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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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The Author
Subject
The topic of the resource
<em>The Author</em>
Description
An account of the resource
A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&advanced%5B0%5D%5Bjoiner%5D=and&advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Index&collection=&type=&tags=&exhibit=&date_search_term=&submit_search=Search+For+Items&sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022.
Date
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1890–1914
Identifier
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The-Author-Issues
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Date
The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format)
1913-03-01
Volume
23
Issue
6
Pages
Page range in volume
157–186
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19130301
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The Huthbor.
Monthly.)
(The Organ of the Incorporated Society of Authors.
FOUNDED BY SIR
WALTER BESANT.
Vou. X XILI.—No. 6.
Marca 1, 1913.
[Price SIXPENCE.
TELEPHONE NUMBER:
874 VICTORIA.
TELEGRAPHIC ADDRESS :
AUTORIDAD, LONDON.
—____—_e——_e—__
NOTICES.
— ++
TCR the opinions expressed in papers that
are signed or initialled the authors alone
are responsible. None of the papers or
paragraphs must be taken as expressing the
opinion of the Committee unless such is
especially stated to be the case.
Tue Editor begs to inform members of the
Authors’ Society and other readers of The
Author that the cases which are quoted in The
Author are cases that have come before the
notice or to the knowledge of the Secretary of
the Society, and that those members of the
Society who desire to have the names of the
publishers concerned can obtain them on
application.
ARTICLES AND CONTRIBUTIONS.
Tue Editor of The Author begs to remind
members of the Society that, although the
paper is sent to them free of cost, its production
would be a very heavy charge on the resources
of the Society if a great many members did not
forward to the Secretary the modest 5s. 6d.
subscription for the year.
Communications for The Author should be
addressed to the offices of the Society, 89, Old
Queen Street, Storey’s Gate, S.W., and should
reach the Editor not later than the 21st of each
month.
Communications and letters are invited by
the Editor on all literary matters treated from
Vou. XXIII.
the standpoint of art or business, but on no
other subjects whatever. Every effort will be
made to return articles which cannot be
accepted.
ADVERTISEMENTS.
As there seems to be an impression among
readers of The Author that the Committee are
personally responsible for the bona fides of the
advertisers, the Committee desire it to be stated
that this is not, and could not possibly be, the
ease. Although care is exercised that no
undesirable advertisements be inserted, they
do not accept, and never have accepted, any
liability.
Members should apply to the Secretary for
advice if special information is desired.
SO
THE SOCIETY’S FUNDS.
—_——>— +
“Tj YROM time to time members of the Society
} desire to make donations to its funds in
recognition of work that has been done
for them. The Committee, acting on the
suggestion of one of these members, have
decided to place this permanent paragraph in
The Author in order that members may be
cognisant of those funds to which these con-
tributions may be paid.
The funds suitable for this purpose are:
(1) The Capital Fund. This fund is kept in
reserve in case it is necessary for the Society to
incur heavy expenditure, either in fighting a
question of principle, or in assisting to obtain
copyright reform, or in dealing with any other
matter closely connected with the work of the
Society.
(2) The Pension Fund, This fund is slowly
increasing, and it is hoped will, in time, cover
the needs of all the members of the Society.
THE PENSION FUND.
—+
N January, the secretary of the Society
I laid before the trustees of the Pension
Fund the accounts for the year 1912, as
settled by the accountants. After giving the
matter full consideration, the trustees in-
structed the secretary to invest a sum of £300
in the purchase of Buenos Ayres Great
Southern Railway 4°% Extension Shares, 1914,
£10 fully paid. The number of shares pur-
chased at the current price was twenty-five
and the amount invested £296 1s. 11d.
The trustees desire to thank the members
of the Society for the continued support which
they have given to the Pension Fund.
The nominal value of the investments held
on behalf of the Pension Fund now amounts
to £4,764 6s., details of which are fully set out
in the following schedule :—
Nominal Value.
£ 6s. a
Local Loans ......-seeeeeeree 500 0 0
Victoria Government 8% Consoli-
dated Inscribed Stock .......- 291 19 11
London and North-Western 3%
Debenture Stock ........-+-- 250 0 O
Egyptian Government Irrigation
Trust 4% Certificates ......-- 200 0 0
Cape of Good Hope 33% Inscribed
Stock 6... 20sec ee ec teens 200 0 0
Glasgow and South-Western Rail-
way 4%, Preference Stock .... 228 0 0
New Zealand 34% Stock........ 247 9 6G
Irish Land 23°% Guaranteed Stock 258 0 0
Corporation of London 23%
Stock, 1927—57.....--.- sees 4388 2 4
Jamaica 34% Stock, 1919-49 .. 18218 6
Mauritius 4°% 1987 Stock ...... 120 12 1
Dominion of Canada, C.P.R. 33%
Land Grant Stock, 1938 ...... 198 38 8
Antofagasta and Bolivian Railway
5% Preferred Stock ........-- 237 0 O
Central Argentine Railway Or-
dinary Stock ..........-.0+-. 232 0 O
$2,000 Consolidated Gas and
Electric Company of Baltimore
44° Gold Bonds ........-++-- 400 0 0
250 Edward Lloyd, Ltd., £1 5%
Preference Shares .......-.. 250 0 O
55 Buenos Ayres Great Southern
Railway 4°% Extension Shares,
1914 (fully paid) ..........-- 550 0 O
3 Central Argentine Railway £10
Preference Shares, New Issue.. 80 0 0
THE AUTHOR.
PENSION FUND.
—+—~ +
Tue list printed below includes all fresh dona-
tions and subscriptions (i.e., donations and
subscriptions not hitherto acknowledged)
received by, or promised to, the fund from
October 1, 1912.
It does not include either donations given
prior to October, nor does it include sub-
scriptions paid in compliance with promises
made before it.
anccooooooesosescoesosesoo
Subscriptions.
1912. £ eg
Oct. 2, Todhunter, Dr. John. 1 6
Oct. 10, Escott, T. H. S. : - 0 8
Oct. 10, Henderson, R. W. Wright 0 5
Oct. 10, Knowles, Miss M. W. . 0 3
Oct. 11, Buckley, Reginald . 0-5
Oct. 12, Walshe, Douglas 0 10
Oct. 12, “‘ Penmark” . : 0 10
Oct. 15, Sinclair Miss Edith . 0 10
Oct. 16, Markino, Yoshio Lot
Oct. 20, Fiamingo, Carlo 0 5
Oct. 29, Henley, Mrs. . : ta
Nov. 8, Jane, L. Cecil . 0 5
Nov. 14, Gibb, W. 0 6
Dec. 4, De Brath, S. . : 0 5
Dec. 4, Sephton, The Rev. J. 0° 5
Dec. 4, Cooper, Miss Marjorie 0 10
Dec. 7, MacRitchie, David 0.5
Dec. 11, Fagan, James B. 1 0
Dec. 27, Dawson Forbes 0 10
19138.
Jan. 8, Toynbee, William (in addi-
tion to his present sub-
scription). 010 0
Jan. 9, Gibson, Frank . ; 0 5 8
Jan. 29, Blackley, Miss E. L. 0 5 0
Jan. 31, Annesley, Miss Maude 010 6
Feb. 6, Rothenstein, Albert . 0 7G
Feb. 10, Bradshaw, Percy V. 010 6
Donations.
1912.
Oct. 2, Stuart, James . ‘ 1 £
Oct. 14, Dibblee, G. Binney . - 0 16
Oct. 14, Michell, The Right Hon.
Sir Lewis, C.V.O. 5 5
Oct. 17, Ord, H. W. . : Ce
Oct. 20, Yorke-Smith, Mrs. . > @ &
Nov. 10, Hood, Francis . = . 0 2
Nov. 20, Kennard, Mrs. N. H. 5 0
Dec. 4, McEwan, Miss M. S. 0 10
Dec. 4, Kennedy, E. B. 0 5
Dec. 11, Begarnie, George . «0 3
Dee, 11, Tanner, James T. 3 8
Dec. 11, Toplis, Miss Grace . 0 5
esos oooeses 89S
oad Dec.
Dec.
ZT Dec.
9G Dec.
a Dec.
>» Jan.
6 «CJ an.
sl Jan.
Jan.
. Jan.
s— Jan.
5 Jan.
ist Jan.
is Jan.
isu Jan.
, Jan.
5 G Jan.
fs& Jan.
[| Jan.
| Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Jan.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
Feb.
THE AUTHOR.
COMMITTEE NOTES.
—+~>—+
14, Watson, Mrs. Herbert A. .
14, French, Mrs. Warner
17, Smith, Miss Sheila Kaye .
17, Marras, Mowbray
27, Edwards, Percy J. .
1913.
1, Risque, W. H.
1, Rankin, Mrs. F. M.
2, Short, Miss L. M.
2, Mackenzie, Miss J.
2, Webling, Miss Peggy
3, Harms, Mrs. EH.
8, Church, Sir Arthur,
K.C.V.O., ete.
4, Douglas, James A.
4, Grant, Lady Sybil
6, Haultain, Arnold
6, Beveridge, Mrs. :
6, Clark, The Rev. Henry
6, Ralli, C. Searamanja .
6, Lathbury, Miss Eva .
6, Pryce, Richard
7, Gibson Miss L. 8.
10, K. : :
10, Ford Miss May
12, Greenstreet, W. J.
14, Anon . :
15, Maude Aylmer
16, Price, Miss Eleanor .
17, Blouet, Madame
90, P. HH. andM. K. ..
22. Smith, Herbert W. .
25, Anon, . ; :
27, Vernede, R. E. :
29, Plowman, Miss Mar ;
29, Todd, Miss Margaret, M.D.
31, Jacobs, W. W.
1, Davy, Mrs. E. M.
8, Abraham, J. J.
4, Gibbs, F. L. A.
4, Buckrose, J. E. :
4, Balme, Mrs. Nettleton .
6, Coleridge, The Hon. Gilbert
6, Machen, Arthur :
6, Romane-James, Mrs. ;
6, Weston, Miss Lydia . :
14, Saies, Mrs. F. H. (in addi-
tion to her subscription)
14, Maunsell, A. E. Lloyd
14, O’Higgins, H. G. .
15, Stephens, Dr. Ricardo
15, Jones, Miss E. H.
17, Whibley, Charles
—
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ASTAADSS
HE February meeting of the Committee
was held at the Committee Room of the
Society, 18, Queen Anne’s Gate, S.W.,
on the 8rd ult.
The committee dealt first with elections.
Thirty-three members and associates were
elected, bringing the total elections for the
year—that is, for the two months of 1913—up
to sixty-seven. The committee accepted,
with regret, resignations for the past two
months, to the number of thirty-two. At
the beginning of the year the resignations are,
naturally, more numerous than during other
periods, and the number is not unreasonable
considering the size of the Society, nor above
the number for the corresponding two months
of last year.
The solicitor then reported on the cases that
had passed through his hands. In the first
case the defendant had agreed to pay the
amount of the debt and costs. The second,
referring to a claim for dramatic fees, had
been withdrawn by the plaintiff on the death
of the defendant, and the solicitors’ charges
had been defrayed by the member concerned.
The next two cases related to unsatisfied
judgments. In the first, the solicitor reported
that he had obtained a sum of £10 and was
still pressing the defendants for the balance,
but was doubtful whether anything more
would be recovered. In the second, after
considerable difficulty, the defendant had been
found and had undertaken to pay the debt by
small instalments per week. Two _instal-
ments had already been paid. Of two actions
for accounts and money against a publisher,
one had been settled, where the claim was for
a small amount. In the second, an arrange-
ment had been made for the payment of the
sum due, under the personal guarantee of one
of the directors of the company, and_ the
solicitor hoped that the matter would be
satisfactorily carried through. Against another
publisher there were two claims. In _ one,
the author had received part of the money
he had paid towards the production of his
book on the understanding that the contract
should be cancelled, and that he should be
free to deal elsewhere. In the second, as
the solicitor remarked, there was the usual
struggle to get the publisher to produce the
book approximately in accordance with his
contract. In a claim against a music pub-
lisher, as no reply had been received, the
solicitor was instructed to proceed at once,
160
Three claims against another firm had been
delayed owing to the fact that the representa-
tive of the firm was abroad, but on the repre-
sentative’s return to England, immediate
action, it was decided, would be taken. The
solicitor then reported a case between a
composer and an English music publisher
which had been settled without going into
Court. The publisher had undertaken to
withdraw all the offending copies and to
deface the plates. Some difficult questions
arising under the Copyright Act were next
reported by the solicitor. The questions
arose under the mechanical contrivances
sections of the Act. The committee decided
that nothing could be done until one of the
members was willing to allow the Society to
take action on his behalf. As the point in
question is likely to arise very shortly, it will
soon, no doubt, be possible for the Society to
carry through a test case.
The solicitor reported at length on a question
of alleged libel arising out of a review. After
a careful consideration and on the opinion of
the Society’s lawyers, the committee decided
that it would be impossible to support the
member in an action.
The secretary then placed one or two
disputes before the committee for their
consideration. ‘The committee decided to
take up a case of the infringement of dramatic
rights, but in a case of infringement of an
author’s book rights in Canada, they instructed
the secretary to interview the author and
discuss matters with him, as the case seemed
likely to involve the Society in expense which
the committee hardly felt justified in incurring.
Another case of alleged infringement of copy-
right in England the committee decided to
take up, subject to the solicitors’ opinion on
the evidence being in favour of an action.
The next question was one of some impor-
tance. The editor of a magazine received a
contribution from one of the members of the
Society. He published it without any refer-
ence before publication to the author as to
terms, and after it had been published sent
the author a cheque, and, at the same time,
a printed receipt which stated that the cheque
was in full payment for the copyright. Other
cases closely allied were also brought before
the committee. Certain editors, it appeared,
were in the habit of sending cheques, the
endorsement of which purported to convey the
copyright of the article to the paper, in spite
of the fact that a contract made before publica-
tion provided for the trarsfer of the serial
rights only. The committee felt that the
THE AUTHOR.
matter was of considerable importance, as
many authors in need of money, rather than —
take action and run the risk of having their
contributions refused in the future, endorse the
cheque. This has the same effect as signing
the form of receipt mentioned in the first
instance. In either event the authors are pre-
vented from re-publishing their work in book
form without the sanction of the proprietors
of the magazines or papers. The secretary was
instructed to raise the whole matter in The
Author, but before doing so, the committee
decided to communicate with certain papers
that are accustomed to issue cheques bearing
on their backs the receipt form in question, in
order to obtain, if possible, their views on the
position. In the last case, a case of dispute
between an author and a printer, the committee
gave instructions as to the line of settlement.
The next matter before the committee was
an important question of copyright between
Great Britain and the United States. Mr. E.
J. MacGillivray had been asked to explain to
the committee his view of the situation ; this
he did, in full detail. The committee under-
stood from their correspondent in America
that the issues had been referred to the
Foreign Office, and it was accordingly decided
that the chairman, with the secretary and
Mr. MacGillivray should communicate with
the Foreign Office on the matter, but that,
before any appointment was sought, a minute
of the proposed representation of the Society's —
views should be sent to all members of the ~
committee in order that the chairman of the —
Society might be fully instructed as to the line —
to adopt. p
The secretary reported that, in accordance —
with the decisions come to at the last meeting,
he had addressed to the editors of various
important papers and magazines a letter
settled by the chairman of the Society, raising _
the question of payment of contributions
on acceptance or within a reasonable time —
from acceptance. The secretary reported the
receipt of valuable answers to the letters sent —
out, the editors in question recognising the —
difficulties of the situation and the views of
the committee. The committee decided to
wait further replies, and then to consider the
line of action to be taken. It is hoped to make |
some authoritative declaration on the subject
in The Author.
At the suggestion of the Composers’ Sub- —
Committee, the Committee of Management —
decided to send a circular to British composers, —
dealing with certain important questions —
arising out’of the transfer of their copyrights, —
iby
TOME
jade.
THE AUTHOR.
and with the forms of contract placed before
them by music publishers—this with a view
to combined and effective action. The secre-
tary read a letter which had been approved
by the Composers’ Sub-Committee, and it was
agreed that it should be sent.
It was decided to invest £150 out of the Life
Membership Account, the amount to be added
to the Capital Fund.
