cheap colonial<br /> <br /> edition.<br /> <br /> (c) 74 per cent. of the nominal published price on all<br /> <br /> sales of any other cheap edition or editions.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> <br /> <br /> <br /> (d) 75 per cent of the net profits derived from any sale<br /> <br /> of the American copyright.<br /> <br /> (e) 75 per cent. of the net profits derived from any sale<br /> <br /> of the foreign rights. :<br /> <br /> (f) 75 per cent. of the net profits derived from any sale<br /> <br /> of the serial rights.<br /> <br /> In the event of your accepting these terms, it must be<br /> understood that we have the first refusal of the next srx<br /> new novels you MAy write suitable for publication in 6s.<br /> volume form. Should we accept one or all of them, it<br /> or they would be published at our entire expense, we<br /> paying to you royalties as over :—<br /> <br /> (a) 20 per cent. of the nominal published price on all<br /> <br /> : copies sold of the English 6s. edition.<br /> <br /> (b) 3d. per copy on all sales of the special cheap colonial<br /> <br /> edition.<br /> <br /> (c) 10 per cent. of the nominal published price on all<br /> <br /> sales of any other cheap edition or editions.<br /> <br /> (d) 50 per cent. of the net profits derived from any sale<br /> <br /> of the American copyright.<br /> <br /> (e) 50 per cent. of the net profits dervied from any sale<br /> <br /> of the foreign rights.<br /> <br /> (f) 50 per cent. of the net profits derived from any sale<br /> <br /> of the serial rights . ..<br /> Very truly yours,<br /> (Signed) Joun Lona.<br /> <br /> Now, what do the terms of this proposal<br /> amount to ?<br /> <br /> Suppose 1,500 copies of the book to be<br /> printed at the outset, and 1,000 copies to sell.<br /> The publisher will then obtain :—<br /> <br /> zs<br /> Profit on cost of production (put<br /> at £100). : : ge 8<br /> 1,000 copies at 1s. 9d. (1s. 6d.<br /> per copy going to the author). 87 10<br /> £117 10<br /> <br /> In addition to this solid pecuniary gain,<br /> the firm obtains the enormous advantage pro-<br /> vided by the author’s expenditure of £400 in<br /> advertising. Such advertising would be sure<br /> to bring to the publisher’s firm a reputation<br /> among new writers unfamiliar with the con-<br /> ditions which produced it.<br /> <br /> It is true that the publisher denies that he<br /> gets from the trade as much as 3s. 3d. a copy,<br /> but it may be taken for granted that this<br /> figure is correct and represents a fair average<br /> price all through. The result, then, on the<br /> sale of the first 1,000 copies, is to give to the<br /> publisher a profit of £117 10s. without in-<br /> volving him in any risk, and to the author, who<br /> receives ls. 6d. a copy, a loss of £425.<br /> <br /> The cat is jumping the publisher’s way.<br /> <br /> Take the matter a little further.<br /> <br /> 3,000 copies, or, say, 3,300, to cover odd<br /> copies, are printed and 3,000 sold.<br /> <br /> It is possible, then, that the cost of produe-<br /> tion may over-run the £100 in the publisher’s<br /> hands by £20. That is, that it may cost £120<br /> to produce an edition of 3,000.<br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> SS.<br /> On 3,000 copies at 1s. 9d. (the<br /> author still taking 1s. 6d.) will<br /> produce for the publisher<br /> Less £20 balance cost of pro-<br /> duction : : :<br /> <br /> 262 10<br /> 20 (0<br /> <br /> £242 10<br /> <br /> It may be as well to add that £120 leaves a<br /> <br /> 6: good margin for the cost of such an edition.<br /> i The result to the publisher is a total profit<br /> i of £242 10s., and an enormous advertisement<br /> <br /> “o) for his firm.<br /> The author, on the other hand, will have<br /> i made :—<br /> <br /> Cost of production and advertise- £<br /> ment - : ‘ ‘ 5<br /> 3,000 copies at 1s. 6d. . . 2<br /> <br /> <br /> <br /> Loss : 3<br /> <br /> i Therefore, the comparative result will be :—<br /> g<br /> <br /> Profit to publisher . : , 242-10<br /> <br /> Loss to the author . ; ~ 275-0<br /> <br /> The obstinate cat still jumps the publisher’s<br /> Sway.<br /> <br /> It is really unnecessary to<br /> <br /> + tration further, for it is evident that the<br /> <br /> carry the illus-<br /> <br /> publisher, as he is getting for every copy a<br /> <br /> clear profit of 1s. 9d. (less only the excess cost<br /> <br /> of production beyond £100), whereas the<br /> <br /> author, after paying £500 in the first instance,<br /> | is getting 1s. 6d., the publisher, meanwhile,<br /> , deriving, in addition, both with the public and<br /> + with certain kinds of journals, all the benefit<br /> © to his firm of wide advertisement paid by the<br /> @ author.<br /> <br /> The author, having diagnosed the jumping<br /> proclivities of the cat, refused this proposal,<br /> but after some months, the following letter<br /> <br /> the publishers —<br /> [copy.]<br /> 12, 13 &amp; 14 Norris STREET,<br /> HayMARKET,<br /> LoNnDON.<br /> 9th December, 1912.<br /> <br /> DEAR .—The sales of were not sufficiently<br /> encouraging to warrant our undertaking the entire<br /> expenses of placing this work effectively on the market :<br /> therefore, before handing it to our reader for his approval,<br /> we shall be glad to know whether you are prepared to<br /> contribute towards the expenses, and in that event what<br /> amount? I fear your last book, publshed by us,<br /> suffered through the smallness of your contribution,<br /> necessitating our moving cautiously with the advertising :<br /> moreover, the appearance of another work of yours about<br /> the same time militated against its success. In the event,<br /> therefore, of our approving the above, and you are prepared<br /> <br /> Joun Lone, LimiveD,<br /> Publishers.