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541	https://historysoa.com/items/show/541	The Author, Vol. 24 Issue 09 (June 1914)	<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+24+Issue+09+%28June+1914%29"><em>The Author</em>, Vol. 24 Issue 09 (June 1914)</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a>	1914-06-02-The-Author-24-9					233–262																		<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=24">24</a>											<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1914-06-02">1914-06-02</a>							9			19140602	Che Huthbor.<br /> <br /> (The Organ of the Incorporated Society of Authors.<br /> <br /> FOUNDED BY SIR<br /> <br /> <br /> <br /> Vor. XXIV.—No. 9.<br /> <br /> Monthly.)<br /> <br /> WALTER BESANT.<br /> <br /> <br /> <br /> JUNE 2, 1914.<br /> <br /> [PRIcE SIXPENCE.<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> TELEPHONE NUMBER:<br /> 374 VICTORIA.<br /> <br /> TELEGRAPHIC ADDRESS:<br /> AUTORIDAD, LONDON.<br /> <br /> NOTICES.<br /> <br /> ——+—_<br /> <br /> TT the opinions expressed in papers that<br /> are signed or initialled the authors alone<br /> are responsible. None of the papers or<br /> <br /> paragraphs must be taken as expressing the<br /> <br /> opinion of the Committee unless such is<br /> especially stated to be the case.<br /> <br /> Tur Editor begs to inform members of the<br /> Authors’ Society and other readers of The<br /> Author that the cases which are quoted in The<br /> ‘Author are cases that have come before the<br /> motice or to the knowledge of the Secretary of<br /> the Society, and that those members of the<br /> Society who desire to have the names of the<br /> publishers concerned can obtain them on<br /> ‘application.<br /> <br /> ARTICLES AND CONTRIBUTIONS.<br /> <br /> Tur Editor of The Author begs to remind<br /> members of the Society that, although the<br /> paper is sent to them free of cost, its production<br /> would be a very heavy charge on the resources<br /> of the Society if a great many members did not<br /> forward to the Secretary the modest 5s. 6d.<br /> <br /> subscription for the year.<br /> Communications for The Author should be<br /> <br /> addressed to the offices of the Society, 1, Cen-<br /> tral Buildings, Tothill Street, Westminster,<br /> S.W., and should reach the Editor not later<br /> <br /> than the 21st of each month. o<br /> Communications and letters are invited by<br /> <br /> the Editor on all literary matters treated from<br /> Vou. XXIV.<br /> <br /> the standpoint of art or business, but on no<br /> other subjects whatever. Every effort will be<br /> made to return articles which cannot be<br /> accepted.<br /> <br /> ADVERTISEMENTS.<br /> <br /> Messrs. Matthews’ Advertising Service,<br /> Staple Inn Buildings, High Holborn, W.C.,<br /> will act as agents for advertisements for<br /> “The Author.” All communications respect-<br /> ing advertisements should be addressed to<br /> them.<br /> <br /> As there seems to be an impression among<br /> readers of The Author that the Committee are<br /> personally responsible for the bona fides of the<br /> advertisers, the Committee desire it to be stated<br /> that this is not, and could not possibly be, the<br /> ease. Although care is exercised that no<br /> undesirable advertisements be inserted, they<br /> do not accept, and never have accepted, any<br /> liability.<br /> <br /> Members should apply to the Secretary for<br /> advice if special information is desired.<br /> <br /> pS ——-<br /> <br /> <br /> <br /> THE SOCIETY’S FUNDS.