The committee passed the Annual Report,
which had been circulated to them during the
month of January. The accounts and financial
statement had been delayed owing to the fact
that the accountants had not completed the
audit, and it was decided that this should be
circulated at the earliest possible moment in
order that the Report might then be printed.
A question raised by a member of the com-
mittee as to the Society charging a commission
on all moneys obtained by legal action was
considered, and the committee decided to
refer it to the Council.
The question of a new advertisement con-
tract was next discussed, and the secretary
was instructed to settle the form of contract
and carry it through as soon as possible.
It was decided to give the League of Authors
in the United States all possible assistance, but
the committee regretted that they were
unable to accept an offer of interchange of
membership between the two Societies.
A question was raised as to the sale of cheap
edition rights by American publishers, and it
was decided that if any member should bring
forward a clear case, the committee would,
under legal advice, fight the matter in the
American Courts.
Papers forwarded by a Danish Literary
Agency and by the Dutch Society of Authors
were considered and noted for the benefit of
members of the Society.
The committee have to thank Mrs. Went-
worth James for a donation of £2, contribution
to the Capital Fund, paid out of a sum of £10
recovered during the month by the Society on
her behalf.
——_ +
Dramatic SuB-COMMITTEE.
Tur second meeting of this sub-committee
was held on Friday, February 21, at 13, Queen
Anne’s Gate, S.W. After the signing of the
minutes of the previous meeting, the sub-
committee considered the question of the
agenda for the Conference of Dramatists. The
committee decided, however, to defer the settle-
ment of the date till the next meeting, as also
161
the agenda. It is hoped that before that meeting
a satisfactory issue may be come to in regard
to the Managerial Treaty.
A circular referring to the Collection Bureau
was ordered to be set up in type, that it might
be discussed finally at the next meeting, with
a view either to circularising the dramatic
section, or to printing it in The Author, for the
benefit of members of the Society.
The question of foreign agents then came
forward, and the arrangement of the terms on
which the agents appointed should conduct
the business of the Society was considered.
The secretary read letters he had received
from the agents, and he was instructed as to
the terms of his replies. He was also instructed
to write to the Society of Dramatic Authors
in Berlin.
Mr. Walter Jordan, the agent of the Society
in the United States, had forwarded to the
Society’s office lists of plays produced by the
stock companies in America. These lists the
secretary submitted to the meeting, and the
secretary was instructed to go through them as
soon as they arrived and, in those cases where
he saw English authors’ works being pro-
duced, to write to the authors, if they were
members of the Society, enquiring whether
the performances had been authorised or not.
The dramatic cases were then discussed.
The secretary reported that the Committee of
Management had taken up a case of alleged
infringement of copyright on behalf of one of
the members. Another case was reported of
a difficulty experienced by a member of the
Society with an agent in Hungary. As none
of the members of the sub-committee could
give any information about the gentleman in
question, the secretary was instructed to make
what enquiries he could on_ behalf of the
member through the Society’s Hungarian
lawyers, and to report. The third case was
one of alleged plagiarism of one of the members’
plays by a play by another dramatist. The
member concerned put before the sub-com-
mittee a full statement of the resemblances
between the two plays, and a report on the
position was read to the sub-committee. The
sub-committee decided to refer the matter to
the solicitors of the Society, and to request
them to report their views on the case to the
next meeting of the Committee of Management,
with a recommendation that the Committee of
Management should take the matter in hand,
if the solicitors’.opinion was favourable to the
member’s claim.
The consideration of the dramatic pamphlet
was adjourned to the next meeting.
162
ComvosErs’ SuB-COMMITTEE
THE Composers’ Sub-Committee met at
the committee room of the Society of Authors,
13, Queen Anne’s Gate, on Saturday, Feb-
ruary 8, at 11 o'clock. After the reading
of the minutes of the previous meeting
the agenda were considered. The first
matter before the sub-committee was Messrs.
Curwen’s agreement. A letter which had
been received from the firm, in answer to
certain comments submitted to them by the
sub-committee, was considered. The sub-com-
mittee came to the conclusion that Messrs.
Curwen’s desire to have entire control of the
performing rights and mechanical instrument
rights could not be approved, and instructed
the secretary to write to Messrs. Curwen
accordingly, pointing out the reason for the
sub-committee’s conclusions. They further
instructed the secretary to point out that as
the agreement had already been published in
The Author as approved by the sub-committee,
it would be necessary to insert in The Author
a statement of the sub-committee’s inability
to accept the agreement in its new and altered
form.
The next question related to an agreement
from another publishing house which had
been offered to one of the members of the
Society, and it was decided to publish a
criticism of the document in a future issue of
The Author.
The secretary then read a circular letter
which had been approved by the Committee
of Management, and which it was decided to
send round to composers—both those who
were, and those who were not members of the
Society. Suggestions were made with a view
to enabling the secretary to obtain for the
circular the widest possible circulation. It
is hoped to send to at least 500 composers,
in order, if possible, to obtain a strong com-
bination of composers to act in unison for the
benefit of the profession.
The secretary reported the result of an
action taken by the Committee of Management
for a composer, against a. music-publishing
firm. The result had been entirely satis-
factory, and the secretary mentioned that he
had received a letter of thanks from the
composer concerned.
‘A letter from the Society's solicitor dealing
with certain difficult points arising under
section 19 of the Copyright Act was read, and
the secretary explained that the Committee
of Management would be willing to consider
taking action in a case when one was pre-
THE AUTHOR.
sented, in order to obtain the opinion of the
Courts on the points raised.
Another agreement from a publishing house
dealing with American rights was read, and it
was agreed to ask a representative of the firm
to call and discuss the questions arising out
of it with the sub-committee.
—— +
Cases.
Durine the past month twenty-two cases
have passed through the secretary’s hands.
It is as well to mention from time to time that
these cases are matters in which the secretary
actually intervenes between the author and the
publisher, editor, or manager, and not those
cases on which the secretary only gives advice
to the member.
Demands for the return of MSS. have been
the most numerous. Of these the secretary
has dealt with ten. In four cases the MSS.
have been returned, in two cases the editors
have given every assistance in their power, but
have been unable to find the MSS., and no
further action has been possible owing to the
fact that legal evidence has been wanting. Of
the four remaining cases two have only recently
come to the office, and in the other two no
answer has as yet been received.
There have been six demands for money.
Of these three have been successful and cheques
have been paid. The other three are ina satis-
factory state. In two of the cases there has
been a slight dispute as to the amount, but
cheques have been promised as soon as the
figures have been settled, and in the last case,
although a cheque has not been received, a date
has been fixed for payment.
In three cases out of four demands for
accounts, the accounts have been rendered.
The fourth is still in the course of settlement,
the publisher having promised the returns
within the next week.
One dispute on an agreement has been
settled, and one complicated question of moneys
due on accounts is in the course of favourable
negotiations.
There are very few cases left over from
former months. ‘There is no matter which has
not either been placed in the hands of the
solicitors or concerning which replies have not
been received from the opposite party and a
settlement promised.
——
THE AUTHOR. 163
Elections.
Barnes-Lawrence, Ash-
ley ;
Blake, Ernest
Blunt, Reginald .
_~ Bradshaw, Percy V.
Brooks, H. Jamyn :
Brown, R. Cuthbert .
Crawford, Albert Ed-
ward Bredin
L Finck, Hermann :
Foxwell, A. K., M.A.
Lond.
Greenaway, Mrs. O. C.-.
y7 Greene, Harry Plun-
kett ; : ‘
Harding, Ernest
Charlton
Harington, Miss Ethel .
Hinton, Arthur
Jones, E. Hasler
Korbay, Francis .
Lawrence, Margery
Menzies, Mrs. Stuart of
Wood Hall
O’Mara, H. M. S. :
Quirke, Helen M. L.
(Ellen Svala)
7 Rothenstein, Albert .
Round, Mina (Maurice
Reynold).
Sargent, Miss Maud E. .
Schlenssner, Miss Ellie
Simpson, Mrs. Katha-
rine.
Vernon, George . ‘
Silton Rectory,
Zeals, Wilts.
12, Carlyle Man-
sions, Chelsea,
S.W.
87, Dacres Road,
Forest Hill, S.E.
Savage Club, Adelphi
Terrace, W.C.
14, Devonport Street,
Hyde Park, W.
71, Carlisle Road,
Eastbourne.
207, Adelaide Road,
N.W.
19a, Wellesley Road,
Harrow - on - the -
Hill, Middlesex.
42, West Cromwell
Road, Earl’s
Court, S.W.
48, Iverna Gardens,
W.
1, Hartington Road,
Chorlton-cum-
Hardy, Manches-
ter:
14, St. John’s Wood
Road, N.W.
Portalegre, Portugal.
47, Devonshire
Street, W.
Eversleigh, Wol-
verhampton.
Crickett Court, Il-
minster.
Swanage, Dorset.
17, Yarrell Mansions,
Queen’s Club
Gardens, W.
Savile Club, 107,
Piccadilly, W.
11, rue d’Artois,
Paris (8 emi).
Chasefield, Grove
Road, Havant,
Hants.
44, Rosslyn Hill,
Hampstead, N.W.
Piazza S. Barto-
lomeo degli Ar-
meni 8-2, Genoa,
Italy.
Vickers, John H., B.A. Offley Grove, New-
port, Shropshire.
Weston, Miss Lydia ~. 28, Gwydyr Man-
sions, Hove, Sus-
sex.
a
BOOKS PUBLISHED BY MEMBERS.
4
While every effort is made by the compilers to keep
this list as accurate and exhaustive as possible, they have
some difficulty in attaining this object owing to the fact
that many of the books mentioned are not sent to the oftice
by the members. In consequence, it is necessary to rely
largely upon lists of books which appear in literary and
other papers. It is hoped, however, that members will
co-operate in the compiling of this list, and, by sending
particulars of their works, help to make it substantially
accurate.
AGRICULTURE.
RursaL DENMARK AND ITs Lessons. By H. River
Haaearp. New Edition. 8 x 54. 335 pp. (The
Silver Library.) Longmans. 33s. 6d.
Ture Utiiry Poutrry Crus YEAR Book AnD REGISTER.
Edited by A. A. Strrone. 72x 5. 114 pp. 68z.,
Lincoln’s Inn Fields.
ART.
Tue BritisH ScHoout. An Anecdotal Guide to the Britisk
Painters and Painting in the National Gallery. By
E. V. Lucas. 63 x 4}. 264 pp. Methuen. 2s. 6d. n.
Tue Yrar’s Art, 1913. Compiled by A. C. R. CartEr.
74 x 43. 598 pp. Hutchinson.
BIOGRAPHY.
A Littie Sister. By Maurice Lanprievx. Translated
from the Third French Edition by Leonora L. YORKE
Surrn. 7: x 5. xvii +303 pp. Kegan Paul. 5s. n.
DEVOTIONAL.
Tue Way oF Victory. By JEAN Roperts. 2s., 1s., 6d.
Tur Emancipation or Woman. By JEAN ROBERTS.
Mowbray. ls.
DRAMA AND ELOCUTION.
Peur Gyxt. By Henrik Issen. A New Translation by
R. Exuis Roperts. 7} x 54. xxix + 254 pp. Martin
Secker. 5s. n.
Passers-By. A Play in Four Acts. By C. Happon
CHamBers. 6} x 5. 139 pp. Duckworth. 2s.
Five Onu-Act Prays: The Dear Departed, Fancy Free,
The Master of the House, Phipps, The Fifth Command-
ment. By S. Houcuron, author of Hindle Wakes.
7; x 42. 111 pp. Sidgwick & Jackson. 1s. 6d. n.
EDUCATIONAL.
Wuere Epvcation Fars. By Preston Were. With
an Introduction by the Rigur Hon. Lorp SHEFFIELD
74 x 5. 114 pp. Ralph, Holland. 1s. n.
FICTION.
Tur Ware Case. By Gerorce Pisypett. Methuen
& Co. 6s.
Our Own Country. By Lovurse Sracpoote Kunny.
Dublin: James Duffy, Ltd. 2s.
Nevertuetess. By Isapen Smrrx, author of Mated,
The Minister's Guest, etc. Alston Rivers. 6s.
164
Joux CHRISTOPHER. JOURNEY’S Enp. By Roman
Rottanp. Translated by GILBRET CANNAN. 7Z Xx 5.
540 pp. Heinemann. 6s.
Tue BeLoveD ENemy. By E. Marta ALBANESI. 73 x 5.
323 pp. Methuen. 6s.
Swirr Nick or THE YorK Roap. By GEORGE EpGAR.
73 x 5. 412 pp. Mills & Boon. 6s.
Skipper Anne. A Tale of Napoleon’s Secret Service. By
Maran Bower. 74 x 5. 316pp. Hodder & Stough-
ton. 6s.
East or THE SHapows. By Mrs. Husurt Barcvay.
73 x 5. 304 pp. Hodder & Stoughton. 6s.
PaRENTAGE. By Guapys MENDL. 72 x 5. 308 pp.
Chapman & Hall. 6s,
CHILD oF THE Storm. By H. Riper HaGGARD. 72 Xx 5.
348 pp. Cassell. 6s.
An Arram or Sats. By J. C. Snairu. 74 x 5
351 pp. Methuen. 6s.
Concert Prrcu. By Frank Dansy. 7} X 43. 380 pp.
Hutchinson. 6s.
Tue Lirtir Grey SHor. By P. J. BREBNER. 74 x 5.
312 pp. Hodder & Stoughton. 6s.
Tue Peart Stringer. By Praay WEBLING. 7j X 5.
313 pp. Methuen. 6s.
THe Lapy oF THE Canartes. By Sr. Jonn Lucas:
7k x 5. 346 pp. Blackwood. 6s.
New WINE AND OLp Borries. By ConsTANCE SMEDLEY.
74 x 43. 307 pp. Fisher Unwin. 6s.
A Master or Deception. By RicHarpD MaRsH.
336 pp. Cassell. 6s.
Tur Hovsr oF THE OTHER WORLD.
7% Xx 5.
By VioLtet TWEE-
DALE. 7% x 5. 320 pp. John Long. 6s.
dipary’s Career. By Parry Truscott. 7} x 5
305 pp. Werner Laurie. 6s.
Her Srcrer Lire. By Rosurr Macuray. 7} X 5
312 pp. F.V. White. 6s.
Puyiiipa Fouts Mz. By Mary L. PENDERED. 73 X 5.
286 pp. Mills and Boon. 63.
No Otner Way. By Louis Tracy. 7} X 9. 318 pp.
Ward Lock. 6s.
Tun LANE THAT HAD NO TuRNING. By GILBERT PARKER.
260 pp. (Sevenpenny Library.) 6} x 44. Hodder
& Stoughton.
Tu ExpLorrs or BRIGADIER GERARD. By A. Conan
Doyie. (Cheap Reprint.) 6} x 44. 334 pp. Smith
Elder. 1s. n.
Vurtep Women. By MarMapUKE PICKTHALL, 7} X 5.
320 pp. Nash. 6s.
Wo,. By Mavrice Drake. 7} X 5. 316 pp. Methuen.
6s.
Hetexa Brerr’s Carzer. By Desmond CoKE. 7] X 9.
320 pp. Chapman & Hall. 6s.
Her Convict Huspanp. By Marte Connor LEIGHTON.
73 x 5. 320 pp. Ward Lock. 6s.
HISTORY.
France. By Cecrs Huaptam. 8} X 5k. 408 pp. (The
Making of the Nations.) Black. 7s. 6d. n.
MILITARY.
BrermsH Batrues: Crucy. By Hrare BELLoc.
64 x 44. 113 pp. Swift. 1s. n.
MUSIC.
A Coxcisp History or Music. For the Use of Students.
By the Rey. H. G. Bonavia Hunt, Mus.D., F.R.S.E.
New and Cheaper Edition. 63} x 4. 184 pp. Bell.
28. n.
THE AUTHOR.
NATURAL HISTORY.
A History or British Mammats. By Geratp E. H.
BarRett- HAMILTON. Part XIII. 10. x. Oe
pp. 313—360. Gurney & Jackson. 2s. 6d. n.
POETRY.
Porms. By JosEpHINE V. Rows.
Lynwood. 2s. 6d. n.
POLITICAL.
Tur Lorps or THE Devit’s Panavise, By G. SIDNEY
PATERNOSTER. 7% x 5. 327pp. Stanley Paul. 5s.n.