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> in respect of another work was received from -<br /> <br /> 179<br /> <br /> to put up money, it would go forth under the _ best<br /> auspices.<br /> <br /> Awaiting your reply.<br /> <br /> Very truly yours,<br /> (Signed) Joun Lone.<br /> <br /> The author, by this time, a good judge of<br /> cat athletics, refused to put up any money,<br /> when Messrs John Long &amp; Co. wrote the<br /> follo wing letter —<br /> <br /> [copy.]<br /> 12, 13 &amp; 14 Norris STREET,<br /> HAYMARKET,<br /> Lonpon.<br /> 18th December, 1912.<br /> <br /> DEAR ,—I have your letter of the 16th inst., and<br /> regret to find you have not sufficient faith in your own<br /> work to be willing to contribute towards the expenses of<br /> publication : consequently, I have no alternative than to<br /> return the above to you which I do herewith, registered.<br /> T shall be glad if you will acknowledge the receipt of the<br /> MS.<br /> <br /> The output of fiction nowadays is such that unless an<br /> author is prepared to contribute handsomely towards<br /> production, publication, advertising, etc., he stands but<br /> a poor chance of gaining the public ear.<br /> <br /> Any new author who can write good sterling stuff of the<br /> popular sort, and is prepared to sink say £500 in his first<br /> and second books, would be assured of a permanent public<br /> for practically all time. I think the days have gone when<br /> merit is recognised without the aid of capital. Personally,<br /> were I an author and felt I could produce work of the<br /> popular order, and could put up a few hundred pounds, I<br /> should not hesitate for a moment to place my work with<br /> an up-to-date publisher and entrust to him the publication<br /> of all I might write, thereby ensuring that he would<br /> naturally take an interest in me.<br /> <br /> Very truly yours,<br /> (Signed) Joun Lone.<br /> <br /> We have published these letters as a warning<br /> to our members. We beg them to read all the<br /> advice given in the letter from Messrs. John<br /> Long, Ltd., of December 18, 1912, carefully,<br /> and act with equal care in a directly opposite<br /> sense.<br /> <br /> We strongly advise them not to put up a<br /> few hundred pounds,” in the belief that<br /> booming the publisher and themselves will<br /> have any solid result. We urge them on no<br /> account to entrust to the publisher the pub-<br /> lication of all that they may write.<br /> <br /> JoHn Lone, LimitEep,<br /> Publishers.<br /> <br /> <br /> <br /> ~—&gt;—+<br /> <br /> THE LETTERS OF AN ORDINARY<br /> AUTHOR.<br /> Collected and edited by Joun HasLetre.<br /> Mains CorTraGE,<br /> <br /> SANTOLLER,<br /> Bucks.<br /> <br /> To H. Venables, Esq.<br /> My Dear Harry,—lI see in your letter,<br /> <br /> which has just come to me, the replica of your-<br /> self—short but cheery. You tell me that you<br /> <br /> <br /> 180<br /> <br /> feel very fit. I never doubted it, and never<br /> shall. You are one of those happy people<br /> born fit, and when you come to die—the sense<br /> of infinity makes me reckless—you will be fit<br /> for it. I have not the same luck, but, thank<br /> heaven, I am not of those who feel a grudge<br /> against the possessor of “‘ rude health.” I can<br /> understand the point of view, but it is not mine.<br /> <br /> But why, oh why! does your letter tail off<br /> with that ghastly phrase, simply reeking of<br /> commerce? You ask, ‘‘ How is business ? ”<br /> Do you not find that the dentist, the architect,<br /> even the art photographer, resents any refer-<br /> ence to business. Customers must be clients,<br /> and we are all artists nowadays. I forgive you,<br /> but the point rankles.<br /> <br /> Our craft, in its vocal form, before it found<br /> its profits curtailed by the demands of the<br /> paper manufacturer and the printer, is the<br /> oldest on earth. It antedated music, I believe,<br /> with the possible exception of the sinfonia<br /> domestica; in point of time it had (as our<br /> American cousins would say) painting ‘“‘ beat<br /> to a frazzle.’”” Beware then of the irritable<br /> artistic temperament, which demands a sense<br /> of reverence in other people.<br /> <br /> I should much like an explanation of the<br /> idea fixed in the mind of the average person—<br /> that author of the party system, and the cult<br /> of the conventionally unconventional, and<br /> other absurd things. The beginner venturing<br /> on the realms of music must have gold galore<br /> poured into the palms of teachers, conserva-<br /> toires and instrument makers; he must<br /> devote years to the study of his art, and hours<br /> per diem to the practice thereof. The painter<br /> must move from the class where he is taught to<br /> make straight lines, through the dreary paths<br /> that wind about the immobile antique, to the<br /> wider freedom of the life-class, before he can<br /> paint—and then sometimes he cannot paint !<br /> But the writer is supposed to spring full-armed<br /> into being, his only tools a pen and some paper,<br /> with the possible addition of a dictionary.<br /> With these, without practice, in the course of<br /> a month, he is expected to produce master-<br /> works, books written in ‘clear, nervous<br /> English,”’ if the phrase means anything ; books<br /> which combine an ingenious and original plot<br /> with clever characterisation. Worse, he is<br /> supposed to sell these books, at the first offer,<br /> to a publisher whose first idea is to make<br /> money, and who has seen only too often the<br /> fervid dreams of young authors crystallise in<br /> disappointing sales, and a residue of unsaleable<br /> ** remainders.”<br /> <br /> The death of a first-born man-child may<br /> bring acute sorrow to the hearts of some; the<br /> <br /> achieve.