<br /> <br /> So<br /> <br /> | ‘ROM time to time members of the Society<br /> 4 desire to make donations to its funds in<br /> <br /> recognition of work that has been done<br /> for them. The Committee, acting on the<br /> suggestion of one of these members, have<br /> decided to place this permanent paragraph in<br /> The Author in order that members may be<br /> cognisant of those funds to which these con-<br /> tributions may be paid. :<br /> <br /> The funds suitable for this purpose are:<br /> (1) The Capital Fund. This fund is kept in<br /> reserve in case it is necessary for the Society to<br /> incur heavy expenditure, either in fighting a<br /> question of principle, or in assisting to obtain<br /> copyright reform, or in dealing with any other<br /> <br /> <br />  <br /> <br /> <br /> <br /> 234<br /> <br /> matter closely connected with the work of the<br /> Society. : :<br /> <br /> (2) The Pension Fund. This fund is slowly<br /> increasing, and it is hoped will, in time, cover<br /> the needs of all the members of the Society.<br /> <br /> a<br /> <br /> THE PENSION FUND.<br /> <br /> oS<br /> <br /> N January, 1914, the secretary of the<br /> I Society laid before the trustees of the<br /> Pension Fund the accounts for the year<br /> 1918, as settled by the accountants. After<br /> giving the matter full consideration, the<br /> trustees instructed the secretary to invest a<br /> sum of £350 in the purchase of Great Eastern<br /> Railway Ordinary Stock. The amount pur-<br /> chased has been added to the investments set<br /> out below.<br /> <br /> The trustees desire to thank the members of<br /> the Society for the continued support which<br /> they have given to the Pension Fund. They<br /> have given notice to the Pension Fund Com-<br /> mittee that there is sufficient money at their<br /> disposal to enable them to give another<br /> pension.<br /> <br /> The nominal value of the investments held<br /> on behalf of the Pension Fund now amounts<br /> to £5,419 6s., details of which are fully set out<br /> in the following schedule :—<br /> <br /> Nominal Value.<br /> <br /> £8. d<br /> Enea) Boas 20.2.5 ie 500 0 0<br /> Victoria Government 8% Consoli-<br /> <br /> dated Inscribed Stock ............ 291 19 11<br /> London and North Western 3%<br /> <br /> Debenture Stock ................. 250 0 0<br /> Egyptian Government Irrigation<br /> <br /> Trust 4% Certificates............ - 200 0 0<br /> Cape of Good Hope 84% Inscribed<br /> e NLOCK a as 200 0 0O<br /> Glasgow and South-Western Rail-<br /> <br /> way 4% Preference Stock ...... 228 0 0<br /> New Zealand 34% Stock .......... 247 9 6<br /> Irish Land 22% Guaranteed Stock 258 0 0<br /> Corporation of London 24%<br /> <br /> Stock, 102% 6% ie vccoccas 438 2 4<br /> Jamaica 84% Stock, 1919—49 ... 18218 6<br /> Mauritius 4% 1987 Stock ......... ~ 120 12 4<br /> Dominion of Canada, C.P.R. 34%<br /> <br /> Land Grant Stock, 1988 ......... 198 8 8<br /> Antofagasta and Bolivian Railway<br /> <br /> 5% Preferred Stock ........:05.04. 237 0 0<br /> Central Argentine Railway Or-<br /> <br /> GBORY BOCK cosh piceisss ci ccensy est 282 0 0<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> Nominal V alue.<br /> <br /> £ 8. a<br /> $2,000 Consolidated Gas and<br /> Electric Company of Baltimore<br /> 44% Gold Bonds ................ 400 0 0<br /> 250 Edward Lloyd, Ltd., £1 5%<br /> Preference Shares &lt;...........-... 250 0 0<br /> 55 Buenos Ayres Great Southern<br /> Railway 4% Extension Shares,<br /> 1914 (fully paid) .................. 550 0 0<br /> <br /> 8 Central Argentine Railway £10<br /> <br /> Preference Shares, New Issue... 