7% x 5. 224 pp.
REPRINTS.
Tur Dynasts. By Tuomas Harpy. Parts I. and II.
xvi + 404 pp. Part IV. 423 pp. (Wessex Edition.)
9 x 53. Macmillan. 7s. 6d. n. each.
SCIENCE.
Voucanozs. Their Structure and Significance. By T. G.
Bonney, Sc.D., LL.D. Third Edition. 379 pp. _6s. n.
Tus INTERPRETATION OF Rapium. By F. Soppy, F.R.8.
Third Edition. Revised and Enlarged. 284 pp. 6s.n.
Herepity. By J. A. THomson. Second Edition.
667 pp. 9s. n. (The Progressive Science Series.
8} x 53. Murray.
THEOLOGY.
Tur Lieut or Inpra. By Haroup Beasiy. A New and
Revised Edition of ‘Other Sheep.” 74 x 43. 224 pp.
Hodder and Stoughton. Is. n.
TOPOGRAPHY.
Gattant Lirree Waxes. Sketches of its People, Places,
and Customs. By JEANNETTE Marks. 7} X 0-
189 pp. Constable. 5s. n.
——_+— > o—_—__
LITERARY, DRAMATIC, AND MUSICAL
NOTES.
—+—< + —
Messrs. Macmillan & Co. announce the pub-
lication in April of the first two volumes of
the “‘ Bombay Edition of the Works of Rudyard
Kipling,” containing all the author’s writings,
verse and prose, newly arranged and cor-
rected by himself. The edition, which will
be limited to 1,050 copies, will occupy twenty-
three volumes, and the first of every set will
be autographed by Mr. Kipling. Two
volumes will appear every two months until
the edition is complete. The price will be
one guinea net per volume, and the work will
only be sold as a whole.
The same firm are the publishers of Mr.
Maurice Hewlett’s ‘‘ Helen Redeemed and
Other Poems,” a volume of verse mainly
concerned with classical subjects; the prin-
cipal poem occupies half the book, which
concludes with fourteen sonnets and some
fragments.
00
ab
th
E
100
Ye
HE
OE
> a
: We ors Seog
re
¢ *-
Ser pe i Sang int sa Sa poe Gath
oe ~ ee
THE AUTHOR.
Messrs. Macmillan have also recently pro-
duced ‘ Portraits and Speculations,” a col-
lection of essays by Mr. Arthur Ransome on
literary and artistic topics; “ Highways and
Byways in Somerset,” Mr. Edward Hutton’s
contribution to the Highways and Byways
Series ; and “‘ The Reef,’ Mrs. Edith Wharton’s
new novel, the scenes of which are chiefly laid
in France.
Mr. Arnold Bennett’s new novel, ‘“‘ The
Regent,” is published by Messrs. Methuen
& Co.
“The Faith of All. Sensible People,” by
Mr. David Alec Wilson, is appearing this
spring through the same firm, at the price of
2s. 6d. net.
Miss Ellen Key’s latest work is a survey of
the feminist question in its entirety, and is
published by Messrs. G. P. Putnam’s Sons
under the title of “‘ The Woman Movement,”
with an introduction from the pen of Mr.
Havelock Ellis. The author includes in her
book a statement of what she considers to be
the new phase upon which the feminist move-
ment is entering, in which the claim to exert
the rights and functions of man is less impor-
tant than the claim of woman’s rights as the
mother and educator of the coming generation.
A second edition of Professor Charlton
Bastian’s ‘‘The Origin of Life,’ with an
important appendix and two new plates, is
published by Messrs. Watts & Co. at 3s. 6d.
A French translation of the same work, by
Professor L. Guimet, is appearing through M.
Lamertin, of Brussels.
Mr. Herbert Jenkins, Ltd., is about to pro-
duce an anonymous book entitled ‘* National
Revival, a Restatement of Tory Principles,”
with a preface by Lord Willoughby de Broke.
It is claimed for this that it re-affirms the
vital principles of Conservatism, and appeals
eloquently to the Conservative elements in
the nation to rally round a new ideal of
patriotism, a new conception of national
policy; that it vindicates the Conservative
conception of the Constitution, and develops
a Conservative doctrine of social reform, which
provides a real alternative to the panaceas of
Radical-Socialism; and that it gives to
patriotic Englishmen of every class a new
confidence, a new inspiration, and a new hope.
Mr. A. Abram has brought out, through
Messrs. George Routledge and Sons in England
and Messrs. KE. P. Dutton & Co. in the United
States, a book on “‘ English Life and Manners
in the Later Middle Ages,” with 77 illustra-
tions from contemporary prints reproduced
from MSS. at the British Museum, &c. In an
165
appendix of over 50 pages a detailed list of
authorities is furnished. The price of the
English edition is 6s.
Father Sebastian Boden has written the
preface to “A Little-Sister,”’ translated by
Miss Leonora L. Yorke-Smith from the French
of Mgr. Maurice Landrieux, Vicar-General of
Rheims. Messrs. Kegan, Paul, Trench, Tritbner
& Co. are the publishers.
Messrs. Hutchinson & Co. publish on
the 4th inst Mr. Philip W. Sergeant’s “ Little
Jennings and Fighting Dick Talbot: a Life
of the Duke and Duchess of Tyrconnel.”’
This is an attempt to do justice, late in the
day, to James II.’s great Irish Viceroy and
his wife, who have suffered heavily in the
past from the “‘ Whiggishness”’ (as the late
Mr. Andrew Lang expressed it once) of the
muse of English history. The work is in two
volumes and is illustrated with 17 portraits.
The same publishers have added to their
Colonial Library Mr. F.. Bancroft’s “ The
Veldt Dwellers,’ which appeared in 6s. form
last October and has gone through six editions.
They are now bringing out a sequel to this
Anglo-Boer War story, under the title of
“Thane Brandon.” Mr. Bancroft has dis-
posed of the American rights of both “ The
Veldt Dwellers’? and ‘‘ Thane Brandon” to
Messrs. Small, Maynard & Co.
Mrs. Mary Gaunt brought out last month,
through Mr. T. Werner Laurie, her new novel,
‘“‘ Every Man’s Desire,” a story of life in West
Africa, a part of the world with which she is
well acquainted. She has started for an
expedition through unknown China, after a
visit to her brother-in-law, Dr. Morrison, in
Peking.
A second edition has appeared of Mr. C. E.
Gouldsbury’s ‘‘ Life in the Indian Police,” of
which the publishers are Messrs. Chapman &
Hall.
The same firm last month, published Miss
Violet A. Simpson’s new novel, “ The Beacon
Watcher.”’
Mr. James Baker, F.R.G.S., has published,
through the Bodley Head, “Austria: Her
People and their Homelands.’’ The book is
illustrated with forty-eight pictures in colour,
and is issued at 21s. net.
Messrs. Longmans announce that they have
in preparation a limited issue of a book by
Mr. J. G. Millais, the son of the artist and a
well-known naturalist, on ‘“ British Diving
Ducks.” It will be published in two quarto
volumes, and is intended to afford a complete
history of all the species of diving ducks that
are indigenous in or visitors to the British
166
Isles. The illustrations will be on an un-
usually elaborate scale.
Messrs. Ralph, Holland & Co., have issued
a book entitled ‘‘ Where Education Fails,” by
Mr. Preston Weir. Additional interest is lent
to the work by the fact that the introduction is
contributed by Lord Sheffield, better known
among educationists as the Hon. Lyulph
Stanley.
Mr. G. Sidney Paternoster has published,
through Messrs. Stanley Paul & Co. at the
price of 5s. net, “ The Lords of the Devil’s
Paradise. The grim story of rubber collec-
tion in the Putumayo.” The author has been
for twenty-two years connected with Truth.
He has collected the stories of the witnesses
and collated the evidence. In this book he
tells the story in its entirety.
“ Rita’s ’ new novel, “‘ A Grey Life,” is a
romance of Bath in the seventies and eighties—
a period not hitherto touched on by authors
writing of the famous City of Waters. A
brilliant Irish adventurer is the central figure of
the tale. The publishers are Messrs. Stanley
Paul.
The same firm has just produced Mr.
Rafael Sabatini’s ‘‘ The Strolling Saint,’ the
imaginary memoirs of Augustine, Lord of
Mondolfo, at the time of the Italian
Renaissance.
Miss Annesley Kenealy’s “The Poodle
Woman,” is the first of a Votes-for-Women
series of 6s. novels from the same house.
““'The Poodle Woman ”’ is a love-story, as well
as an attempt to answer the question, What
do women want ?
Messrs. Stanley Paul are also the publishers
of four novels—Mr. Hamilton Drummond’s
«¢ Sir Galahad of the Army”; Miss Theodora
Wilson Wilson’s ‘A Modern Ahab”; Miss
May Wynne’s “The Destiny of Claude ” ;
and Mr. Charles McEvoy’s “‘ Brass Faces ””—
and of Mrs. Edith Cuthell’s ‘A Vagabond
Courtier.’’ In the last-named biography, Mrs.
Cuthell returnsto the period of her‘* Wilhelmina,
Margravine of Baireuth.” In it she tells,
from his letters and memoirs, the story of
Baron von Péllnitz, courtier of Frederic I. of
Prussia, Frederic William, Frederic the
Great, the Princess Palatine, the Duchesse
d’Orléans, and several other European
royalties.
Messrs. Mills & Boon have published a new
novel by Miss Mary L. Pendered. It is
called ‘‘ Phyllida Flouts Me,” and is a country
comedy, laid in Northamptonshire. The hero
is a farmer, and the villain turns out to be a
woman! Phyllida is the heroine, who reads
THE AUTHOR.
poetry, while her father worships roses, and
her mother runs the farm. She “* flouts ”’ her
true lover and takes up with an engaging —
artist who proves exceedingly disappointing,
But all ends as well as library readers expect.
Messrs. Mills & Boon are also the publishers _
of Mr. George Edgar’s ‘‘ Swift Nick of the
York Road,” a story of the romantic type,
dealing with life on the highway, its hero being ~
Swift Nick Nevison, who really made the
journey to York for which Dick Turpin got the
credit.
Mr. Richard Marsh’s new novel, “* A Master
of Deception,” is issued by Messrs. Cassell & Co.
Mrs. E. W. Savi’s “The Daughter-in-Law ”
(Messrs. Hurst & Blackett) has its scene laid
in India, a country with which the author
displays a thorough acquaintance. Mrs. Savi
has also had a complete story, of which the
title is ‘‘ The Saving of a Scandal,”’ accepted by
the editors of The Red Magazine. :
Messrs. Holden & Hardingham, who brought
out Miss Edith Kenyon’s Welsh novel, “ The
Wooing of Mifanwy,” will follow this in May
with another from the same pen, entitled,
‘*The Winning of Gwenora.”
Miss Beatrice Kelston is the author of ©
‘Seekers Every One,” the publishers being —
Messrs. John Long, Ltd. The story deals with —
a girl driven by disappointed love to go upon
the stage.
Miss Peggy Webling last month had a novel,
“The Pearl Stringer,’ published by Messrs
Methuen.
Mr. Max Rittenberg has three books appear
ing this year. A first novel, called “Th
Mind-Reader,”’ will be brought out in April -
by Messrs. Appleton both in London and in_
New York. A second book, a story of public
school life with the title of ‘‘ The Cockatoo,” —
is to be published in May by Messrs. Sidgwick
& Jackson. Another novel, the title of which —
is not definitely settled, is scheduled for
September by Messrs. Methuen in London, and
Messrs. Appleton in New York. :
Mr. S. B. Banerjea, author of ‘‘ Tales of
Bengal,” ‘‘ Indian Detective Stories,” ete., 1s
writing a romance dealing with modern”
crime, the scene of which is laid partly in
England and partly in Sweden. The hero
falls in love with a girl, who firmly refuses
to marry him, as she is ‘“‘ wedded to a sacred
cause,” which she will not disclose. A riv
appears on the scene, and the two decide
upon a novel plan of settling their difference.
They fall, however, in the clutches of th
“‘ wickedest man on earth,’? who has resolved
to commit the most revolting crime that
THE AUTHOR.
human being can think of. The two rivals
resolve to thwart his scheme. What they do,
under what circumstances they discover their
lady love, and what becomes of the “ sacred
eause ’’ are, so far, the secret of the author.
Mr. Banerjea is also translating an Oriental
tale, which, in his opinion, almost resembles
the *“‘ Arabian Nights ” in its breadth of con-
ception and flight of imagination. It is small
in bulk, but makes very entertaining reading
for both young and old. :
Early in March Messrs. Ouseley will publish
Mr. Harry Tighe’s new novel, “‘ A Watcher of
Life.” The book opens with a sketch of life
in a modern French country house. From
there it takes the reader to Paris, London,
Surrey, and the South Austrian Tyrol, de-
picting houses and scenes well known to the
author.
We learn from the ‘‘ Poetry Bookshop,” of
35, Devonshire Street, Theobalds Road, that
owing to the exceptional demand for “ Geor-
gian Poetry, 1911—12” (3s. 6d. net), pub-
lished in December last, there has been much
difficulty in the prompt execution of orders,
and many of those who were anxious to obtain
copies of the first edition have been unavoid-
ably disappointed. The second edition is
exhausted. A third edition is ready, and all
orders can now be promptly executed.
Last month, at Glasgow, Mr. William Miles
gave the fourth of his recitals from the poetical
works of Mr. Mackenzie Bell. Like its pre-
decessors, the recital was well attended and
successful.
Mr. Clifford King has had the satisfaction,
rare for a writer of verse, of seeing his
**Poems’’ (Messrs. Kegan Paul, Trench,
Triibner & Co.) run into a fourth edition.
Mr. E. Hamilton Moore’s ‘“‘ An Idyll and
Other Poems,” published by Messrs. Melrose,
is a collection very varied, both in subject and
in manner of treatment. The principal feature
is a series of octosyllabic verses in sonnet form.
Mr. H. Osmond Anderton’s ‘‘ The Song of
Alfred” (Messrs. Constable) is an epic dedi-
cated ‘To All the Folk of All the Britains,”
and tells in ballad measure the story of the
first true King of England.
Miss Josephine Rowe subdivides her
“Poems”? (Messrs. Lynwood & Co.) under
the heads of Irish Lays and Lyrics, Poems of
Human Nature, London Lays, Poems of
Passion, Poems for Children, and Poems of
Nature. One or two have already appeared
serially.
Miss Gertrude Robins’s collection of plays,
‘Makeshifts and Realities,’ has been pub-
167
lished in a fourth and revised edition by
Mr. Werner Laurie at 1s. net.
‘* A Woman of Imagination” is a four-act
play, written by Lloyd St. Clair and privately
printéd. It deals with the influence of a
young woman upon her surroundings—which
include a middle-aged, money-making husband.
In “ Living Music’ Mr. Herbert Antcliffe
endeavours to indicate the main currents of
modern music (in its more serious aspects),
while disclaiming any intention of providing
a complete guide to the tendencies and in-
fluences now at work. In small compass the
author covers a great deal of ground, and the
volume is a worthy addition to the Joseph
Williams Series of handbooks on music. We
note that in The Churchman for January
Mr. Antcliffe had an article on ‘ Congrega-
tional Singing,’ and in the February West-
minster Review one on Franz Liszt.
Miss Josephine Riley’s ‘‘ Notes of Lessons
on Pattern Drafting’ (Sir Isaac Pitman &
Sons) is a volume with numerous plates,
addressed to the Schools of the Dominions,
and dealing with the teaching of needlework.
Generally speaking, the book includes lessons
in pattern-drafting and cutting-out, graduated
for all classes. The author aims at presenting
a recognised system which, correlated with art,
can be earried from class to class; based on
the latest requirements of the Board of
Education.
Last month was published. by Messrs.
Methuen, ‘‘ Health through Diet,’”’ by Kenneth
G. Weis, L.A.C.P. Lond, M.B.CS5. Eng.,
with the advice and assistance of Alexander
Haig, M.A., M.D. The sub-title of the book
shows that it is ‘‘a practical guide to the
uric-acid-free diet, founded on eighteen years
of personal experience.”
Mr. E. J. Solano edits ‘‘ The Imperial Army
Series of Training Manuals,’ written by officers
of the regular Army, and published by Mr.