<br /> <br /> THE AUTHOR.<br /> <br /> return of a first novel deals a shrewd blow to<br /> the unfortunate literary aspirant, but worse—<br /> more dreadful than any blow, is the remark of<br /> the candid friend. It has many variants, but<br /> the form is fixed.<br /> <br /> “YT think authorship is a very precarious<br /> career.”<br /> <br /> There you have it straight in the face. Like —<br /> the sufferer from toothache, the author need ~<br /> never look for sympathy from his friends.<br /> When the public acclaims you, when your<br /> books sell by the oft-repeated edition, then<br /> you may be taken seriously. Never before.<br /> There is your dear old uncle, who says blandly,<br /> “Pleasant hobby—very. Keeps you’ occu-<br /> pied, you know!” Don’t we all dream of<br /> killing that uncle. and burying him in uncon-<br /> secrated ground.<br /> <br /> Precarious career, but useful as a hobby.<br /> Good heavens! Is the young doctor a man<br /> with a fixed and settled income? Can the<br /> dentist calculate his percentage of teeth? Are<br /> not music lessons retailed by very competent<br /> performers at fifteen shillings a term? Yet no<br /> one scoffs because you announce that you<br /> intend to enter these professions. On the<br /> contrary, you elevate your family by your<br /> resolve, you bring a breath of culture into a<br /> very ordinary household. As a lover of<br /> failures, I have adopted a medico, who has had,<br /> so far, no other patient. When speaking to<br /> him the other day, I asked him if his people<br /> ever grumbled at his delay in succeeding. He<br /> laughed, and said that they, of course, knew it<br /> took time to make a start, and he was prepared<br /> to hold out for three years at least.<br /> <br /> But we, poor authors, must build Rome in a<br /> day, or be scoffed at for incompetent workmen.<br /> The Hebrews were driven to make bricks<br /> without straw, but no one contended that their<br /> bricks were the equal of those which contained<br /> straw. This miracle we are expected to<br /> No wonder that we sometimes yearn<br /> for the taskmasters of Egypt, while we strive<br /> to please candid friends, sceptical publishers,<br /> and that weird body, the public.<br /> <br /> But you were asking about my work, and I<br /> have only developed grumbles. Let me see.<br /> Within the past month I have finished a novel.<br /> I think the idea is good; I am certain the plot<br /> is not original, but the treatment is, I hope,<br /> fresh. This manuscript cost me tenpence in -<br /> postage, which includes the necessary stamps<br /> for return if unsuitable. I have begun to keep<br /> accounts, my dear Harry, and for postage L ~<br /> have allowed ten shillings! Why is this, you _<br /> ask ? Well, I think it always better to discount<br /> misfortune. If the tenpences in ten shillings<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> succeed in wafting the manuscript to_book-<br /> form, I shall count them well spent. If they<br /> do not succeed, the half-sovereign shall serve<br /> for a gilded tombstone beneath which the<br /> battered relic may lie in peace.<br /> <br /> Since the departure of the Well-Beloved, I<br /> have written three short stories. Two went<br /> well from the beginning, but the third almost<br /> taught me to swear. These confounded maga-<br /> zine editors must be fanatical lovers of the<br /> “fair sex.” They demand with extraordinary<br /> unanimity that a woman should figure in every<br /> tale. Now, despite the sententious Frenchman,<br /> a woman does not. So you can imagine my<br /> despair when it becomes necessary to pitchfork<br /> a female into a place where she does not fit.<br /> <br /> But you spoke of work, and that, in the idea<br /> of one’s friends, does not mean output but<br /> successes. Apparently you do not work on the<br /> stories which fail to sell. Learn, then, that I<br /> have done one piece of work—i.e., sold a<br /> story—in two months. The editor of The<br /> Wherry must have felt expansive of mood.<br /> He offered me one pound per thousand words,<br /> which meant three pounds for the tale. And<br /> this for “‘ World Rights ” ! One good idea gone,<br /> and the noble sum of three pounds in hand ;<br /> the possible germ of a full-length novel<br /> bartered for sixty pieces of silver. But there<br /> was worse to come !<br /> <br /> May pariah dogs sit on the grave of the<br /> editor of The Wherry! He wants me to<br /> alter the ending. He says my heroine is not<br /> womanly enough. I must make her womanly<br /> by cutting out all the art and all the originality<br /> of the story. He did not say so, but I do. I<br /> must make her fit in with the ridiculous pre-<br /> conceived ideas of a million fatuous people.<br /> For three pounds I must not only barter my<br /> idea, but also my artistic conscience. And I<br /> have done it. You, who know how much<br /> bacon and eggs are encompassed by sixty<br /> shillings, will understand and forgive me.<br /> Some day, when I am famous, the editor of<br /> The Wherry will send an emissary to beg<br /> me for a short story, and I shall kick that man<br /> off my doorstep. Meanwhile, I am muzzled.<br /> <br /> Write soon again, to enquire gently after my<br /> art. Good luck to you. Your friend,<br /> <br /> R. WYVERN.<br /> II.<br /> <br /> Mans CoTraGE,<br /> SANTOLLER, BUCKS.<br /> To Messrs. Spillikens and Feuilleton. Literary<br /> Agents.<br /> <br /> Dear Strs,—I have received your letter of<br /> yesterday’s date, informing me that the editor<br /> <br /> <br /> <br /> 181<br /> <br /> of The Daily Craze has returned my serial<br /> story, as unsuited to the columns of his<br /> paper.