30 0 0<br /> <br /> Great Eastern Railway Ordinary<br /> Stock wieceiccccece 655 0 0<br /> Total 4.3..5:.4...; £5,419 6 0<br /> <br /> PENSION FUND.<br /> <br /> ——<br /> <br /> Tue list printed below includes all fresh dona-<br /> tions and subscriptions (i.e., donations and<br /> subscriptions not hitherto acknowledged)<br /> received by, or promised to, the fund from<br /> October, 1913.<br /> <br /> It does not include either donations given<br /> prior to October, nor does it include sub-<br /> scriptions paid in compliance with promises<br /> made before it.<br /> <br /> Subscriptions.<br /> 1913.<br /> Oct. 8, Rees, Miss Rosemary<br /> Oct. 8, Pearce, J. : : :<br /> Oct. 9, Drummond, Miss Florence<br /> <br /> Oct. 9, Rumbold, Hugo 1<br /> Oct. 18, Knowles, Miss<br /> <br /> Oct. 20, Collison, Harry<br /> <br /> Oct. 21, Buchanan, Miss Meriel<br /> <br /> Oct. 25, Baker, E. A. . :<br /> <br /> Nov. 6, Bentley, E. C. y<br /> Nov. 6, Petersen, Miss Margaret<br /> Noy. 7, Lang, Mrs. John<br /> <br /> Nov. 19, Langferte, Raymond<br /> Nov. 24, Webb, W. Trego<br /> <br /> Nov. 24, Mackenzie, Compton<br /> Dec. 4, Vansittart, Robert<br /> <br /> Dee. 4, Lunn, Arnold . ‘<br /> <br /> Dec. 4, Stewart, Miss Marie .<br /> <br /> Dec. 4, Berry, Miss Ana<br /> <br /> Dec. 4, Vallois, Miss Grace<br /> <br /> Dec. 17, Beresford, J. D.<br /> <br /> Dec. 29, Inge, Charles . ;<br /> Dec. 29, Cross, Miss May . .<br /> Dec. 29, Hardy, Thomas, O.M.<br /> <br /> _<br /> <br /> i<br /> NOooaannods aan Oo Oe OO Ot Or Or<br /> <br /> woeoscooooHrocoSoooSoCOHSSCOOOm<br /> SOmeoccooaoccoOoSC SoS OSOSCOSCOSCCOF<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> 1914.<br /> <br /> Jan. 7, Ford, Miss May<br /> <br /> Jan. 7, Sephton, J.<br /> <br /> Jan. 16, Singer, I.<br /> <br /> Jan. 16, Cooke, Arthur 0.<br /> <br /> Jan. 23, Exley, Miss M.<br /> <br /> Jan. 26, Sarawak, The Rance of<br /> Mar. 11, Dowson, Oscar F.<br /> <br /> April 8, &quot; Stoeving. Paul : .<br /> April 14, Buckle, Gerard, F. »<br /> April 14, Grattan, Harry . :<br /> April 17, Rubenstein, H. F. . .<br /> April 20, Anon. . :<br /> April 25, Stacpoole, Mrs. de Vere .<br /> May 1, Miigge, Maximilian A,<br /> <br /> May e Davies, Miss Mary<br /> <br /> May 8, Simon, Andre L.<br /> <br /> May 8, Deutsch, H. .<br /> <br /> May 9, Campbell, Miss E. Hope<br /> May 12, Lardner, E. G. D.<br /> <br /> 1918. Donations.<br /> <br /> Oct. 7, Darwin, Sir Francis .<br /> <br /> Oct. 9, Carroll, Sydney Wentworth<br /> Oct. 21, Troubetzkoy, The Princess<br /> Oct. 27, Frankish, Harold<br /> <br /> Oct. 30, Rosman, Miss Alice Grant<br /> Nov. 8, Holland, Theodore<br /> <br /> Nov. 3, Steane, Bruce<br /> <br /> Nov. 3, Batty, Mrs. Braithwaite<br /> Nov. 10, Elrington, Miss Helen<br /> Novy. 10, Waterbury, Mis... :<br /> Dec. 5, Dymock, R. G. Vaughton .<br /> Dec. 6, Macdonald, Miss Julia<br /> Dec. 11, Little, Mrs. Archibald<br /> Dec. 11, Topham, Miss Ann .<br /> <br /> Dec. 20, Edwards, Percy J.<br /> <br /> Dec. 21, Keating, J. Lloyd<br /> <br /> 1914.<br /> <br /> Jan. 8, Church, Sir Arthur<br /> <br /> Jan. 5, Anon .<br /> <br /> Jan. 5, Joseph, L. ;<br /> <br /> Jan. 5, Swan, Miss Myra<br /> <br /> Jan. 5, Vernede, R. E.<br /> <br /> Jan. 6, De Crespigny, Mrs. + Champion<br /> Jan. 6, Rankin, Miss I. ;<br /> <br /> Jan. 7, Sneyd- es E. M.<br /> Jan. 7, Lathbury, Miss Eva .<br /> <br /> Jan. 7, Toplis, Miss Grace<br /> <br /> Jan. 8, Palmer, G. Molyneaux<br /> Jan. 9, Mackenzie, Miss J.<br /> <br /> Jan. 10, Daniell, Mrs. E. H. .<br /> <br /> Jan. 12, Avery, &quot;Harold ;<br /> <br /> Jan. 12, Douglas, Mrs. F. A.