John Murray, at 1s. each. Of these manuals,
four have been issued, on Physical Training
(senior and junior courses), Drill and Field
Training, and Signalling; and others are
announced on Musketry, Field Engineering,
Camp Training, and First Aid.
Those who have read Mr. Jeffery Farnol’s
“The Broad Highway ” will welcome an illus-
trated edition at the price of 10s. 6d. The
illustrations are by G. E. Brock, and the book
will make a sound present.
Yet another monthly review is on the market
at the moderate price of 1s. net. The English
Review was the first. Now the British Review
follows; does it intend to outstrip its rival ?
168
In the prospectus it is stated, “ The outlook
will be imperial ; whilst all sides will be given
impartial hearing, combined with fearless
candour in proclaiming facts. Literature and
criticism will be treated from the newest stand-
points.” This latter statement is reassuring,
for the present treatment of literature and
criticism needs some revision.
Mr. Eveleigh Nash published last month a
volume by Clare Jerroldon “ The Married Life
of Queen Victoria,” in which both the Queen
and her Consort are shown “according to
contemporary information and impressions,
rather than in the purely and impossibly
idealistic way of the various lives written
upon them.”
Professor Geddes has written, ‘‘ The Masque
of lLearning’’—a medieval and modern
pageant of education throughout the ages.
which is to be produced in the Great Hall of
the University of London on the evenings of
March 11, 12, 18, 14 and 15, under the general
direction and stage managership of Mrs.
Percy Dearmer. Tickets may be obtained of
Messrs. Chappell & Co., and of the Masque
Secretary, Crosby Hall, Chelsea.
We regret that, owing to an oversight, we
omitted to mention a book published last
summer by Mr. Allen Fea, through Mr.
Eveleigh Nash. It was entitled ‘‘ Old World
Places,” and treated principally of the Mid-
lands and the Fen Country. There were fifty
illustrations to the work.
DramarTIc.
On January 24, at the Abbey Theatre
Dublin, Mr. Sidney Paternoster’s play, “‘ The
Dean of St. Patrick’s,’’ was produced for the
first time, the Abbey No. 2 Company making
a very good show in it. The aspect of Jonathan
Swift which is presented in Mr. Paternoster’s
work is the romantic Dean, the lover of Stella
and Vanessa; and the story is made to end
with the bringing of the news of Stella’s death
to the broken-down wreck that once was so
imposing a figure. The playwright has been
very ambitious in his attempt to put Swift
upon the stage, but he met with more than a
small measure of success, whether or not his
play is destined to be seen in London one day.
In Mr. Jerome K. Jerome’s ‘“‘ Esther Cast-
ways,” at the Prince of Wales’s Theatre, Miss
Marie Tempest made a notable hit, and if the
author cannot be said to have used a very
novel theme, he certainly has worked out his
plot in a manner calculated to show off his
THE AUTHOR.
leading lady to excellent advantage, and
provided visitors to the Prince of Wales’s,
with a good evening’s entertainment. a
Mr. Edward Knoblauch, in collaboration
with Mr. Wilfred Coleby, and with the assist- —
ance of Mr. Cyril Maude in the title rile, has —
tickled London with ‘‘ The Headmaster,” and —
the only grievance which one can bring ~
against all concerned in the production is that
the spectator at the Playhouse cannot make _
up his mind whether he is witnessing a farce
or an idyll. But, whichever it is, it is vastly
attractive, and has already added another to
Mr. Knoblauch’s successes as a collaborator.
Mr. Stanley Houghton’s “‘ Trust the People” _
was produced at the Garrick Theatre on ~
February 6, and within a few days we heard ~
that the Chancellor of the Exchequer had been —
to see it, while the Speaker and the Colonial —
Secretary had written to the author to con- —
gratulate him on the success of the electioneer- _
ing scenes in the play. The leading part, the
man of the people, who has risen to be Cabinet —
Minister, was played by Mr. Arthur Bourchier. —
Mr. H. V. Esmond produced his three-act —
comedy, ‘‘ Eliza Comes to Stay,” at the —
Criterion Theatre, on February 12, the Eliza —
being Miss Eva Moore (Mrs. Esmond), and the —
author playing hero. A capital start was ~
made, and, to judge by the first week’s houses, —
a prosperous career seems in store for the play. —
Mr. William Archer’s version of Ibsen’s —
great historical drama, known in this country —
as ‘‘ The Pretenders,’ met with a genuine —
artistic triumph at the Haymarket on
February 13.
At the Comedy Theatre on February 15, ~
““Lady Noggs, Peeress,’’ an adaptation by
Miss Cicely Hamilton, from Mr. Edgar Jepson’s ©
novel of that name, was presented for the first
time to a sympathetic audience. :
Mr. Basil Gill has recently accepted a play, —
which Mr. Tighe has written in collaboration -
with Mr. Cecil Rose, and hopes to produce it —
at an early date. a
A new comedy entitled ‘‘ Her side of the
House,”’ by Mr. Letchmere Worrall and Miss —
Atté Hall, has been put into rehearsal at the ©
Aldwych, and will be produced on March 4.
The Theatre in Eyre gave two performances
on January 31 at Crosby Hall, More's”
Garden, Chelsea Embankment, the selected
pieces being “‘ The Veil of Happiness,’’ trans- —
lated from the French of M. Georges
Clemenceau (ex-Premier of France), ane
‘*Home from the Ball ’’—according to th
Times report, “‘a quite charming little fane
by Edith Lyttelton.”
THE AUTHOR.
PARIS NOTES.
2 ee
ry E que demande la Cité,” is a little
: ) 2 volume containing twenty causeries,
by M. Raymond Poincaré. The
.vesf President of the Republic informs the young
sen men of to-day what their country expects of
od them, and explains to them the working of
‘sev French social life. It is a book to be read
“1 9% by Frenchmen and foreigners alike, for in it
. a4 the author explains clearly much that should
_4 « be known concerning the State, the Constitu-
‘act tion, the President of the Republic, the Minis-
vt ters, the Chamber of Deputies, the Senate,
ed the Budget, Taxes and Military Service.
e4 No one is better qualified for giving this
‘sola information than M. Raymond Poincaré.
~ 6H He was elected Deputé at the age of twenty-
“ove. seven, Minister of Education when thirty-two,
ed) then Minister of Finances, Senator, Rappor-
/ 9) teur Général du Budget. He has been a Member
4 i, of the French Academy for some years, and
ee was elected President of the Conseil des
#iailf Ministres in 1912, and President of the French
99%) Republic in 1913.
T ‘The book of the month, which everyone
ef 4) is now reading is “La Mort,” by Maurice
$58M Maeterlinck. It came out some little time
# 02) ago as a serial, and now that it is in volume
ma) form it promises to be as much read as
“The Treasure of the Humble.”
‘Ta Maison brile,’? by Paul Margueritte,
is another of the clever novels by this author,
the theme of which is the question of divorce. In
“ Les Fabrecé ” we had an excellent example
of solidarity, and saw all the members of the
family sacrificing their own interests for th>
general good. In “La Maison brile,’’ the
husband is unhappily married, but, for the
sake of his two children, he will not repudiate
his wife. Finally, in order to marry again, he
decides to ask for a divorce, but his wife will
not consent to this, until she finds it is to her
interest. The story is an interesting one and
is cleverly handled.
“Les Sables mouvants,’’ by Collette Yver,
is another novel by the author of “‘ Princesses
de Science.” Most of this writer’s books are
written with some special purpose. In this
one a curious psychological study is given to
us, but the book is too crowded. ‘There is
matter enough for two or three stories con-
tained in one.
“Le Duc Rollon,” by Léon de Tinseau, is
a story which opens in the year 2000 and the
scene is laid in Washington. The book is a
curious one and not at all in the usual style
of this author.
169
“ Pernette en Escapade” is a distinctly
adventurous story by Charles Foley. Per-
nette, as the title indicates, is one of the
emancipated. She goes as far as she can in
her adventure, and the situation becomes
dramatic. The story is told in a_ bright,
amusing way.
La Fontaine has been very much in vogue
this winter. M. Faguet has been lecturing
on him, and M. Louis Roche gives a most
interesting ‘volume entitled “‘ La Vie de Jean
de La Fontaine.’”’ We have a full account of
him as a child, and as a man, and, after reading
this book, much that had seemed almost
incomprehensible in his life is explained.
“Au Chevet de la Turquie,’ by Stephane
Lauzanne, is an account of a recent journey
to Constantinople. The author had forty days’
experience of the struggles of a dying Empire.
‘De la Plata a la Cordillére des Andes ”’ is
the title of Jules Huret’s second volume on
the Argentine. No better guide than M.
Huret exists for the exploration of foreign
countries. In the books he has written on
America and Germany we are accustomed to
strict impartiality and accurate information.
He is a conscientious writer and a keen observer,
and, while preparing his books he does not
neglect the one essential thing for the subject
he has undertaken, namely, to study it himself
before writing on it, and this study, for M.
Huret, usually means long months of exile in
the country about which he intends to write.
As a result of this thoroughness, the books
he gives us are trustworthy documents, which
will remain as landmarks in the history of
nations, supplying information as_ to the
physical, political, and human aspects of the
countries described.
“ [’Kpitre au fils de loup,” by Bahiou ‘lah,
the founder of Bahaism, has been translated
from the Persian into French by M. Hippolyte
Dreyfus. “Le Fils de Loup,”’ was the name
given to the High Priest of Ispahan, on account
of his cruelty. Under the form of an open
letter, Bahiou’llih explains to him the object
of his mission, and reminds him of the chief
events of his troubled life. It was the last
work written by this prophet of a religion
which claims to embrace all religions (as the
keynote to Bahaism is universal fraternity).
In 1892, Bahiou’llah died at St. Jean d’Acre.
There is a fairly large group now in Paris of
disciples of this prophet, and the members of
the group are of all nationalities.
“‘ Saynetes et Farces ”’ is the title of a little
volume by M. Maurice Bouchor, which will
be of great service for amateur theatricals.
170
“ Alfred Tennyson,” by M. Frédéric Choisy,
is a remarkable study of the works and per-
sonality of the English Poet Laureate. The
author's object is to give the French reader
a clearer idea than he has hitherto had of a
poet who is comparatively little known in
France.
Among the more interesting articles in the
Reviews lately are the following ones in the
Revue hebdomadaire, “‘ Les Effets d’une Per-
sécution sur la Vie d’une Eglise,” by Georges
Goyau; “Un Lorrain (M. Raymond Poin-
caré),’’ by M. Louis Madelin, and in the Figaro
an excellent article by André Beaunier on
“ Pere et Fils,” the translation of “ Father
and Son,” by Edmund Gosse.
We learn with great pleasure that Brazil
has now decided to join the Berne Convention.
The late M. Edouard Sauvel was largely
instrumental in bringing this about. He was
seconded by M. de Lalande, French Minister
in Rio, and thanks are due to the Senator
Guanabara for presenting the proposition to
the Brazilian Congress and getting the Bill
through within a year.
A curious legal case has just been tried in
Italy. Sardou’s play, ‘“* Fédora,” was given
in Paris in 1882, but was not published in
France until 1908. In 1883 Sardou authorised
M. Bersezio to put on the stage an Italian
translation of ‘“ Fédora.” The drama was
printed and published in Italian in 1892 by
Messrs. Treves. In 1889 Bersezio retroceded
his rights to Sardou, and after Sardou’s death,
his heirs transferred the Italian rights in
“Fédora”’ to M. Riceardi for a period of
twenty-five years, dating from January 1,
1910. In August, 1911, M. Lombardi put on
Bersezio’s translation in Rome, at the Adriano
Theatre. M. Riccardi claimed an indemnity.
The case was tried, and the verdict was in
favour of M. Riccardi. M. Lombardi claimed
that ‘‘ Fédora’’ was in the domaine public,
and that, by virtue of other special laws,
he had a right to use this translation of
Bersezio’s. The case was brought before a
higher court. By virtue of the law of 1882,
the Court maintained that Bersezio, having
fulfilled all the formalities necessary, and
then having retroceded his rights to Sardou,
and M. Riccardi, having arranged with the
heirs of Sardou, he alone had the right
to use the translation in question. M. Lom-
bardi has, therefore, lost his case.
Maurice Donnay’s play, in four acts, ‘* Les
Eclaireuses,’’ has been, and still is, a great
success at the Comédie Marigny.
At the Vaudeville, Sacha Guitry’s play,
THE AUTHOR.
>
‘La Prise de Berg-op-Zomm,’
bill.
‘“‘La Femme Seule,” is being given at the
Gymnase, and at the Variétés, “‘ L’Habit vert,”
a comedy in four acts, by M.M. Robert de Flers
and Gaston A de Caillavet.
is still on the
>
Autys HALLARD.
“Ce que demande la Cité.”
“La Mort.” (Fasquelle.)
“La Maison brile.” (Plon.)
“ Les Sables mouvants.” (Calmann-Lévy.)
“Le Duc Rollon.” (Calmann-Levy.)
“Pernette en Escapade.”’ (Tallandier.)
“La Vie de Jean de La Fontaine.” (Perrin.)
** Au Chevet de la Turquie.” (Fayard.)
“ De la Plata 4 la Cordillére des Andes.”
“ L’Epitre au fils du loup.”
(Hachette.)
(Fasquelle.)
(H. Champion.)
THE COLONIAL BOOK TRADE.
i? is very flattering to The Author to know
that its renown has gone round the world
and back again. Towards the end of last
year certain articles were published in its
columns dealing with Colonial copyright. One
of these was re-published in the enterprising
periodical known as the Publishers’ Weekly in
the United States. This got into the hands of
the editor of a periodical called The Bookfellow,
published in Sydney, Australia, and the editor
has devoted some two pages to traversing
the statements made in the article that
originally appeared in The Author. He
begins by denying the following statement
that ‘‘ English works—in comparison with
American—do not get a fair circulation on the
Colonial markets.” In answer to that he
states as follows :—
“* Speaking for Australia and New Zealand, this is untrue ;
every bookseller will agree with us that this is untrue ;
statistics will prove it to be untrue. Look at the contrast
between Australian imports from Great Britain—value in
1911 £618,043 ; and from America—value 1911 £53,668.
‘Works’ means general literature; and nearly all
general literature that we sell is published in Great Britain.
Tf what is meant (but not said) is fiction, the statement is
still untrue; English novels in comparison with American
do get a fair circulation on the Australian market. They
get the lion’s share of the circulation; there is no doubt
whatever about that.”
We are very glad to print this statement, but
still wonderful stories are told of the energy
and push of the American book agent. The
editor then turns from general literature to
novels, thinking apparently that the Society of
Authors and The Author represent writers of
fiction only, and he gives some facts about
the Australian book trade that are worth
reprinting :—
THE AUTHOR.
“ A bookseller usually has to leave the first purchase of
books to his London agent—simply because most books
cannot be shown round at the Australian distance on or
before publication. The bookseller himself remains an
active controlling foree; he orders a likely seller in
advance of publication, or if he gets insufficient stock of
what looks a likely seller, he cables at once for a fresh
supply. All the time he is on the look-out for steady
sellers with the hope of a long run. Unluckily most
English novels are not sellers—to our sorrow. They are
worth about the number of copies the London agent sends ;
and then ‘ it isn’t worth re-ordering.’ That isn’t the fault
of the bookseller ; it’s the fault of the books.”
He continues with a statement headed
“‘ DIFFERENCE IN ‘ CoLoNIAL’ PUBLISHERS.”
‘Tt is quite correct to say that some London publishers
are worth, for ‘ Colonial’ sale, a lot more to an author than
are others. Some publishers simply drop their novels on
the market ; if they sell, welland good ; if they don’t sell,
the publisher makes his profit on the average. Others
circulate a few review copies. Others really push every
book with the aid of local agents; and these, we may
modestly say, supplement agents’ visits to the trade—
which, because of the vast extent of territory to cover, can
only be made annually or semi-annually—by advertising
to the trade in The Bookfellow. It stands to reason that
these pushing publishers in relation to our trade are the
best for authors who have an eye to ‘ Colonial royalties.’