<br /> <br /> Also, I note what you consider the weak<br /> points in the story. My difficulty is this:<br /> these points are the best bits of work in the<br /> tale, the most artistic, the most human. Iam<br /> afraid I cannot undertake to rewrite the story,<br /> as you suggest. It is a very difficult business<br /> to fit new cloth into old garments.<br /> <br /> You complain that the heroine does not<br /> occupy the limelight all the time. I agree with<br /> you, but I don’t see why she should. Then<br /> there is the question of a curtain for the first<br /> instalment. I never feel comfortable when<br /> composing such phrases as “A wild cry rang<br /> out” or “*Curse you, my children!’ he<br /> hissed,”’ but, having done it, I cannot see<br /> what more in gore and disaster the editors<br /> wish from me. :<br /> <br /> I must, I suppose, agree with you, that my<br /> writing lacks “* ginger.”<br /> <br /> I don’t affect judicial ignorance, but confess<br /> that I am not attracted by ginger. Itis avery<br /> nice thing in its own place, no doubt, but<br /> hardly claims a place in literature. Of course,<br /> I quite understand that you are doing your<br /> best to advise me, with a view to increasing the<br /> saleability of my work. I have to thank you<br /> for many a useful hint. But there are some<br /> things I cannot do, and writing ultra-sensa-<br /> tionalism while my tongue is out of my cheek<br /> is one of those things. Let a story have a plot<br /> by all means, but don’t let the plot engulf and<br /> destroy the story. I wish I could get some<br /> editors to believe that the best policy. Please<br /> try my serial with the Morning View, which<br /> seems to publish a better class of stuff, and I<br /> will try to do another serial on the lines you<br /> suggest.<br /> <br /> Herewith I am sending you three short<br /> stories. Two are all right ; the third is—well,<br /> it is possible. I hope you will be able to screw<br /> a little more out of the editor of The<br /> Wherry next time. If one gets into the<br /> pound-per-thousand-word groove, it is very<br /> difficult to get out of it. The firm have plenty<br /> of cash at the back of them, and trade, I think,<br /> on the poverty of the beginner, who is afraid to<br /> refuse any offer for fear of having the<br /> manuscript returned.<br /> <br /> I suppose you have not heard yet about my<br /> novel? I know they must be pretty busy, but<br /> you might give them a look up, and see how<br /> the roots are getting on. ;<br /> <br /> I have an idea for a series of short stories.<br /> The hero is not a polished rogue, and he is not<br /> a private detective, so, perhaps, you may<br /> <br /> <br /> 182<br /> <br /> think it a forlorn hope. But I intend to go on,<br /> and will let you have the M.S. in due course.<br /> Thanking you for your letter,<br /> I remain,<br /> Yours truly,<br /> R. WYVERN.<br /> oe<br /> <br /> THE “ SHORT STORY” WRITER.<br /> <br /> os<br /> <br /> AM anxious, and have been for some time,<br /> to say a few words in defence of that<br /> much maligned member of the literary<br /> <br /> fraternity, the “short story ’’ writer.<br /> <br /> I speak particularly of the hardworking<br /> journalist or magazine fiction writer, who has<br /> to augment his (or her) income, or possibly<br /> make it entirely, by what a certain section of<br /> people condemn either as “‘ piffle ”’ or, occasion-<br /> ally, as ‘‘ pernicious ”’ literature, but yet what<br /> the majority of the general public clamours for.<br /> I mean those who read the weekly periodicals.<br /> <br /> I finally made up my mind to write this<br /> article owing to a debate which I attended<br /> quite recently. The subject under discussion<br /> was “‘ Is Art for Art’s Sake a Worthy End for<br /> Human Endeavour?” The two gentlemen<br /> who carried on the argument were both<br /> intellectual men of much fluency and learning,<br /> and for some time the conversation was<br /> carried on a plane far above the heads of most<br /> of us. They attacked the question from what<br /> was termed the philosophical side.<br /> <br /> A third speaker, however, took a different<br /> tone, and brought the subject down to<br /> materialism and personalities; he tended to<br /> show that Art, by which in the ordinary sense<br /> I think we generally understand to mean music,<br /> literature, painting, sculpture, etc., could not, in<br /> the common interest of humanity. be carried<br /> on for it’s (Art’s) own sake. He said that<br /> before joining in the discussion he had<br /> obtained the opinion of many artists, writers,<br /> ete., and that the idea of following Art for<br /> Art’s sake had struck them as merely funny !<br /> How could they exist? they asked. Were<br /> they not obliged, if they would live as worthy<br /> citizens, to keep themselves, their wives, and<br /> families, in comfort, and ‘“‘ owe no man any-<br /> thing.” Were they not compelled, if they<br /> wished to achieve this last, to cater for the<br /> general public, and give it what it asked, even<br /> though at times it went against their general<br /> inclinations ? Not one of these men had a<br /> private source of income—they were, therefore,<br /> dependent on their pen, or brush, to provide<br /> them with the necessaries of life.<br /> <br /> THE AUTHOR.<br /> <br /> The first two openers of the debate were<br /> frankly shocked at what they evidently<br /> thought a desecration of the muses, and the<br /> speaker who had descended to materialism<br /> (he is a “short story’ writer and spoke<br /> feelingly) got slated soundly.<br /> <br /> Now why ?<br /> <br /> I am aware that this is a much harried and<br /> grievous question amongst many, and that a<br /> great diversity of opinion exists.