<br /> <br /> Jan. 15, Pullein, Miss Catherine<br /> Jan. 15, Thomas, Mrs. Fanny<br /> Jan. 16, James, Mrs. Romane<br /> Jan. 19, P. H. and M. K. ; ;<br /> <br /> coor oceceocoocoeoooooo oY,<br /> <br /> _<br /> COCO OFRrFOCOCOC COSHH ON<br /> <br /> _<br /> oS<br /> <br /> emoocooocececococqcouccescr<br /> <br /> “e<br /> <br /> a<br /> <br /> ok fee<br /> OOo © Or Gr Ot © Or Or Or OF Or<br /> <br /> rt<br /> oc<br /> <br /> 10<br /> <br /> _ od<br /> Or Ov Or<br /> <br /> An1n°onkteH Aanananododcsd<br /> <br /> edie et<br /> MHOKMIOOCAUWMBNUMNMONOMNAOH<br /> <br /> _<br /> <br /> ccoomeocoooeoco Oo<br /> <br /> 0<br /> <br /> eooocoooonacooooeao<br /> <br /> eceoceoaoaceooeocanaceo<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> <br /> Jan.<br /> Jan.<br /> Jan.<br /> Jan.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> Feb.<br /> <br /> Feb.<br /> Feb.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> Mar.<br /> <br /> THB AUTHOR,<br /> <br /> 19, Greenstreet, W. J. .<br /> 19, Gibbs, F. Leonard A.<br /> 23, Campbell, Mrs. L. A. R. .<br /> 23, Cameron, Mrs. Charlotte,<br /> ERGS. . :<br /> 28, Blunt, Reginald :<br /> 24, Raphael, Mrs. Mary.<br /> 25, Plouman, Miss Mary<br /> 80, Gibson, Miss L. S. .<br /> 5, Brooker, Lt.-Col. E. P.<br /> 6, Buchrose, J. E. 4<br /> 7, Smith, Herbert W.<br /> 20, Eden Guy<br /> 21, Mayne, Miss Ethel<br /> Four<br /> <br /> | Col<br /> <br /> 21 KK<br /> <br /> 25, Aspinall, Algernon I E.<br /> 2 Dalziel, J: :<br /> <br /> 2.8. 8.G. .<br /> <br /> 5, Saies, Mrs. F. H<br /> <br /> 5, Thorne, Mrs. Isabel .<br /> <br /> 5, Haviland, Miss M. D.<br /> <br /> 5, Todd, Miss Margaret, M.D.<br /> 13, Cabourn, John .<br /> 20, Fenwick Miss S. F. .<br /> <br /> 26, Prendergast, Mrs. J. W.<br /> <br /> May 6, Ward, W. J. .<br /> <br /> May 7, Crosse, Gordon.<br /> <br /> May 8, Williamson, CoN: pad Mrs.<br /> CN. i<br /> <br /> May 21, Colebroke, Miss H. E.<br /> <br /> May 21, Munro, Neil.<br /> <br /> May 21, O&#039;Higgins, Harvey<br /> <br /> May 25, Broadbent, D. R.<br /> <br /> HE May me<br /> <br /> being<br /> of mem<br /> was ele<br /> Jacobs, seconded by Mr.<br /> Hesketh Prichard was una<br /> This is his second year of<br /> of the former meeting were<br /> after which the elections were<br /> course, thirty-five mem<br /> being added to t<br /> total for the year 170.<br /> were accepted, bringing the<br /> to sixty-nine. .;<br /> <br /> The next ma<br /> was the solicitor’s repor<br /> <br /> —__—__+——&gt;—_&gt;+&gt;—____——_<br /> <br /> COMMITTEE NOTES.<br /> <br /> SOSCp<br /> <br /> ocrcoocorooornNooce COOFRrF OCC OME<br /> <br /> BOR oH<br /> <br /> 235<br /> <br /> = bet oad<br /> Aone<br /> <br /> Aom=HOAbd OHH<br /> <br /> rt et<br /> aoe<br /> <br /> ee<br /> OL Or OS CUR Or OF OE<br /> <br /> es aaa<br /> tO pet OOH<br /> <br /> SOHROSSOSOSSOSOSSCOSCSO ScnSDSoOCaOSCO Coo<br /> <br /> onoos<br /> <br /> eting of the Committee of<br /> <br /> Management was held at the offices of<br /> the Society on Monday, May 4.<br /> the first meeting after the general meeting<br /> <br /> office.<br /> <br /> Hs<br /> <br /> <br /> <br /> ted, and, on the pro yosal of Mr.<br /> peers Ped Shaw, Mr.<br /> <br /> nimously re- -elected.<br /> The minutes<br /> then read and signed<br /> taken in due<br /> bers and associates<br /> he Society’s lists, making the<br /> Two resignations<br /> resignations up<br /> <br /> This<br /> <br /> bers the chairman for the current year<br /> <br /> W. W.<br /> <br /> tter dealt with by the committee<br /> t on the cases.