The publisher who keeps his goods before trade and public
all the time pushes many a languid or reluctant bookseller
to purchase. Booksellers aren't infallible, and sometimes
they turn down a book which, when it is pushed by the
publisher, turns up trumps. So that, on this head, there
is some truth in our author's complaint. But it is the
business of his publisher, not of booksellers, to see that his
book gets the fullest Australasian publicity. And if his
publisher doesn’t do that, and he values his ‘ Colonial ’
royalties, the cure for his complaint is not to abuse the
bookseller, but to change his publisher.”
This latter paragraph certainly contains
some valuable information for the benefit of
the members of the Society. It now remains
to discover, if possible, those publishers to
whom the editor of The Bookfellow makes
reference. But the statement on which all
these articles have been written is still true,
that the Colonial sales in proportion to the
English sales are not as large as they should be.
Colonials are better buyers of books because
there are fewer and in some cases no lending
libraries. The returns on the accounts should
therefore show a better proportionate result.
Why don’t they ?
——_—___-_+-—¢—
DRAMATISATION OF NOVELS AND
PUBLICATION OF PLAYS.
+
Important AMERICAN DECISIONS.
HE Report of the Register of Copyrights
in the United States for the vear
1911—1912 contains two important
eases, which more particularly concern the
17i
interests of British dramatic authors and
novelists owing to the change in the law
effected by the Copyright Act, 1911. Under
the Act the public performance of a play is no
longer equivalent to publication, and_ the
novelist is given the exclusive right of dramatis-
ing his novel. These changes in the law are
very material to the American cases reported
below, which were decided before the new
Copyright Act came into operation.
The question in the first case is one which
may arise under the English law, namely,
whether the manufacturer of films, for produc-
tion by cinematograph of scenes taken from a
novel, has infringed the copyright of the
novelist, who has the exclusive right of
dramatising his work.
The second case calls attention to the fact
that British authors resident in England are
entitled to protection in respect of unpublished
works by the common law in the United States ;
while by the English Copyright Act the
common law rights are abolished, and the
statute gives no protection to American
authors resident in the United States in respect
of their unpublished works. The abrogation
of the common law rights has a serious effect,
since the public performance of a play no
longer amounts to publication according to
English law; and the so-called “ copyright
performance ”’ of a play in England will not
confer the statutory right which attaches to a
published work. The American dramatist
must print and publish his play in order to
acquire statutory copyright in England, but
the English dramatist is entitled to protection
in the United States without publication.
Karem Co. v. Harper Bros.
This was an appeal by the Kalem Co. against
an order restraining an infringement of the
copyright in the novel “ Ben Hur” by the
late Gen. Lew Wallace. The appellant com-
pany were manufacturers of films, which were
used in cinematograph reproductions, and they
employed someone to read the novel and to
write a description of certain scenes, which
might be reproduced in cinematograph exhibi-
tions. They took photographs of these scenes
and manufactured films, which they advertised
under the title ‘‘ Ben Hur.’’ They then sold
the films, and public representations were given
of these scenes in cinematograph exhibitions.
It was contended that, as authors have the
statutory right of dramatising their novels. the
representation of the scenes, which was founded
upon a dramatisation of the story, was an
infringement of the author’s copyright.
172
On the other hand, it was urged on behalf
of the appellant company that an attempt was
being made to extend copyright to ideas, as
distinguished from the words in which those
ideas were clothed, and further that they had
not infringed the copyright, because they did
not exhibit the pictures, but merely made the
films and sold them.
The Court held that the novel was dramatised
by what the appellants had done, for drama
may be achieved by action as well as by
speech. Action could tell a story, display all
the most vivid relations between men, and
depict every kind of human emotion, without
the aid of a word. A novel might be drama-
tised by pantomine, and it made no difference
whether the effect was produced by living
figures, or mechanical means, or reflection from
a glass. The essence of the matter was not
the mechanism employed, but that the
spectators saw the incidents of the story or the
story lived.
Further, the appellants had invoked by
advertisement the use of their films for
dramatic reproduction of the story, and that
was the purpose for which the films were
made. If they did not contribute to the
infringement it would be impossible to do so
except by taking part in the final act.
The appellants had infringed the copyright
in the novel and the appeal was dismissed.
FERRIS v. FROHMAN.
In this appeal Mr. Ferris claimed the
statutory copyright in the play entitled “ The
Fatal Card,” by Mr. Haddon Chambers and
Mr. B. C. Stephenson, who were British sub-
jects resident in London at the time of its
composition in 1894, The play was performed
in London on September 6, 1894, and had not
been copyrightea by the authors in the United
States. Mr. Frohman acquired American
rights under an agreement, and the play had
been represented by him in the United States.
Mr. George McFarlane made an adaptation of
the play and assigned his rights to Mr. Ferris,
who copyrighted it in August, 1900, and repre-
sented it in the United States. The adapted
play contained the essential features of the
original play, though it differed in various
details.
On behalf of Mr. Frohman it was contended
that, as the performance of the play in England
was not publication, the authors had not lost
their common law rights; and that it was not
necessary to comply with the statutory
provisions for the protection of the copyright.
THE AUTHOR.
Butit was argued that the English authors being
domiciled in England were not entitled to
common law rights in the United States, and
that Mr. Ferris having copyrighted his adapta-
tion of the play in America was the owner of
the statutory copyright.
The Court held that the authors of the
“Fatal Card’? had a common law right of
property and were entitled to protection against
its unauthorised use in the United States.
The common law right was not lost by public
performance of the play, which was_ not
equivalent to publication. The play had not
been printed and published, and the statute
did not deprive the authors of their common
law right. The adaptation of the play was a
piratical composition, and Mr. Ferris could
not secure the fruits of piracy by copyrighting
it under the statute.
The judgment of the Supreme Court of
Illinois, which had decided against the claim
of Mr. Ferris, was affirmed.
Haroitp Harpy.
—_—_—__—_.——e____
RIGHTS IN UNPUBLISHED MANUSCRIPT.
++
CANADIAN Law SvIT.
(Published by permission of the editor of the
“* Publisher's Weekly,” U.S.A.
LAWSUIT of considerable interest to
both publishers and authors has just
been decided by the High Court of
Justice of Ontario. In effect, the case is a
sequel to an earlier case which was fully re-
ported in the Publishers’ Weekly of October 28,
1911. Briefly, an author, Dr. W. D. LeSueur,
of Ottawa, was invited to prepare a life of
William Lyon Mackenzie for the “ Makers of
Canada” series, published by Morang & Co.
Through the courtesy of the Mackenzie family,
he was allowed access to a collection of papers
and documents left by Mackenzie and, with
the assistance of this material, compiled his
biography. When his manuscript was sub-
mitted, however, it was found that he had
taken such a prejudiced view of the subject
that it was deemed inadvisable to publish his
work in the series, and another life was pre-
pared in its place.
Doubtless influenced by the Mackenzie
family, Morang & Co. refused to return the
manuscript to Dr. LeSueur. The latter sent
back the money which had been paid him in
the first instance and brought suit against the
THE AUTHOR.
‘ide publishers for the recovery of his property.
4 The case was carried from court to court, and
22. was finally decided in favour of the plaintiff
-~by the Supreme Court of Canada in October,
“61911. The Court directed that Morang & Co.
of should forthwith hand over the manuscript to
6 the author.
4 Following the return of the manuscript Mr.
5 £G. G. S. Lindsey, grandson of Mackenzie and
2m custodian of his papers, took steps to prevent
~ ej its publication by Dr. LeSueur. He brought
‘i suit against him to compel him to deliver up
ii all extracts from and copies of any manu-
“to, scripts, books, papers, writings, and docu-
‘gg; ments of every kind, obtained from the
‘sal Mackenzie collection, and to restrain him from
i4gq publishing them or causing them to be pub-
sei lished. This case has just been heard, and
) judgment in favour of the plaintiff delivered on
idsl January 9.
a ‘Tt seems to me clear,” said Mr. Justice
@ Britton in rendering his decision, ‘* that the
lq plaintiff (Lindsey) and the late Charles Lindsey
q) (plaintiff's father) supposed that the defen-
<6 dant (LeSueur) intended to write of William
I Lyon Mackenzie as one of the men in Canadian
sid history who can fairly be called, speaking
"45 colloquially, as one of the ° Makers of Canada.’
7% The conduct of the defendant and what he
2 said warranted the plaintiff and Charles
uJ Lindsey in so thinking. I must find as a fact
4 that the defendant gave the plaintiff and
3 Charles Lindsey to understand that the views
* and feclings of the defendant towards Mac-
ed kenzie were friendly, and that his attitude in
| presenting Mackenzie to the public was a fair
°f@ one, that he had no bias against Mackenzie,
‘es and that-he had no feeling or opinion which
»# would prevent him, as a writer, from truly
2#/@ presenting the facts and circumstances of
1 Mackenzie’s life and character. The defen-
4b dant, in my opinion, intended that the plaintiff
bes and Charles Lindsey should believe as they
vb. did in reference to defendant’s feeling and
46 attitude.
- “At the time of defendant’s arrangement
with the plaintiff, the defendant did hold
strong views against Mackenzie. At that
time the defendant intended to write the life
of Mackenzie on other than conventional lines.
‘He intended to write of Mackenzie, not as one
of the ‘ Makers of Canada,’ but as a ‘ puller-
down,’ as was stated during the trial.
“J am of the opinion, upon the evidence,
that the defendant made use of the Mackenzie
collection of books and papers other than was
in accord with the understanding between
him and the plaintiff and Charles Lindsey.
173
The use was made contrary to the wish, and
contrary to what was known to be the wish,
of the plaintiff's father. It is inconceivable
upon the facts that either Charles Lindsey or
the plaintiff would have permitted access to
the Mackenzie papers had either known or
supposed that such manuscript as the defen-
dant produced would have resulted. It is
plain to me that the defendant knew that he
could not have obtained access to the collec-
tion had he revealed his true feelings or
declared his real intention. :
‘“No question of copyright is involved. It
is a question of getting access to the house of
another and using the property therein for
personal purposes, different to what was con-
sented to by the owner.”
W. A.C.
—_—_——_—_+—_>—_o—__—__
THE SORROWS OF A FREE-LANCE.
—+—<—+—
HIS subject has been tackled before, but
every day competition gets keener, and
the “‘ sorrows” greater; a few hints
may help ‘‘ would-be ” writers.
The free-lance offers something for sale, the
supply of which far exceeds the demand ; no
editor requires any free-lance, every free-lance
requires some editor, what is more, requires
many editors if he is to make a living with his
pen. Strikingly uncommon, clever people
compel attention—there is always room on the
top—but these mostly are annexed by editors,
becoming members of the staff of well-known
papers, or their work is commissioned. They
sueceed ; but they cease to be typical free-
lances.
Now, each person should ask himself, if he
really has something to say, and if he is
prepared to face obstacles and rebuffs, endless
anxiety, and disappointments in order to say
it. If he thinks he can make an easy living
by free-lancing, he is much mistaken; it is
quite possible for a free-lance to have contri-
buted to over thirty publications, included
among thenumber being Is. and 6d. magazines,
and yet not make a net income of £40 a year.
If anyone wishes, let him try and see for him-
self whether the game is. worth the candle.
The most important thing of all is for him to
find out what the character of the paper is, and
what the views of the editor are, also what
regular contributors he has already working
for him, and what subjects he has already
dealt with. All this “scouting,” is very
difficult, and constitutes the “via erucis ”” of
*
174
whoever tramps Grub Street with something
to sell. Advertisements increase daily, the
staff does a good deal of the letterpress,
agencies supply endless illustrations, topical
subjects take up much space, so that it
becomes hard for even a willing editor to
squeeze in the work of a new free-lance, unless
by doing so he believes he is enhancing the
worth of the magazine he edits. It is a
question of the survival of the fittest amongst
the too numerous publications, the editor
must make his paper pay, and is forced to
snuff out all mediocrities from its pages.
There are only three ways of reaching the
powers that be :—
1st. Sending manuscripts by post.
2nd. Interviewing the editors.
3rd. Writing a_ preliminary
suggestions.
The first is the worst system. It is as easy
to get MSS. sent at random, accepted for
publication, as it is for a blindfolded man to
hit a target ; only a crack shot succeeds.
The second is arduous labour; for the
editors have no time to spare, detest being
interviewed, do not require contributions, and
resent being cross-questioned as to what they
do want. They look upon the person carrying
a pile of manuscripts as.one generally looks at
a hawker, sometimes with pity, generally with
irritation.
The third is, to my mind, the less thorny
path ; if no answer is received, one can take it
for granted that contributions are not required,
or that what one offers is unsuitable; if any
subject appeals to the editor, he is almost sure
to ask for the article to be submitted to him ;
it also has the advantage of placing twenty or
thirty subjects before his notice. This could
not be done ina brief interview ; and if method
number (1) were adopted, it would entail a
fearful postage expense to the author in
manuscript and a fearful loss of time to the
editor.
If once a subject is asked for, a careful study
of the style of the publication should be made
by reading a few back numbers. An idea
must be formed as to what class of people it
eaters for; every paper caters for a different
public. The same subject would have to be
dealt with entirely differently, if meant for
a ls. magazine, or a 3d. rag. But—and here
the “‘ sorrows ”’ come in, if the article does get
accepted, the author must wait and see when
it gets published and how and when he gets
paid for it; he will often have to send in his
account or solicit payment repeatedly. When
he receives a cheque in any other profession,
letter with
THE AUTHOR.
his troubles would be at an end ; not so with th
free-lance. At the back of the cheque he wil
find: ‘All British rights,’ ‘* Copyright,’
** Artist’s rights,’”’ “‘ All author’s rights,” “* Al
rights,’ ‘‘ Serial rights,” and many mor
assertions of “rights”? for which he has no
bargained for, and which he only vaguel
understands. If he signs the cheque he ma
land himself into no end of trouble in th
future ; if he does not sign, or alters the wordin
of the cheque, he cannot get payment ;
asserts himself, or in any way ruffles the
editors, he never will be allowed to contribut
to their papers again, so that he is hemmed in
on every side. As matters now stand, the
author is always at a disadvantage. Of course.
a good agent could overcome all these difficul-
ties, but where are “‘ good ”’ agents to be found ?.
More often by going to them one only gets
more sorrows. Be not deceived—financially
free-lancing is a poor game against uneven
odds; morally—well—to me at least, it has
been very well worth while.
A FREE-LANCE.
ee
MAGAZINE CONTENTS.
— +
Bookman.
Charles Reade. By Lewis Melville.
George Saintsbury. By Thomas Seccombe.
A French Study of Chaucer. By W. H. Hudson.
Bookman Gallery. Mr. Maurice Baring. By Robert
Birkmyre.
ENGLISH.
Phoneties and Poetry. By Lascelles Abercrombie.
Copyright and the Case of Coleridge Taylor. By Dr.8.
Squire Sprigze.
Under the Collar.
FoRTNIGHTLY.
Greek Drama: The Dance. By G. Warrett Cornish.
The Aims and Dutiés of a National Theatre.
NATIONAL.
A Great Artist and his Little
Richmond, K.C.B.
The Early Years of Madame Royale.
Critics. By Sir Wm. _
By Austin Dobson. -
SCALE FOR ADVERTISEMENTS,
[ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER OENT,] e
Front Page £4 0 0
Other Pages <6 O38
Halt of a Page ... «= 110-9
Quarter of a Page « O16 6
Highth of a Page ins ae ane ae Le
Single Column Advertisements perinch 0 6 0
Reduction of 20 per cent. made for a Series of Siz and of 25 per cent, for
Twelve Insertions,
All letters respecting Advertisements should be addressed to J. F.
Be.mMont & Co., 29, Paternoster Square, London, B.C. ae
THE AUTHOR.
HOW TO USE THE SOCIETY.
——
& VERY member has a right toask for and to receive
HK advice upon his agreements, his choice of a pub-
lisher, or any dispute arising in the conduct of his
business or the administration of his property. The
Secretary of the Society is a solicitor; but if there is any
special reason the Secretary will refer the case to the
Solicitors of the Society. Further, the Committee, if they
deem it desirable, will obtain counsel's opinion without
any cost to the member. Moreover. where counsel’s
opinion is favourable, and the sanction of the Committee
is obtained, action will be taken on behalf of the aggrieved
member, and all costs borne by the Society.
9. Remember that questions connected with copyright
and publishers’ agreements do not fall within the experi-
ence of ordinary solicitors. Therefore, do not scruple to use
the Society.
3. Before signing any agreement whatever, send
the document to the Society for examination.