<br /> <br /> By a large number of deep readers and<br /> thinkers the magazines, penny papers, half-<br /> penny papers, and such like, are often con-<br /> demned as “pernicious” literature and<br /> regarded with contempt. I would defend<br /> these periodicals with all the ardour of which<br /> I am capable. Are they pernicious? Is<br /> their influence bad? Do they tend to cheapen<br /> Art? I don’t think so. I maintain that at<br /> no time and in no age has there been such a<br /> careful watch kept on the Press generally,<br /> on magazines, books, weekly and daily papers,<br /> in defence of their maintenance of a healthy<br /> and beneficial tone, and a condemnation of all<br /> that is unhealthy, immoral or bad, as there<br /> is now. All honour to those editors who run<br /> these papers, and who have themselves, in<br /> many instances, commenced their careers by<br /> free-lancing.<br /> <br /> The writers of these brief stories, or sketches,<br /> are often just beginning their career. They<br /> dream of great things! They hope for great<br /> things! But dreaming and hoping will not<br /> bring them glory, or fame, or pay for the<br /> necessaries of life. Many a young ambitious<br /> man would gladly prefer to set aside for ever<br /> the lighter vein, and the smaller things he is<br /> doing, and give himself up to his ideals, but<br /> he knows that those ideals may never reach<br /> fulfilment, and that it is his duty, as a citizen,<br /> very often as a father and husband, to do<br /> that. which comes easily to his hand, that<br /> brings grist to the mill.<br /> <br /> Let us suppose that we abolished the weekly<br /> ‘“‘ha’penny ”? which the drayman, the trades-<br /> man’s boy, and such like find of immense<br /> interest, and in which they follow up the<br /> stirring achievements of the professional foot-<br /> ballers, or cricketer, or detective, that they<br /> find between its pages. Supposing we did<br /> away for ever with the penny weeklies, the<br /> larger portion of which circulate in the middle<br /> classes, and a great many in the domestic<br /> servant circle. Should we tend to elevate the<br /> minds of the readers, and would they go for a<br /> higher form of literature because the lighter<br /> kind was beyond reach? No! I believe that<br /> the majority of them wouldn’t read at all.<br /> <br /> <br /> <br /> <br />  <br /> <br /> THE AUTHOR.<br /> <br /> Can we imagine the laundryman reading<br /> Thackeray, or the cook Shakespeare ?<br /> <br /> I give one instance which serves to show that<br /> the domestic class, at any rate, loves its<br /> “weekly,” and how useless it is to try to<br /> tear them from her. A maid of mine, who was<br /> with me for nearly two years, and who was<br /> intelligent and fond of reading, had the offer<br /> of the use of my library, a large one, com-<br /> prising all kinds of fiction. I also suggested<br /> a few books, not at all above her head, which<br /> I thought she would enjoy. During the two<br /> years that she was in my service, she borrowed<br /> one, and yet she spent money each week on<br /> literature of the penny order, and had a good<br /> deal of time during the evenings which she<br /> devoted to it.<br /> <br /> I think we must cater for minds on the lower<br /> plane as well as those on a higher. And if the<br /> lower and middle classes do enjoy, and do<br /> demand literature of the penny paper order,<br /> let us let them have it healthy, bright, clean,<br /> and amusing, with a good influence and motive<br /> pervading it. Such stories, I don’t care in<br /> what periodical they are issued, or how cheaply<br /> these periodicals are sold. must tend, to some<br /> small extent, to brighten those whose lives<br /> are often of the prosaic order, and both reader<br /> and writer will be the better, and not the<br /> worse, for having read and written them.<br /> <br /> After all, the greatest writers made small<br /> beginnings, and climbed the dizzy heights of<br /> suecess slowly and often laboriously.<br /> <br /> I would suggest a greater tolerance from<br /> those who claim to be judges of Art and<br /> Literature, and that they make themselves<br /> acquainted, by careful reading and observation,<br /> of those things which they too often condemn<br /> unheard and unobserved.<br /> <br /> Maup DOovuBELL.<br /> <br /> —ep-—&lt;4e@<br /> <br /> WRITERS’ AND ARTISTS YEAR BOOK.*<br /> <br /> ——<br /> <br /> G is a pleasure once more to give the<br /> warmest of welcomes to “‘ The Writers’<br /> and Artists’ Year Book.” The volume<br /> <br /> for 1913 differs in no way from that for 1912.<br /> <br /> except in having been carefully brought up to<br /> <br /> date, and it ought not to be necessary to say<br /> anything about its contents, as the very great<br /> value of the work and its very small price,<br /> should secure its being in the hands of every<br /> writer and artist. In it may be easily dis-<br /> <br /> * &amp; The Writers’ and Artists’ Year Book, 1913.”<br /> and Charles Black, London, 1s. nett.<br /> <br /> <br /> <br /> Adam<br /> <br /> <br /> <br /> 18%<br /> <br /> covered where work of any kind can be<br /> placed; and it is not an exaggeration to<br /> assert that if work is saleable, ‘‘ The Writers’<br /> and Artists’ Year Book” will show where a<br /> purchaser is to be found.<br /> <br /> Eg<br /> <br /> A CHRISTMAS GARLAND.”<br /> <br /> a<br /> <br /> YOME DAY, when I grow rich enough, I<br /> Ss am going to have an original carica-<br /> <br /> ture of Max Beerbohm’s. In the<br /> meantime I know of a shop where I can buy<br /> reproductions fairly cheaply ; and also I have<br /> ‘A Christmas Garland.”