<br />  <br /> <br /> <br /> <br /> go<br /> 25<br /> <br /> In a question arising from the non-publica-<br /> tion of a work the solicitor reported that an<br /> order of the Court had been made by which<br /> the book had to be published by a certain<br /> date, subject to a penalty of £50 if publication<br /> did not ensue, the defendant undertaking to<br /> pay the costs of the action. In the case<br /> dealing with the title of Mr. Raleigh’s drama,<br /> “Sealed Orders,’’ the solicitor reported that<br /> further action had been taken, owing to the<br /> fact that managers of theatres in the country<br /> had used the title contrary to the order of the<br /> Court. The solicitor was pleased to report<br /> that in all cases where the title had been thus<br /> wrongfully used satisfaction had been obtained<br /> and the offending advertisements had been<br /> withdrawn. He also reported that, by the<br /> desire of the author, he had made full copies<br /> of the papers which had been sent over to the<br /> author’s American lawyer explaining that,<br /> without the express sanction of the com-<br /> mittee, the Society could not be responsible<br /> for the costs in the United States. There<br /> were two cases of non-payment, one on<br /> accounts delivered, and one for a sum due<br /> under a contract. In the first case the<br /> debt and costs had been paid, and, in the<br /> second, part of the sum had been paid and a<br /> proposal for settlement had been made. In<br /> four cases against magazine editors the follow-<br /> ing results had been obtained: In the first,<br /> judgment was obtained, but on execution<br /> <br /> being levied, the debenture holders had<br /> appointed a receiver. It was obvious that<br /> nothing further could be done. In the<br /> <br /> second case, the debt and costs had been paid,<br /> and in the remaining two cases proceedings<br /> were pending. It was probable that both<br /> would be settled, as other claims against the<br /> same magazine had recently been satisfied.<br /> In a case by a member against a film company<br /> for unauthorised use of a title, the solicitor was<br /> glad to report that, when the company’s<br /> attention had been drawn to the matter, the<br /> title was changed. ’<br /> <br /> In a case of alleged infringement of dramatic<br /> copyright, the solicitor reported that the<br /> evidence of an expert had been obtained, and<br /> after consideration of his report, the solicitor<br /> had come to the conclusion that it would not<br /> be possible to take action. The member had<br /> been informed of the result. The position of<br /> a publishing company against whom the<br /> Society has claims on behalf of some dozen<br /> members was fully reported by the solicitor<br /> who had investigated the matter, and it<br /> was hoped that the reconstitution of the com-<br /> pany would be carried through successfully.<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> Where judgment had been signed on behalf<br /> of one of the members, it was decided, after<br /> consideration of all the details by the com-<br /> mittee, to throw the defendant into bank-<br /> ruptey if the claims were not properly met.<br /> There was a claim of one of the members<br /> against a cinematograph company for piracy<br /> and infringement of copyright. The company<br /> was a French company with offices in England.