4, Remember always that in belonging to the Society
you are fighting the battles of other writers, even if you
are reaping no direct benefit to yourself, and that you are
advancing the best interests of your calling in promoting
the independence of the writer, the dramatist, the composer.
5. The Committee have arranged for the reception of
members’ agreements and their preservation in a fire-
proof safe. The agreements will, of course, be regarded as
confidential documents to be read only by the Secretary,
who will keep the key of the safe. The Society now offers :
(1) To stamp agreements in readiness for a possible action
upon them. (2) To keep agreements. (3) To enforce
payments due according to agreements. Fuller particu-
lars of the Society’s work can be obtained in the
Prospectus.
6. No contract should be entered into with a literary
agent without the advice of the Secretary of the Society.
Members are strongly advised not to accept without careful
consideration the contracts with publishers submitted to
them by literary agents, and are recommended to submit
them for interpretation and explanation to the Secretary
of the Society.
7. Many agents neglect to stamp agreements,
must be done within fourteen days of first execution.
Secretary will undertake it on bebalf of members.
This
The
8. Some agents endeavour to prevent authors from
referring matters to the Secretary of the Society; so
do some publishers. Members can make their own
deductions and act accordingly.
9, The subscription to the Society is £1 1s. per
annum, op £10 10s. for life membership.
————_—_+—_+___—_
WARNINGS TO THE PRODUCERS
OF BOOKS.
oo
ERE are a few standing rules to be observed in an
agreement, There are four methods of dealing
with literary property :—
I. Selling it Outright.
This is sometimes satisfactory, if a proper vrice can be
175
obtained. But the transaction should be managed by a
competent agent, or with the advice of the Secretary of
the Society. :
Il. A Profit-Sharing Agreement (a bad form of
agreement).
In this case the following rules should be attended to:
(1.) Not to sign any agreement in which the cost of pro-
duction forms a part without the strictest investigation.
(2.) Not to give the publisher the power of putting the
profits into his own pocket by charging for advertisements
in his own organs, or by charging exchange advertise-
ments. Therefore keep control of the advertisements.
(3.) Not to allow a special charge for * office expenses,”
unless the same allowance is made to the author.
(4.) Not to give up American, Colonial, or Continental
rights.
(5.) Not to give up serial or translation rights.
(6.) Not to bind yourself for future work to any publisher,
As well bind yourself for the future to any one solicitor or
doctor !
III. The Royalty System.
This is perhaps, with certain limitations, the best form
of agreement. It is above all things necessary to know
what the proposed royalty means to both sides. It is now
possible for an author to ascertain approximately the
truth. From time to time very important figures connected
with royalties are published in 7he Author,
1¥. A Commission Agreement.
The main points are :—
(1.) Be careful to obtain a fair cost of production.
(2.) Keep control of the advertisements.
(3.) Keep control of the sale price of the book.
General.
Allother forms of agreement are combinations of the four
above mentioned.
Such combinations are generally disastrous to the author,
Never sign any agreement without competent advice from
the Secretary of the Society.
Stamp all agreements with the Inland Revenue stamp.
Avoid agreements by letter if possible.
The main points which the Society has always demanded
from the outset are :—
(1.) That both sides shall know what an agreement
means.
(2.) The inspection of those account books which belong
tothe author. Weare advised that this is a right, in the
nature of a common law right, which cannot be denied or
withheld.
(3.) Always avoid a transfer of copyright.
—_——_—__+—__+—___—_
EVER sign an agreement without submitting it to the
ce ges
~
N Secretary of the Society of Authors or some com-
2, It is well to be extremely careful in negotiating for
the production of a play with any one except an established
manager.
3. There are three forms of
in three or more acts :—
(a.) Sale outright of the performing right. This
is unsatisfactory. An author who enters into
such a contract should stipulate in the contract
for production of the piece by a certain date
and for proper publication of his name on the
play-bills,
dramatic contract for plays
176
(0.) Sale of performing right or of a licence to
perform on the basis of percentages on
gross receipts, Percentages vary between 5
and 15 per cent. An author should obtain a
percentage on the sliding scale of gross receipts
in preference to the American system. Should
obtain a sum inadvance of percentages. A fixed
date on or before which the play should be
performed. :
(c.) Sale of performing right or of a licence to
perform on the basis of royalties (2.c., fixed
nightly fees). I'his method should be always
avoided except in cases where the fees are
likely to be small or difficult to collect. The
other safeguards set out under heading (0.) apply
also in this case.
4, Plays in one act are often sold outright, but it is
better to obtain a small nightly fee if possible, and a sum
paid in advance of such fees in any event. It is extremely
important that the amateur rights of one-act plays should
be reserved.
5, Authors should remember that performing rights can
be limited, and are usually limited, by town, country, and
time. This is most important.
6. Authors should not assign performing rights, but
should grant a licence to perform. The legal distinction
is of great importance.
7, Authors should remember that performing rights in a
play are distinct from literary copyright. A manager
holding the performing right or licence to perform cannot
print the book of the words.
8. Never forget that United States rights may be exceed-
ingly valuable, ‘They should never be included in Hnglish
agreements without the author obtaining a substantial
consideration.
9, Agreements for collaboration should be carefully
drawn and executed before collaboration is commenced.
10. An author should remember that production of a play
is highly speculative: that he runs a very great risk of
delay and a breakdown in the fulfilment of his contract.
He should therefore guard himself all the more carefully in
the beginning.
11. An author must remember that the dramatic market
is exceedingly limited, and that for a novice the first object
is to obtain adequate publication.
As these warnings must necessarily be incomplete, on
account of the wide range of the subject of dramatic con-
tracts, those authors desirous of further information
are referred to the Secretary of the Society.
—__+—_—>—_ _—_____
REGISTRATION OF SCENARIOS AND
ORIGINAL PLAYS.
——
CENARIOS, typewritten in duplicate on foolscap paper
forwarded to the offices of the Society, together with
a registration fee of two shillings and sixpence, will
be carefully compared by the Secretary or a qualified assis-
tant. One copy will be stamped and returned to theauthor
and the other filed in the register of the Society. Copies
of the scenario thus filed may be obtained at any time by
the author only at a small charge to cover cost of typing.
Original Plays may also be filed subject to the same
rules, with the exception that a play will be charged for
at the price of 2s. 6d. per act.
THE AUTHOR.
DRAMATIC AUTHORS AND AGENTS.
—_— oe *
RAMATIC authors should seek the advice of the
Society before putting plays into the hands of
agents. As the law stands at present, an agent
who has once had a play in his hands may acquire a
perpetual claim to a percentage on the author’s fees
from it. As far as the placing of plays is concerned,
it may be taken as a general rule that there are only
very few agents who can do anything for an author
that he cannot, under the guidance of the Society, do
equally well or better for himself. The collection of fees
is also a matter in which in many cases no intermediary is
required. For certain purposes, such as the collection of
fees on amateur performances, and in general the trans-
action of frequent petty authorisations with different
individuals, and also for the collection of fees in foreign
countries, almost all dramatic authors employ agents; and
in these ways the services of agents are real and valuable.
But the Society warns authors against agents who profess
to have influence with managers in the placing of plays, or
who propose to act as principals by offering to purchase
the author's rights. In any case, in the present state of
the law, an agent should not be employed under any
circumstances without an agreement approved of by the
Society.
—-—~>——_______
WARNINGS TO MUSICAL COMPOSERS.
—_——— +
ITTLE can be added to the warnings given for the
assistance of producers of books and dramatic
authors. It must, however, be pointed out that, as
a rule, the musical publisher demands from the musical
composer a transfer of fuller rights and less liberal finan-
cial terms than those obtained for literary and dramatic
property. The musical composer has very often the two
rights to deal with—performing right and copyright. He
should be especially careful therefore when entering into
an agreement, and should take into particular consideration
the warnings stated above.
ee ee ge
STAMPING MUSIC.
The Society undertakes to stamp copies of music on
behalf of its members for the fee of 6d. per 100 or part
of 100. The members’ stamps are kept in the Society's
safe. The musical publishers communicate direct with the
Secretary, and the voucher is then forwarded to the
members, who are thus saved much unnecessary trouble.
———_—+-9 +
THE READING BRANCH.
mga
EMBERS will greatly assist the Society in this
branch of its work by informing young writers
of its existence. Their MSS. can be read and
treated as a composition is treated by a coach. The term
MSS, includes not only works of fiction, but poetry
and dramatic works, and when it is possible, under
special arrangement, technical and scientific works. The
Readers are writers of competence and experience. The
fee is one guinea.
~~ e
REMITTANCES.
The Secretary of the Society begs to give notice
that all remittances are acknowledged by return of post.
All remittances should be crossed Union of London and
Smiths Bank, Chancery Lane, or be sent by registered
letter only.
THE AUTHOR.
COLLECTION BUREAU.
———+
up : i a Society undertakes to collect accounts and moneys
T due to authors, composers and dramatists.
: 1. Under contracts for the publication of their
.2d70% works.
© 2, Under contracts for the performance of their works
a, Dae and amateur fees. .
ae 3. Under the Compulsory Licence Clauses of the Copy-
, right Act, i.e., Clause 3, governing compulsory licences for
books, and Clause 19, referring to mechanical instrument
records.
The Bureau is divided into three departments ;—
1. Literary.
2. Dramatic.
3. Musical.
The Society does not desire to make a profit from the
collection of fees, but will charge a commission to cover
expenses. If, owing to the amount passing through the
mie office, the expenses are more than covered, the Committee
ie of Management will discuss the possibility of reducing the
commission.
For full particulars of the terms of collection, application
must be made to the Collection Bureau of the Society.
The Bureau is in no sense a literary or dramatic
agency for the placing of books or plays.
———_——__+ >
CHANGE OF ADDRESS.
—— >
Ox and after March 1, 1913, the Society’s
Offices will be at No. 1, Central Buildings,
Tothill Street, Westminster, S.W.
GENERAL NOTES.
—— +
CHANGE OF ADDRESS.
Ow1nc to the great increase in the Society’s
work, it has been necessary to remove into
larger offices.
On and after March 1, the Society—and its
recent established Collection Bureau—will
occupy rooms at No. I, Central Buildings,
Tothill Street, Westminster, 5.W
GENERAL MEETING.
Tyr Annual General Meeting of the Society
—notice of which, with the Annual Report for
1912, will be sent to all members and associates
during the current month—will be held on
Thursday, April 3, at 4.30, at the rooms of the
Society of Arts, 18, John Street, Adelphi, W.C.
Avuruors, DRAMATISTS, AND CHARITIES.
Ir is a common experience of authors to
receive requests for the contribution of gratui-
177
tous literary work, to be published in some
annual or other production on behalf of
charities. While we have nothing to urge
against the charities for which these appeals
are made, we do wish to suggest to authors
that there are more direct and more advan-
tageous ways of supporting a charity than
by acceding to these requests. If the author
is really interested in, and anxious to help
the charity, it is far better that he should
make a donation to its funds than that he
should give gratuitous literary work to be
published in an annual very often run by one
man under no effective control. In the former
ease, the author is reasonably sure of the
charity getting the benefit of his benevolence,
but in the latter he has no such guarantee.
There are always expenses attaching to these
projects, with the result not infrequently that
very little is left for the cause for which the
project was started. Moreover, it is not a
good thing for the public to get accustomed
to the fact that authors are in the habit of
contributing literary work for nothing.
Associated with this question of gratuitous
contributions from authors to literary annuals
is the question of the terms given by dramatic
authors to amateur societies for the per-
formances of their works. Dramatists are con-
stantly being asked to consent toa reduction of
fees on the ground that the performance is to
be given for the benefit of some charity. Here,
also, our advice to the dramatist is to refuse
the request, but to send a donation direct to
the charity. By adopting this course he
will be sure of the charity getting the full
contribution, and will have the satisfaction of
knowing that he is not lowering the standard
rate for his work.
$$ ——__—_
THE JUMP OF THE CAT.
—-———
> a letter which, at the request of Mr. John
Long, Manager of Messrs. John Long, Ltd.,
was published in The Author for Feb-
ruary, 1913, the following statement occurs :-—
“Phere is no bigger gamble in the commercial world
than publishing as, after all, it is really a toss of the coin
which way the cat will jump.”
It seems, however, that we need not toss
the coin, because it is quite clear from the
beginning which way the cat will jump. The
quadruped, however agile, can only jump one
way, while the other ways are fenced off.
LD
17%
The following proposal from Messrs. John
Long, Ltd., was placed before a member of the
Society, whose leave we have for its
reproduction :—
[copy.]
12, 13 & 14 Norris STREET,
Joux Lone, Limirep, HAYMARKET,
Publishers. Lonpon.
15th May, 1912.
DEAR ,—I have received my reader’s report on
this and, on the whole, it may be considered favourable.
The MS., however, would have to be revised in parts
where you are too profuse. This could be dealt with later
on.
You have not yet that hold on the public as would
induce me to advise my firm to undertake the entire
risk in publishing the book; therefore, we could only
entertain publication conditional to your contributing
towards the expenses. Authors now-a-days must have a
sufficient public to warrant a publisher running the whole
risk in producing and publishing his work.
With regard to the amount you should contribute
towards th expenses. We should mention that, if you
can give u a really good book and will at the same time
sink £500, we feel sure we can ensure a permanent demand
for all you write. It would be a good and sound invest-
ment and one which we feel sure you would not regret.
With respect to this £500. The integral portion of it
would be spent in advertising, and a handsome royalty
would be paid to you on all sales. If you think well of
the suggestion, we shall be pleased to lay before you the
whole scheme.
We feel certain you can write, and there is no reason
why you should not gain a footing, but at the same time
you must be prepared for a fair outlay in order to secure
a sound literary foundation.
Very truly yours,
(Signed) Joun Lone.
On receipt of this proposal, the author, for
whom Messrs. John Long had already pub-
lished one book, enquired for further details,
to which request the following letter is a reply.
An alternative scheme was also submitted,
but the one which follows was especially
advocated :—
[cory.]
12, 13 & 14 Norris StREET,
JoHN Lone, LIMITED, HaAyYMARKET,
Publishers. Lonpon.
30th May, 1912.
DEAR ,—I have your letter of the 24th inst. and
now set forth the alternative terms upon which my firm
is prepared to publish the above :
(1)
That you pay to us the sum of £500 (£250 when you sign
the agreement and £250 when the work is in type) in
consideration of which we should produce the book in the
best style, publish at the outset at the nominal price of
6s. per copy, advertise in the leading London, Provincial
and possible Irish newspapers to a sum not less than £400
(full details of the expenditure of which would in due course
be submitted to you) and pay to you every six months the
following royalties :—
(a) 1s. 6d. per copy on all sales of the English 6s. edition.
(6) 3d. per copy on all sales of the special cheap colonial
edition.
(c) 74 per cent. of the nominal published price on all
sales of any other cheap edition or editions.
THE AUTHOR.
(d) 75 per cent of the net profits derived from any sale
of the American copyright.
(e) 75 per cent. of the net profits derived from any sale
of the foreign rights. :
(f) 75 per cent. of the net profits derived from any sale
of the serial rights.
In the event of your accepting these terms, it must be
understood that we have the first refusal of the next srx
new novels you MAy write suitable for publication in 6s.
volume form. Should we accept one or all of them, it
or they would be published at our entire expense, we
paying to you royalties as over :—
(a) 20 per cent. of the nominal published price on all
: copies sold of the English 6s. edition.
(b) 3d. per copy on all sales of the special cheap colonial
edition.
(c) 10 per cent. of the nominal published price on all
sales of any other cheap edition or editions.
(d) 50 per cent. of the net profits derived from any sale
of the American copyright.
(e) 50 per cent. of the net profits dervied from any sale
of the foreign rights.
(f) 50 per cent. of the net profits derived from any sale
of the serial rights . ..
Very truly yours,
(Signed) Joun Lona.
Now, what do the terms of this proposal
amount to ?
Suppose 1,500 copies of the book to be
printed at the outset, and 1,000 copies to sell.
The publisher will then obtain :—
zs
Profit on cost of production (put
at £100). : : ge 8
1,000 copies at 1s. 9d. (1s. 6d.
per copy going to the author). 87 10
£117 10
In addition to this solid pecuniary gain,
the firm obtains the enormous advantage pro-
vided by the author’s expenditure of £400 in
advertising. Such advertising would be sure
to bring to the publisher’s firm a reputation
among new writers unfamiliar with the con-
ditions which produced it.