<br /> <br /> One may not quote from it because one<br /> would never stop quoting ; one cannot choose,<br /> because there is so little to choose between the<br /> berries woven in it. Yet if one were to sub-<br /> tract from the list of seventeen those who most<br /> easily lend themselves as victims, Henry<br /> James, Rudyard Kipling, Maurice Hewlett and<br /> George Meredith, the three I would take from<br /> the remaining thirteen for my own everlasting<br /> joy would be Mr. A. C. Benson, Galsworthy,<br /> and perhaps George Moore, and having<br /> chosen, there is nothing left to do but to<br /> quote. Of Percy in ~ Out of Harm’s Way,”<br /> Mr. A. C. B*ns*n speaks so :—<br /> <br /> ** And then, once more in his rooms, with the<br /> curtains drawn and the candles lit, he would<br /> turn to his bookshelves and choose from among<br /> them some old book that he knew and loved,<br /> maybe some quite new book by that writer<br /> whose works were most dear to him, because<br /> in them he seemed always to know so precisely<br /> what the author would say next, and because<br /> he found in their fine-spun repetitions a<br /> singular repose, a sense of security, an earnest<br /> of calm and continuity, as though he were<br /> reading over again one of those wise copy-<br /> books that he had so loved in boyhood, or<br /> were listening to the sounds made on a piano<br /> by some modest, very conscientious young girl,<br /> with a pale red pig-tail, practising her scales,<br /> very gently, hour after hour, next door.”<br /> <br /> In “Endeavour,” Galsworthy is crowned<br /> with his own “ faint salt flowers.” One lives<br /> with him tremulous-nostrilled in an atmosphere<br /> of vague scents and emotions, fleeting and<br /> poignant.<br /> <br /> ‘Tere were the immediate scents of dry<br /> toast, of China tea, of napery fresh from the<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> *« 4 Christmas Garland. Woven by Max Beerbohm.”<br /> Tondon: William Heinemann, 6s.<br /> <br /> <br /> 184<br /> <br /> wash, together with that vague supersubtle<br /> scent that boiled eggs give out through their<br /> unbroken shells. And as a permanent base to<br /> these there was the scent of much-polished<br /> Chippendale and of beeswaxed. parquet and of<br /> Persian rugs. To-day, moreover, crowning<br /> the composition, was the delicate pungency of<br /> the holly that topped the Queen Anne<br /> mirror and the Mantegna prints.<br /> <br /> “. .. Just at that moment, heralded by a<br /> slight fragrance of old lace and of that peculiar,<br /> almost unseizable odour that uncut turquoises<br /> have, Mrs. Berridge appeared.<br /> <br /> ‘““* What is the matter, Adrian ?’ she asked<br /> quickly. She glanced sideways into the Queen<br /> Anne mirror, her hand fluttering, like a pale<br /> moth, to her hair, which she always wore<br /> braided in a fashion she had derived from<br /> Pollaiuolo’s St. Ursula.”<br /> <br /> Only one more, from Mr. Belloc :—<br /> <br /> *«« This, too, I shall sing, and other songs that<br /> are yet to write. In Pagham I shall sing them<br /> again, and again in Little Dewstead. In<br /> Hornside I shall re-write them, and at the<br /> Scythe and Turtle in Liphook (if I have<br /> patience) annotate them. At Selsey they will<br /> be very damnably in the way. and I don’t at<br /> all know what I shall do with them at Selscy.”<br /> <br /> The rest is all in the book, and one of the<br /> books is with me. For the writing of it I<br /> thank Mr. Max Beerbohm very gratefully,<br /> <br /> WINIFRED JAMES.<br /> <br /> <br /> <br /> SAPPHO AND THE ISLAND OF LESBOS.*<br /> <br /> 1<br /> <br /> HIS dainty little volumne should be in<br /> the library of every woman of letters ;<br /> if for no other reason, for the sake of<br /> <br /> the woman whom all ages have acclaimed as<br /> the queen of poetesses, about whom every<br /> woman who writes ought to know something,<br /> and of whom there is hardly anything, if any-<br /> thing, known which is not here recorded ;_ but<br /> also, we would add, for this reason that there<br /> are herein contained many things which every<br /> woman of good taste will read with so great<br /> pleasure and advantage, that she will wish the<br /> book to be not only among those which she has<br /> read, but also one of those which she has always<br /> near her.<br /> <br /> In the opening chapters Dr. Mary Patrick<br /> sketches the times, the contemporaries, and<br /> <br /> <br /> <br /> * Mary Mills Patrick, Ph.D.<br /> <br /> “Sappho and the Island<br /> of Lesbos.”<br /> <br /> With twenty-six illustrations. Methuen &amp; Co.<br /> <br /> THE AUTHOR.<br /> <br /> the home of Sappho, and then proceeds to<br /> record everything that is at present’ known<br /> about herself and her writings, not omitting<br /> to deal with the various foolish things that<br /> have been at different periods related, without<br /> foundation, respecting the poetess and her<br /> friends. That all that is known should be so<br /> little is to be regretted; but whatsoever is<br /> known at present will be here found faithfully<br /> and pleasantly recorded, as well as, at the con-<br /> clusion of the volume, scholarly English trans-<br /> lations of all the extant fragments of Sappho—<br /> including the very important ones that have<br /> been recently discovered. These translations<br /> will make the volume valuable to those who<br /> are able to read the originals, for, as Dr. Mary<br /> Patrick rightly observes, to seize the exact<br /> meaning of Sappho is often a puzzling problem,<br /> and the translations are very well done. By<br /> no means the least interesting features of the<br /> little book are the illustrations. They repre-<br /> sent not only landscapes suggestive of the<br /> scenes amidst which Sappho lived, but also<br /> all the portrait busts that are of importance,<br /> as well as the much older portraits that exist<br /> upon coins. The few notes which follow the<br /> concluding chapter (we think that we should<br /> have liked better to have had them as foot-<br /> notes) may not appear to everyone to be of<br /> much importance ; but, in justice to Dr. Mary<br /> Patrick, it should be remarked that, for classical<br /> scholars, they immensely enhance the value of<br /> this excellent little monograph.