<br /> The solicitor reported that, as far as England<br /> was concerned, the matter had been finally<br /> settled, but it was decided that he should<br /> send in his full report, in order that the papers<br /> might be forwarded to Paris to be dealt with<br /> by the Society’s French lawyer. There were<br /> two small cases for the collection of dramatic<br /> fees, and in both the solicitor reported that<br /> writs had been issued. A difficult case of<br /> alleged misrepresentation by a music publisher<br /> came before the committee, and here also, so<br /> far as England was concerned, the matter<br /> had been settled. As the main difficulty<br /> arose in Germany, it was decided that the<br /> solicitor should make a full report to the<br /> secretary in order that the matter might be<br /> placed in the hands of the German lawyer of<br /> the Society. Finally, in a case of dispute<br /> between author and agent, after mature con-<br /> sideration, it was decided that the author’s<br /> contention could not be upheld, and that the<br /> matter must be left in the hands of the solicitors<br /> to make the best settlement they could on<br /> behalf of the author.<br /> <br /> The secretary then placed before the<br /> committee questions which had arisen during<br /> the past month. There were four cases in which<br /> the chairman having given authority for<br /> immediate action asked for confirmation<br /> from the committee of that authority. The<br /> first dealt with the collection of dramatic<br /> fees in England, the second with a dispute<br /> in the United States in respect of cinema<br /> fees, the third was a claim against a<br /> United States magazine for money due on a<br /> published article, and the fourth a question of<br /> documents alleged, by one of the members of<br /> the Society, to have been stolen. The chair-<br /> man’s sanction was confirmed. In a case of<br /> dispute between one of the members of the<br /> Society and the society with whom his con-<br /> tract had been made, the committee, after<br /> reading the letters from both sides, taking into<br /> consideration the fact that the conflict of verbal<br /> evidence would make it almost impossible<br /> for the member to substantiate his contention<br /> in Court, decided with regret to take no action<br /> on his behalf. There was a case of dispute<br /> between one of the members and a publisher<br /> <br /> <br /> <br /> <br />  <br /> <br /> JUNE, 1914.]<br /> <br /> as to the terms of a contract. The matter<br /> was referred to the committee for arbitration.<br /> The committee decided, with the sanction of<br /> the author, to leave the legal question involved<br /> to the decision of the Society’s lawyers. In a<br /> case of disputed accounts which had already<br /> been investigated by the Society’s accountants<br /> it was decided that no further action should<br /> be taken, as the committee felt that they could<br /> not go behind the accountants’ report. In a<br /> case of infringement of dramatic copyright in<br /> Canada they regretted they could not take the<br /> matter further, while it was decided to place<br /> an infringement by an Australian paper in<br /> the hands of the Society’s Australian lawyers<br /> as soon as the member had established a title<br /> to take action.<br /> <br /> The secretary read letters that one of the<br /> members desired referred to the committee,<br /> dealing with some negotiations between him-<br /> self and one of the religious publishing houses.