It is true that the publisher denies that he
gets from the trade as much as 3s. 3d. a copy,
but it may be taken for granted that this
figure is correct and represents a fair average
price all through. The result, then, on the
sale of the first 1,000 copies, is to give to the
publisher a profit of £117 10s. without in-
volving him in any risk, and to the author, who
receives ls. 6d. a copy, a loss of £425.
The cat is jumping the publisher’s way.
Take the matter a little further.
3,000 copies, or, say, 3,300, to cover odd
copies, are printed and 3,000 sold.
It is possible, then, that the cost of produe-
tion may over-run the £100 in the publisher’s
hands by £20. That is, that it may cost £120
to produce an edition of 3,000.
THE AUTHOR.
SS.
On 3,000 copies at 1s. 9d. (the
author still taking 1s. 6d.) will
produce for the publisher
Less £20 balance cost of pro-
duction : : :
262 10
20 (0
£242 10
It may be as well to add that £120 leaves a
6: good margin for the cost of such an edition.
i The result to the publisher is a total profit
i of £242 10s., and an enormous advertisement
“o) for his firm.
The author, on the other hand, will have
i made :—
Cost of production and advertise- £
ment - : ‘ ‘ 5
3,000 copies at 1s. 6d. . . 2
Loss : 3
i Therefore, the comparative result will be :—
g
Profit to publisher . : , 242-10
Loss to the author . ; ~ 275-0
The obstinate cat still jumps the publisher’s
Sway.
It is really unnecessary to
+ tration further, for it is evident that the
carry the illus-
publisher, as he is getting for every copy a
clear profit of 1s. 9d. (less only the excess cost
of production beyond £100), whereas the
author, after paying £500 in the first instance,
| is getting 1s. 6d., the publisher, meanwhile,
, deriving, in addition, both with the public and
+ with certain kinds of journals, all the benefit
© to his firm of wide advertisement paid by the
@ author.
The author, having diagnosed the jumping
proclivities of the cat, refused this proposal,
but after some months, the following letter
the publishers —
[copy.]
12, 13 & 14 Norris STREET,
HayMARKET,
LoNnDON.
9th December, 1912.
DEAR .—The sales of were not sufficiently
encouraging to warrant our undertaking the entire
expenses of placing this work effectively on the market :
therefore, before handing it to our reader for his approval,
we shall be glad to know whether you are prepared to
contribute towards the expenses, and in that event what
amount? I fear your last book, publshed by us,
suffered through the smallness of your contribution,
necessitating our moving cautiously with the advertising :
moreover, the appearance of another work of yours about
the same time militated against its success. In the event,
therefore, of our approving the above, and you are prepared
Joun Lone, LimiveD,
Publishers.
in respect of another work was received from -
179
to put up money, it would go forth under the _ best
auspices.
Awaiting your reply.
Very truly yours,
(Signed) Joun Lone.
The author, by this time, a good judge of
cat athletics, refused to put up any money,
when Messrs John Long & Co. wrote the
follo wing letter —
[copy.]
12, 13 & 14 Norris STREET,
HAYMARKET,
Lonpon.
18th December, 1912.
DEAR ,—I have your letter of the 16th inst., and
regret to find you have not sufficient faith in your own
work to be willing to contribute towards the expenses of
publication : consequently, I have no alternative than to
return the above to you which I do herewith, registered.
T shall be glad if you will acknowledge the receipt of the
MS.
The output of fiction nowadays is such that unless an
author is prepared to contribute handsomely towards
production, publication, advertising, etc., he stands but
a poor chance of gaining the public ear.
Any new author who can write good sterling stuff of the
popular sort, and is prepared to sink say £500 in his first
and second books, would be assured of a permanent public
for practically all time. I think the days have gone when
merit is recognised without the aid of capital. Personally,
were I an author and felt I could produce work of the
popular order, and could put up a few hundred pounds, I
should not hesitate for a moment to place my work with
an up-to-date publisher and entrust to him the publication
of all I might write, thereby ensuring that he would
naturally take an interest in me.
Very truly yours,
(Signed) Joun Lone.
We have published these letters as a warning
to our members. We beg them to read all the
advice given in the letter from Messrs. John
Long, Ltd., of December 18, 1912, carefully,
and act with equal care in a directly opposite
sense.
We strongly advise them not to put up a
few hundred pounds,” in the belief that
booming the publisher and themselves will
have any solid result. We urge them on no
account to entrust to the publisher the pub-
lication of all that they may write.
JoHn Lone, LimitEep,
Publishers.
~—>—+
THE LETTERS OF AN ORDINARY
AUTHOR.
Collected and edited by Joun HasLetre.
Mains CorTraGE,
SANTOLLER,
Bucks.
To H. Venables, Esq.
My Dear Harry,—lI see in your letter,
which has just come to me, the replica of your-
self—short but cheery. You tell me that you
180
feel very fit. I never doubted it, and never
shall. You are one of those happy people
born fit, and when you come to die—the sense
of infinity makes me reckless—you will be fit
for it. I have not the same luck, but, thank
heaven, I am not of those who feel a grudge
against the possessor of “‘ rude health.” I can
understand the point of view, but it is not mine.
But why, oh why! does your letter tail off
with that ghastly phrase, simply reeking of
commerce? You ask, ‘‘ How is business ? ”
Do you not find that the dentist, the architect,
even the art photographer, resents any refer-
ence to business. Customers must be clients,
and we are all artists nowadays. I forgive you,
but the point rankles.
Our craft, in its vocal form, before it found
its profits curtailed by the demands of the
paper manufacturer and the printer, is the
oldest on earth. It antedated music, I believe,
with the possible exception of the sinfonia
domestica; in point of time it had (as our
American cousins would say) painting ‘“‘ beat
to a frazzle.’”” Beware then of the irritable
artistic temperament, which demands a sense
of reverence in other people.
I should much like an explanation of the
idea fixed in the mind of the average person—
that author of the party system, and the cult
of the conventionally unconventional, and
other absurd things. The beginner venturing
on the realms of music must have gold galore
poured into the palms of teachers, conserva-
toires and instrument makers; he must
devote years to the study of his art, and hours
per diem to the practice thereof. The painter
must move from the class where he is taught to
make straight lines, through the dreary paths
that wind about the immobile antique, to the
wider freedom of the life-class, before he can
paint—and then sometimes he cannot paint !
But the writer is supposed to spring full-armed
into being, his only tools a pen and some paper,
with the possible addition of a dictionary.
With these, without practice, in the course of
a month, he is expected to produce master-
works, books written in ‘clear, nervous
English,”’ if the phrase means anything ; books
which combine an ingenious and original plot
with clever characterisation. Worse, he is
supposed to sell these books, at the first offer,
to a publisher whose first idea is to make
money, and who has seen only too often the
fervid dreams of young authors crystallise in
disappointing sales, and a residue of unsaleable
** remainders.”
The death of a first-born man-child may
bring acute sorrow to the hearts of some; the
achieve.
THE AUTHOR.
return of a first novel deals a shrewd blow to
the unfortunate literary aspirant, but worse—
more dreadful than any blow, is the remark of
the candid friend. It has many variants, but
the form is fixed.
“YT think authorship is a very precarious
career.”
There you have it straight in the face. Like —
the sufferer from toothache, the author need ~
never look for sympathy from his friends.
When the public acclaims you, when your
books sell by the oft-repeated edition, then
you may be taken seriously. Never before.
There is your dear old uncle, who says blandly,
“Pleasant hobby—very. Keeps you’ occu-
pied, you know!” Don’t we all dream of
killing that uncle. and burying him in uncon-
secrated ground.
Precarious career, but useful as a hobby.
Good heavens! Is the young doctor a man
with a fixed and settled income? Can the
dentist calculate his percentage of teeth? Are
not music lessons retailed by very competent
performers at fifteen shillings a term? Yet no
one scoffs because you announce that you
intend to enter these professions. On the
contrary, you elevate your family by your
resolve, you bring a breath of culture into a
very ordinary household. As a lover of
failures, I have adopted a medico, who has had,
so far, no other patient. When speaking to
him the other day, I asked him if his people
ever grumbled at his delay in succeeding. He
laughed, and said that they, of course, knew it
took time to make a start, and he was prepared
to hold out for three years at least.
But we, poor authors, must build Rome in a
day, or be scoffed at for incompetent workmen.
The Hebrews were driven to make bricks
without straw, but no one contended that their
bricks were the equal of those which contained
straw. This miracle we are expected to
No wonder that we sometimes yearn
for the taskmasters of Egypt, while we strive
to please candid friends, sceptical publishers,
and that weird body, the public.
But you were asking about my work, and I
have only developed grumbles. Let me see.
Within the past month I have finished a novel.
I think the idea is good; I am certain the plot
is not original, but the treatment is, I hope,
fresh. This manuscript cost me tenpence in -
postage, which includes the necessary stamps
for return if unsuitable. I have begun to keep
accounts, my dear Harry, and for postage L ~
have allowed ten shillings! Why is this, you _
ask ? Well, I think it always better to discount
misfortune. If the tenpences in ten shillings
THE AUTHOR.
succeed in wafting the manuscript to_book-
form, I shall count them well spent. If they
do not succeed, the half-sovereign shall serve
for a gilded tombstone beneath which the
battered relic may lie in peace.
Since the departure of the Well-Beloved, I
have written three short stories. Two went
well from the beginning, but the third almost
taught me to swear. These confounded maga-
zine editors must be fanatical lovers of the
“fair sex.” They demand with extraordinary
unanimity that a woman should figure in every
tale. Now, despite the sententious Frenchman,
a woman does not. So you can imagine my
despair when it becomes necessary to pitchfork
a female into a place where she does not fit.
But you spoke of work, and that, in the idea
of one’s friends, does not mean output but
successes. Apparently you do not work on the
stories which fail to sell. Learn, then, that I
have done one piece of work—i.e., sold a
story—in two months. The editor of The
Wherry must have felt expansive of mood.
He offered me one pound per thousand words,
which meant three pounds for the tale. And
this for “‘ World Rights ” ! One good idea gone,
and the noble sum of three pounds in hand ;
the possible germ of a full-length novel
bartered for sixty pieces of silver. But there
was worse to come !
May pariah dogs sit on the grave of the
editor of The Wherry! He wants me to
alter the ending. He says my heroine is not
womanly enough. I must make her womanly
by cutting out all the art and all the originality
of the story. He did not say so, but I do. I
must make her fit in with the ridiculous pre-
conceived ideas of a million fatuous people.
For three pounds I must not only barter my
idea, but also my artistic conscience. And I
have done it. You, who know how much
bacon and eggs are encompassed by sixty
shillings, will understand and forgive me.
Some day, when I am famous, the editor of
The Wherry will send an emissary to beg
me for a short story, and I shall kick that man
off my doorstep. Meanwhile, I am muzzled.
Write soon again, to enquire gently after my
art. Good luck to you. Your friend,
R. WYVERN.
II.
Mans CoTraGE,
SANTOLLER, BUCKS.
To Messrs. Spillikens and Feuilleton. Literary
Agents.
Dear Strs,—I have received your letter of
yesterday’s date, informing me that the editor
181
of The Daily Craze has returned my serial
story, as unsuited to the columns of his
paper.
Also, I note what you consider the weak
points in the story. My difficulty is this:
these points are the best bits of work in the
tale, the most artistic, the most human. Iam
afraid I cannot undertake to rewrite the story,
as you suggest. It is a very difficult business
to fit new cloth into old garments.
You complain that the heroine does not
occupy the limelight all the time. I agree with
you, but I don’t see why she should. Then
there is the question of a curtain for the first
instalment. I never feel comfortable when
composing such phrases as “A wild cry rang
out” or “*Curse you, my children!’ he
hissed,”’ but, having done it, I cannot see
what more in gore and disaster the editors
wish from me. :
I must, I suppose, agree with you, that my
writing lacks “* ginger.”
I don’t affect judicial ignorance, but confess
that I am not attracted by ginger. Itis avery
nice thing in its own place, no doubt, but
hardly claims a place in literature. Of course,
I quite understand that you are doing your
best to advise me, with a view to increasing the
saleability of my work. I have to thank you
for many a useful hint. But there are some
things I cannot do, and writing ultra-sensa-
tionalism while my tongue is out of my cheek
is one of those things. Let a story have a plot
by all means, but don’t let the plot engulf and
destroy the story. I wish I could get some
editors to believe that the best policy. Please
try my serial with the Morning View, which
seems to publish a better class of stuff, and I
will try to do another serial on the lines you
suggest.
Herewith I am sending you three short
stories. Two are all right ; the third is—well,
it is possible. I hope you will be able to screw
a little more out of the editor of The
Wherry next time. If one gets into the
pound-per-thousand-word groove, it is very
difficult to get out of it. The firm have plenty
of cash at the back of them, and trade, I think,
on the poverty of the beginner, who is afraid to
refuse any offer for fear of having the
manuscript returned.
I suppose you have not heard yet about my
novel? I know they must be pretty busy, but
you might give them a look up, and see how
the roots are getting on. ;
I have an idea for a series of short stories.
The hero is not a polished rogue, and he is not
a private detective, so, perhaps, you may
182
think it a forlorn hope. But I intend to go on,
and will let you have the M.S. in due course.
Thanking you for your letter,
I remain,
Yours truly,
R. WYVERN.
oe
THE “ SHORT STORY” WRITER.
os
AM anxious, and have been for some time,
to say a few words in defence of that
much maligned member of the literary
fraternity, the “short story ’’ writer.
I speak particularly of the hardworking
journalist or magazine fiction writer, who has
to augment his (or her) income, or possibly
make it entirely, by what a certain section of
people condemn either as “‘ piffle ”’ or, occasion-
ally, as ‘‘ pernicious ”’ literature, but yet what
the majority of the general public clamours for.
I mean those who read the weekly periodicals.
I finally made up my mind to write this
article owing to a debate which I attended
quite recently. The subject under discussion
was “‘ Is Art for Art’s Sake a Worthy End for
Human Endeavour?” The two gentlemen
who carried on the argument were both
intellectual men of much fluency and learning,
and for some time the conversation was
carried on a plane far above the heads of most
of us. They attacked the question from what
was termed the philosophical side.
A third speaker, however, took a different
tone, and brought the subject down to
materialism and personalities; he tended to
show that Art, by which in the ordinary sense
I think we generally understand to mean music,
literature, painting, sculpture, etc., could not, in
the common interest of humanity. be carried
on for it’s (Art’s) own sake. He said that
before joining in the discussion he had
obtained the opinion of many artists, writers,
ete., and that the idea of following Art for
Art’s sake had struck them as merely funny !
How could they exist? they asked. Were
they not obliged, if they would live as worthy
citizens, to keep themselves, their wives, and
families, in comfort, and ‘“‘ owe no man any-
thing.” Were they not compelled, if they
wished to achieve this last, to cater for the
general public, and give it what it asked, even
though at times it went against their general
inclinations ? Not one of these men had a
private source of income—they were, therefore,
dependent on their pen, or brush, to provide
them with the necessaries of life.
THE AUTHOR.
The first two openers of the debate were
frankly shocked at what they evidently
thought a desecration of the muses, and the
speaker who had descended to materialism
(he is a “short story’ writer and spoke
feelingly) got slated soundly.
Now why ?
I am aware that this is a much harried and
grievous question amongst many, and that a
great diversity of opinion exists.
By a large number of deep readers and
thinkers the magazines, penny papers, half-
penny papers, and such like, are often con-
demned as “pernicious” literature and
regarded with contempt. I would defend
these periodicals with all the ardour of which
I am capable. Are they pernicious? Is
their influence bad? Do they tend to cheapen
Art? I don’t think so. I maintain that at
no time and in no age has there been such a
careful watch kept on the Press generally,
on magazines, books, weekly and daily papers,
in defence of their maintenance of a healthy
and beneficial tone, and a condemnation of all
that is unhealthy, immoral or bad, as there
is now. All honour to those editors who run
these papers, and who have themselves, in
many instances, commenced their careers by
free-lancing.