<br /> <br /> ————<br /> <br /> CORRESPONDENCE.<br /> <br /> ee<br /> ‘“*SraGE CopyRIGHtT.”<br /> <br /> Sir,—While thanking you for your kind and<br /> appreciative review ‘of ‘‘ Stage Copyright :<br /> At Home and Abroad,” may I ask the indul-<br /> gence of your columns for a few lines of explana-<br /> tion on the two points on which you make some<br /> reservations. With regard to the first point<br /> you remark: ‘‘ The author draws attention<br /> to the fact that assignment of copyright in a<br /> literary, dramatic, or musical work includes the<br /> rights of mechanical reproduction, and that<br /> this fact is one to be borne in mind, especially<br /> by musical composers. He should have added<br /> equally, if not more so, by dramatists, for it is<br /> almost impossible to conceive what may be<br /> the result of kinematograph production in the<br /> future.” But the chapter in which the passage<br /> in question appears in the book is one devoted<br /> entirely to mechanical reproduction by means<br /> of musical contrivances; and this sort of<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> mechanical reproduction is not so important<br /> to dramatists as to musical composers. In the<br /> chapter on Infringement a statement that an<br /> unconditional assignment of Copyright in a<br /> play “passes” the kinematograph rights is<br /> expressly made.<br /> <br /> As to point No. 2, you say that it is difficult<br /> to agree with the statement in the preface that<br /> ‘perhaps not so much has been done for the<br /> dramatists as for other classes of author ’’ [in<br /> point of protection against infringement and<br /> piracy]. My chief but not my only reason for<br /> this opinion was the way in which the special<br /> requirements of dramatic copyright are sub-<br /> ordinated to those of literary copyright in<br /> Section 11 of the 1911 Act, relating to summary<br /> remedies. When the Bill was introduced in<br /> 1910, I ventured to point out that all specific<br /> mention of unauthorised performance of a<br /> dramatic work had been neglected in this<br /> section. The omission was afterwards dealt<br /> with, but only by means of a clumsy and in-<br /> adequate clause inserted in Section 11 (2). One<br /> cannot but feel that the section as a whole was<br /> drawn in the interests of copies in print, and<br /> while it has full practical point in that respect,<br /> it is very far from being what it should be had<br /> the interests of plays in representation been<br /> similarly studied.<br /> <br /> I am,<br /> Yours faithfully,<br /> BERNARD WELLER.<br /> <br /> i<br /> <br /> EprrortaL CouRTESY.<br /> <br /> I.<br /> <br /> <br /> <br /> Srr,—One has no difficulty in recognising<br /> _ the weekly review whose methods (?) of doing<br /> business are described in the February Author<br /> by “The Worm That Turned.’’ It is cele-<br /> brated as one of our leading periodicals, not<br /> only in politics but in literature. We have<br /> seen what this amounts to, from a contributor’s<br /> point of view: let us examine the matter, for<br /> a moment, from the subscriber’s. I wonder<br /> whether any subscriber, paying his 6d. a<br /> week for this paper, has ever asked himself the<br /> significance of the editorial notice to which<br /> “The Worm” refers: has ever asked himself,<br /> I mean, what the notice stands for in regard not<br /> to the writer, but to the public ?<br /> <br /> Here is the notice :—‘* We beg to state that<br /> we decline to return or to enter into any<br /> correspondence as to rejected communications ;<br /> and to this rule we can make no exception.<br /> <br /> <br /> <br /> 185<br /> <br /> Manuscripts not acknowledged within four<br /> weeks are rejected.”<br /> <br /> Could such a naive confession of sheer<br /> inertia appear, in a literary journal, in any<br /> other country but this? For its interpretation<br /> is plain. The editor candidly admits that he<br /> not merely does not want to encourage new<br /> writers with new ideas to send their work to<br /> him, but positively wishes to discourage them.<br /> Let other papers be at the trouble and expense<br /> of finding new talent, he is not going to.<br /> When they have unearthed a new man, this<br /> editor may perhaps condescend to write and<br /> ask him to contribute, not till then. In other<br /> words, his subscribers will never, never if he<br /> can help it, get the privilege of the first<br /> introduction to anything novel in literature.<br /> <br /> How do the payers of sixpences view this<br /> frank proclamation that—whatever other<br /> journal secures the fresh—theirs is safe to miss<br /> it ?<br /> <br /> I am, etc.,<br /> Warp Muir.<br /> <br /> ee ed<br /> <br /> I,<br /> <br /> Dear Sir,—I have been much interested<br /> in the letter of “*‘ The Worm That Turned ” in<br /> your February issue, interested with that<br /> bitter interest which comes of fellow sufferings.<br /> I am quite sure that the experiences he<br /> enumerates could be multiplied by the score<br /> and still their total remain untold.<br /> <br /> I write for’a large number of magazines and<br /> weekly papers, and I can count on the fingers<br /> of one hand the offices from which to expect<br /> any sort of business promptitude or ordinary<br /> consideration.<br /> <br /> The year is not very old, but I have already<br /> the usual tale of complaints against editors<br /> and their like :—<br /> <br /> (1) A well-known London daily has taken<br /> verse from me for some time. I invariably<br /> enclose stamps when sending, but for some<br /> unfathomable reason the editor suddenly<br /> refuses to return my MSS. or to accept them.<br /> I write in vain. Silence is my reply, and my<br /> only conclusion is that contributors’ stamps<br /> are used for the private correspondence of the<br /> staff.<br /> <br /> (2) I received an introduction to the manager<br /> of an important Press agency; at an inter-<br /> view in London he expressed himself willing<br /> to consider my work; such was sent in, I<br /> received answer that one story was too short,<br /> but that if I lengthened it, it would prove<br /> acceptable and I might send a Christmas tale<br /> <br /> <br /> 186<br /> <br /> as well. I gasped at the meagreness of the<br /> terms offered, but imagined it might be well<br /> to accept with a view to better results in the<br /> future. I lengthened the old tale and sent<br /> another. Both were returned after con-<br /> siderable delay with not even an apology.<br /> <br /> (3) At an interview with the editor of a<br /> popular magazine interest was expressed in<br /> my work and MS. was left. I afterwards<br /> received it back, ‘‘ declined with thanks,”<br /> and unstamped.<br /> <br /> These are but a few of the vexations in-<br /> flicted upon contributors by the carelessness<br /> and discourtesy of editors, and I have no<br /> doubt that every writer can adduce the like<br /> from bitter experience.<br /> <br /> When editorial methods are only commonly<br /> business-like, writers will have much to be<br /> thankful for. May that day speedily arrive !<br /> <br /> Yours faithfully,<br /> ScRITTA.<br /> <br /> CoLONIAL PUBLICATIONS.<br /> <br /> Srr,—Referring to the articles on “ Colonial<br /> Publication ” it would seem that only through<br /> the business capacity of American publishers<br /> do English books obtain a fair circulation in the<br /> Dominions. To uphold our patriotism, it is<br /> suggested that Colonial publishers of energy<br /> should make direct contracts with English<br /> authors, if English publishers continue to<br /> show a supine indifference to general business<br /> interests.<br /> <br /> Some time ago I tried to arrange for the<br /> publication of a small book in Canada with<br /> a well-known publishing firm, recommended<br /> to me by a Canadian friend in a collateral line<br /> of business.<br /> <br /> My little book was not a sentimental novel<br /> or one likely to have a large or perhaps any<br /> appreciable circulation, but for special reasons<br /> I wished it to be published in Canada even if<br /> it failed.<br /> <br /> I wrote, therefore, a purely business letter<br /> describing the subject, asking the firm if they<br /> were willing to publish it, and if so on what<br /> terms. To this I received no answer. Think-<br /> ing that the letter might have gone astray,<br /> I wrote again, registering this and enclosing<br /> money for a registered reply. No answer has<br /> ever come. The firm have evidently not had<br /> the courtesy or enterprise to attend to an<br /> ordinary business matter.<br /> <br /> Anyone can see how such delay might be<br /> fatal to much hard work.<br /> <br /> THE AUTHOR.<br /> <br /> It so happens that it would not suit me to<br /> employ an American publisher. What is to<br /> be done ?<br /> <br /> There is also the question of the correction<br /> of proofs to be considered. How is this to<br /> be arranged at a great distance? How, too,<br /> if proof correction is left to the publisher, is<br /> an author to be certain that an American or<br /> Colonial compositor will not disfigure his book<br /> with American spelling? How, also, is the<br /> author to know what number of copies of his<br /> book may have been sold ?<br /> <br /> Publishers are not in business, one would<br /> imagine, for the fun of the thing, nor do they<br /> hire offices to have a pleasant place in whic<br /> to write letters or read MSS. ‘<br /> <br /> It would seem that old mercantile methods<br /> —on the take-it-or-leave-it principle—are still<br /> at the bottom of many a publisher’s want of<br /> enterprise.<br /> <br /> Neither an American nor a German business<br /> man waits to have his mouth opened to receive<br /> a lollipop. He seeks to adapt himself to<br /> circumstances and does not despise small<br /> things, knowing that the general turnover<br /> at the year’s end is what he must keep his<br /> eye on.<br /> <br /> If a man has anything to sell, it is surely<br /> in his interest to find buyers, learn their wants,<br /> and create in them a desire for his goods, be<br /> they books or sugar.<br /> <br /> For this reason an ‘ Authors’ Publishing<br /> Association’? on purely business principles<br /> might be of decided use to English writers.<br /> <br /> I am, etc.,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> Co-OPERATIVE PUBLISHING.<br /> <br /> S1r,—With reference to the letter on this<br /> subject in the January Author, I am entirely<br /> in accord with ‘“‘ Progress ”’ that it is time this<br /> question received serious consideration. How<br /> much longer are writers to waste the best<br /> years of their life in going from pillar to post,<br /> from publisher to publisher, in vain attempts<br /> to reach the reading public? On the other<br /> hand, how is a man of moderate means to<br /> bring out his book through a publishing house,<br /> at his own risk? In this connection, it would<br /> be well worth inquiring as to whether publica-<br /> tion could not be made less expensive for the<br /> author, in the way suggested by your corre-<br /> spondent.<br /> <br /> Yours faithfully,<br /> LEICESTER ROMAYNE.	https://historysoa.com/files/original/5/526/1913-03-01-The-Author-23-6.pdf	publications, The Author