The writers of these brief stories, or sketches,
are often just beginning their career. They
dream of great things! They hope for great
things! But dreaming and hoping will not
bring them glory, or fame, or pay for the
necessaries of life. Many a young ambitious
man would gladly prefer to set aside for ever
the lighter vein, and the smaller things he is
doing, and give himself up to his ideals, but
he knows that those ideals may never reach
fulfilment, and that it is his duty, as a citizen,
very often as a father and husband, to do
that. which comes easily to his hand, that
brings grist to the mill.
Let us suppose that we abolished the weekly
‘“‘ha’penny ”? which the drayman, the trades-
man’s boy, and such like find of immense
interest, and in which they follow up the
stirring achievements of the professional foot-
ballers, or cricketer, or detective, that they
find between its pages. Supposing we did
away for ever with the penny weeklies, the
larger portion of which circulate in the middle
classes, and a great many in the domestic
servant circle. Should we tend to elevate the
minds of the readers, and would they go for a
higher form of literature because the lighter
kind was beyond reach? No! I believe that
the majority of them wouldn’t read at all.
THE AUTHOR.
Can we imagine the laundryman reading
Thackeray, or the cook Shakespeare ?
I give one instance which serves to show that
the domestic class, at any rate, loves its
“weekly,” and how useless it is to try to
tear them from her. A maid of mine, who was
with me for nearly two years, and who was
intelligent and fond of reading, had the offer
of the use of my library, a large one, com-
prising all kinds of fiction. I also suggested
a few books, not at all above her head, which
I thought she would enjoy. During the two
years that she was in my service, she borrowed
one, and yet she spent money each week on
literature of the penny order, and had a good
deal of time during the evenings which she
devoted to it.
I think we must cater for minds on the lower
plane as well as those on a higher. And if the
lower and middle classes do enjoy, and do
demand literature of the penny paper order,
let us let them have it healthy, bright, clean,
and amusing, with a good influence and motive
pervading it. Such stories, I don’t care in
what periodical they are issued, or how cheaply
these periodicals are sold. must tend, to some
small extent, to brighten those whose lives
are often of the prosaic order, and both reader
and writer will be the better, and not the
worse, for having read and written them.
After all, the greatest writers made small
beginnings, and climbed the dizzy heights of
suecess slowly and often laboriously.
I would suggest a greater tolerance from
those who claim to be judges of Art and
Literature, and that they make themselves
acquainted, by careful reading and observation,
of those things which they too often condemn
unheard and unobserved.
Maup DOovuBELL.
—ep-—<4e@
WRITERS’ AND ARTISTS YEAR BOOK.*
——
G is a pleasure once more to give the
warmest of welcomes to “‘ The Writers’
and Artists’ Year Book.” The volume
for 1913 differs in no way from that for 1912.
except in having been carefully brought up to
date, and it ought not to be necessary to say
anything about its contents, as the very great
value of the work and its very small price,
should secure its being in the hands of every
writer and artist. In it may be easily dis-
* & The Writers’ and Artists’ Year Book, 1913.”
and Charles Black, London, 1s. nett.
Adam
18%
covered where work of any kind can be
placed; and it is not an exaggeration to
assert that if work is saleable, ‘‘ The Writers’
and Artists’ Year Book” will show where a
purchaser is to be found.
Eg
A CHRISTMAS GARLAND.”
a
YOME DAY, when I grow rich enough, I
Ss am going to have an original carica-
ture of Max Beerbohm’s. In the
meantime I know of a shop where I can buy
reproductions fairly cheaply ; and also I have
‘A Christmas Garland.”
One may not quote from it because one
would never stop quoting ; one cannot choose,
because there is so little to choose between the
berries woven in it. Yet if one were to sub-
tract from the list of seventeen those who most
easily lend themselves as victims, Henry
James, Rudyard Kipling, Maurice Hewlett and
George Meredith, the three I would take from
the remaining thirteen for my own everlasting
joy would be Mr. A. C. Benson, Galsworthy,
and perhaps George Moore, and having
chosen, there is nothing left to do but to
quote. Of Percy in ~ Out of Harm’s Way,”
Mr. A. C. B*ns*n speaks so :—
** And then, once more in his rooms, with the
curtains drawn and the candles lit, he would
turn to his bookshelves and choose from among
them some old book that he knew and loved,
maybe some quite new book by that writer
whose works were most dear to him, because
in them he seemed always to know so precisely
what the author would say next, and because
he found in their fine-spun repetitions a
singular repose, a sense of security, an earnest
of calm and continuity, as though he were
reading over again one of those wise copy-
books that he had so loved in boyhood, or
were listening to the sounds made on a piano
by some modest, very conscientious young girl,
with a pale red pig-tail, practising her scales,
very gently, hour after hour, next door.”
In “Endeavour,” Galsworthy is crowned
with his own “ faint salt flowers.” One lives
with him tremulous-nostrilled in an atmosphere
of vague scents and emotions, fleeting and
poignant.
‘Tere were the immediate scents of dry
toast, of China tea, of napery fresh from the
*« 4 Christmas Garland. Woven by Max Beerbohm.”
Tondon: William Heinemann, 6s.
184
wash, together with that vague supersubtle
scent that boiled eggs give out through their
unbroken shells. And as a permanent base to
these there was the scent of much-polished
Chippendale and of beeswaxed. parquet and of
Persian rugs. To-day, moreover, crowning
the composition, was the delicate pungency of
the holly that topped the Queen Anne
mirror and the Mantegna prints.
“. .. Just at that moment, heralded by a
slight fragrance of old lace and of that peculiar,
almost unseizable odour that uncut turquoises
have, Mrs. Berridge appeared.
‘““* What is the matter, Adrian ?’ she asked
quickly. She glanced sideways into the Queen
Anne mirror, her hand fluttering, like a pale
moth, to her hair, which she always wore
braided in a fashion she had derived from
Pollaiuolo’s St. Ursula.”
Only one more, from Mr. Belloc :—
*«« This, too, I shall sing, and other songs that
are yet to write. In Pagham I shall sing them
again, and again in Little Dewstead. In
Hornside I shall re-write them, and at the
Scythe and Turtle in Liphook (if I have
patience) annotate them. At Selsey they will
be very damnably in the way. and I don’t at
all know what I shall do with them at Selscy.”
The rest is all in the book, and one of the
books is with me. For the writing of it I
thank Mr. Max Beerbohm very gratefully,
WINIFRED JAMES.
SAPPHO AND THE ISLAND OF LESBOS.*
1
HIS dainty little volumne should be in
the library of every woman of letters ;
if for no other reason, for the sake of
the woman whom all ages have acclaimed as
the queen of poetesses, about whom every
woman who writes ought to know something,
and of whom there is hardly anything, if any-
thing, known which is not here recorded ;_ but
also, we would add, for this reason that there
are herein contained many things which every
woman of good taste will read with so great
pleasure and advantage, that she will wish the
book to be not only among those which she has
read, but also one of those which she has always
near her.
In the opening chapters Dr. Mary Patrick
sketches the times, the contemporaries, and
* Mary Mills Patrick, Ph.D.
“Sappho and the Island
of Lesbos.”
With twenty-six illustrations. Methuen & Co.
THE AUTHOR.
the home of Sappho, and then proceeds to
record everything that is at present’ known
about herself and her writings, not omitting
to deal with the various foolish things that
have been at different periods related, without
foundation, respecting the poetess and her
friends. That all that is known should be so
little is to be regretted; but whatsoever is
known at present will be here found faithfully
and pleasantly recorded, as well as, at the con-
clusion of the volume, scholarly English trans-
lations of all the extant fragments of Sappho—
including the very important ones that have
been recently discovered. These translations
will make the volume valuable to those who
are able to read the originals, for, as Dr. Mary
Patrick rightly observes, to seize the exact
meaning of Sappho is often a puzzling problem,
and the translations are very well done. By
no means the least interesting features of the
little book are the illustrations. They repre-
sent not only landscapes suggestive of the
scenes amidst which Sappho lived, but also
all the portrait busts that are of importance,
as well as the much older portraits that exist
upon coins. The few notes which follow the
concluding chapter (we think that we should
have liked better to have had them as foot-
notes) may not appear to everyone to be of
much importance ; but, in justice to Dr. Mary
Patrick, it should be remarked that, for classical
scholars, they immensely enhance the value of
this excellent little monograph.
————
CORRESPONDENCE.
ee
‘“*SraGE CopyRIGHtT.”
Sir,—While thanking you for your kind and
appreciative review ‘of ‘‘ Stage Copyright :
At Home and Abroad,” may I ask the indul-
gence of your columns for a few lines of explana-
tion on the two points on which you make some
reservations. With regard to the first point
you remark: ‘‘ The author draws attention
to the fact that assignment of copyright in a
literary, dramatic, or musical work includes the
rights of mechanical reproduction, and that
this fact is one to be borne in mind, especially
by musical composers. He should have added
equally, if not more so, by dramatists, for it is
almost impossible to conceive what may be
the result of kinematograph production in the
future.” But the chapter in which the passage
in question appears in the book is one devoted
entirely to mechanical reproduction by means
of musical contrivances; and this sort of
THE AUTHOR.
mechanical reproduction is not so important
to dramatists as to musical composers. In the
chapter on Infringement a statement that an
unconditional assignment of Copyright in a
play “passes” the kinematograph rights is
expressly made.
As to point No. 2, you say that it is difficult
to agree with the statement in the preface that
‘perhaps not so much has been done for the
dramatists as for other classes of author ’’ [in
point of protection against infringement and
piracy]. My chief but not my only reason for
this opinion was the way in which the special
requirements of dramatic copyright are sub-
ordinated to those of literary copyright in
Section 11 of the 1911 Act, relating to summary
remedies. When the Bill was introduced in
1910, I ventured to point out that all specific
mention of unauthorised performance of a
dramatic work had been neglected in this
section. The omission was afterwards dealt
with, but only by means of a clumsy and in-
adequate clause inserted in Section 11 (2). One
cannot but feel that the section as a whole was
drawn in the interests of copies in print, and
while it has full practical point in that respect,
it is very far from being what it should be had
the interests of plays in representation been
similarly studied.
I am,
Yours faithfully,
BERNARD WELLER.
i
EprrortaL CouRTESY.
I.
Srr,—One has no difficulty in recognising
_ the weekly review whose methods (?) of doing
business are described in the February Author
by “The Worm That Turned.’’ It is cele-
brated as one of our leading periodicals, not
only in politics but in literature. We have
seen what this amounts to, from a contributor’s
point of view: let us examine the matter, for
a moment, from the subscriber’s. I wonder
whether any subscriber, paying his 6d. a
week for this paper, has ever asked himself the
significance of the editorial notice to which
“The Worm” refers: has ever asked himself,
I mean, what the notice stands for in regard not
to the writer, but to the public ?
Here is the notice :—‘* We beg to state that
we decline to return or to enter into any
correspondence as to rejected communications ;
and to this rule we can make no exception.
185
Manuscripts not acknowledged within four
weeks are rejected.”
Could such a naive confession of sheer
inertia appear, in a literary journal, in any
other country but this? For its interpretation
is plain. The editor candidly admits that he
not merely does not want to encourage new
writers with new ideas to send their work to
him, but positively wishes to discourage them.
Let other papers be at the trouble and expense
of finding new talent, he is not going to.
When they have unearthed a new man, this
editor may perhaps condescend to write and
ask him to contribute, not till then. In other
words, his subscribers will never, never if he
can help it, get the privilege of the first
introduction to anything novel in literature.
How do the payers of sixpences view this
frank proclamation that—whatever other
journal secures the fresh—theirs is safe to miss
it ?
I am, etc.,
Warp Muir.
ee ed
I,
Dear Sir,—I have been much interested
in the letter of “*‘ The Worm That Turned ” in
your February issue, interested with that
bitter interest which comes of fellow sufferings.
I am quite sure that the experiences he
enumerates could be multiplied by the score
and still their total remain untold.
I write for’a large number of magazines and
weekly papers, and I can count on the fingers
of one hand the offices from which to expect
any sort of business promptitude or ordinary
consideration.
The year is not very old, but I have already
the usual tale of complaints against editors
and their like :—
(1) A well-known London daily has taken
verse from me for some time. I invariably
enclose stamps when sending, but for some
unfathomable reason the editor suddenly
refuses to return my MSS. or to accept them.
I write in vain. Silence is my reply, and my
only conclusion is that contributors’ stamps
are used for the private correspondence of the
staff.
(2) I received an introduction to the manager
of an important Press agency; at an inter-
view in London he expressed himself willing
to consider my work; such was sent in, I
received answer that one story was too short,
but that if I lengthened it, it would prove
acceptable and I might send a Christmas tale
186
as well. I gasped at the meagreness of the
terms offered, but imagined it might be well
to accept with a view to better results in the
future. I lengthened the old tale and sent
another. Both were returned after con-
siderable delay with not even an apology.
(3) At an interview with the editor of a
popular magazine interest was expressed in
my work and MS. was left. I afterwards
received it back, ‘‘ declined with thanks,”
and unstamped.
These are but a few of the vexations in-
flicted upon contributors by the carelessness
and discourtesy of editors, and I have no
doubt that every writer can adduce the like
from bitter experience.
When editorial methods are only commonly
business-like, writers will have much to be
thankful for. May that day speedily arrive !
Yours faithfully,
ScRITTA.
CoLONIAL PUBLICATIONS.
Srr,—Referring to the articles on “ Colonial
Publication ” it would seem that only through
the business capacity of American publishers
do English books obtain a fair circulation in the
Dominions. To uphold our patriotism, it is
suggested that Colonial publishers of energy
should make direct contracts with English
authors, if English publishers continue to
show a supine indifference to general business
interests.
Some time ago I tried to arrange for the
publication of a small book in Canada with
a well-known publishing firm, recommended
to me by a Canadian friend in a collateral line
of business.
My little book was not a sentimental novel
or one likely to have a large or perhaps any
appreciable circulation, but for special reasons
I wished it to be published in Canada even if
it failed.
I wrote, therefore, a purely business letter
describing the subject, asking the firm if they
were willing to publish it, and if so on what
terms. To this I received no answer. Think-
ing that the letter might have gone astray,
I wrote again, registering this and enclosing
money for a registered reply. No answer has
ever come. The firm have evidently not had
the courtesy or enterprise to attend to an
ordinary business matter.
Anyone can see how such delay might be
fatal to much hard work.
THE AUTHOR.
It so happens that it would not suit me to
employ an American publisher. What is to
be done ?
There is also the question of the correction
of proofs to be considered. How is this to
be arranged at a great distance? How, too,
if proof correction is left to the publisher, is
an author to be certain that an American or
Colonial compositor will not disfigure his book
with American spelling? How, also, is the
author to know what number of copies of his
book may have been sold ?
Publishers are not in business, one would
imagine, for the fun of the thing, nor do they
hire offices to have a pleasant place in whic
to write letters or read MSS. ‘
It would seem that old mercantile methods
—on the take-it-or-leave-it principle—are still
at the bottom of many a publisher’s want of
enterprise.
Neither an American nor a German business
man waits to have his mouth opened to receive
a lollipop. He seeks to adapt himself to
circumstances and does not despise small
things, knowing that the general turnover
at the year’s end is what he must keep his
eye on.
If a man has anything to sell, it is surely
in his interest to find buyers, learn their wants,
and create in them a desire for his goods, be
they books or sugar.
For this reason an ‘ Authors’ Publishing
Association’? on purely business principles
might be of decided use to English writers.
I am, etc.,
Co-OPERATIVE PUBLISHING.
S1r,—With reference to the letter on this
subject in the January Author, I am entirely
in accord with ‘“‘ Progress ”’ that it is time this
question received serious consideration. How
much longer are writers to waste the best
years of their life in going from pillar to post,
from publisher to publisher, in vain attempts
to reach the reading public? On the other
hand, how is a man of moderate means to
bring out his book through a publishing house,
at his own risk? In this connection, it would
be well worth inquiring as to whether publica-
tion could not be made less expensive for the
author, in the way suggested by your corre-
spondent.
Yours faithfully,
LEICESTER ROMAYNE.
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Title
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The Author, Vol. 23 Issue 06 (March 1913)
Subject
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<em>The Author</em>, Vol. 23 Issue 06 (March 1913)
Type
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Publication
Identifier
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1913-03-01-The-Author-23-6
publications
The Author