<br /> It was decided to thank the member for the<br /> action he had taken, and, if possible, to get<br /> into communication with the publishing house<br /> mentioned. One of the members of the<br /> Society had referred to the committee an offer<br /> he had received from a magazine for the pur-<br /> chase of work submitted, and it appeared to<br /> the committee that the matter should be<br /> mentioned in The Author with the name of<br /> the magazine. A somewhat similar case,<br /> where the issues were not quite so clear, the<br /> committee left to the discretion of the secretary<br /> to act as he thought best. — 2<br /> <br /> A question arose as to a contribution pro-<br /> mised by the Society to the Authors’ League<br /> of America, and the secretary was authorised<br /> to forward the sum due.<br /> <br /> The sub-committees of the Society were<br /> formally re-elected, the only change being the<br /> election of Mr. Charles Klein on the Dramatic<br /> Sub-Committee in the place of Mr. James T.<br /> Tanner, resigned.<br /> <br /> The motion passed at the General Mecting<br /> of the Society, on the subject of the Libraries<br /> Censorship was referred to the committee, and<br /> the committee felt that they were bound to<br /> carry through, to the best of their ability,<br /> the request made at the gene ral meeting.<br /> Accordingly, the secretary and chairman a<br /> instructed to get into touch once again with<br /> the publishers, the libraries and the _book-<br /> sellers, and Mrs. Belloc Lowdnes, Mr. Charles<br /> Garvice, Mr. Bernard Shaw and the chairman<br /> of the committee were elected delegates to<br /> represent the Society at a round-table con-<br /> ference.<br /> <br /> Dealing with the question of International<br /> <br /> <br /> <br /> THE AUTHOR. ify<br /> <br /> Copyright, the secretary drew the attention<br /> of the committee once again to the fact that<br /> when France made a treaty with Russia the<br /> attention of the Foreign Office was called to<br /> the fact by the committee, and it was suggested<br /> that England should take the opportunity<br /> of obtaining a similar treaty. A polite letter<br /> had been received in reply ; when subsequently<br /> Germany made a similar treaty with Russia<br /> the attention of the Foreign Office was again<br /> called to the position, and, again, a polite<br /> reply was received. The secretary now<br /> suggested that as the matter was of vital<br /> importance to all members whose literary<br /> and dramatic works were being translated<br /> and pirated in Russia, another attempt<br /> should be made to obtain a treaty with<br /> Russia. The committee decided to leave<br /> it with the chairman and the secretary to<br /> arrange that a deputation should wait on the<br /> responsible parties in the Government, with a<br /> view to pressing forward the settlement of a<br /> treaty with Russia at-the earliest opportunity.<br /> The ‘secretary put before the committee a<br /> letter he had received from the India Office in<br /> regard to the passing of the Indian Copyright<br /> Act, and stated that he hoped to have the<br /> Act for insertion in The Author shortly. He<br /> then referred to the difficulties surrounding<br /> Canadian copyright, owing to the law of 1842<br /> still running in Canada, as the Canadian<br /> Government had not passed any new legisla-<br /> tion adopting the Act of 1911. It was decided<br /> in this matter, also, to see if it would not be<br /> possible, by representation to the Colonial<br /> Office, to remove some of the difficulties from<br /> the present position, and the committee<br /> determined, should it prove politic, that a<br /> deputation should attend the Colonial Office<br /> also.<br /> . Questions regarding the salaries of the clerks<br /> of the office and an articled clerk to serve under<br /> the secretary of the Society were considered<br /> and settled, and two or three minor matters<br /> of no general interest.<br /> et<br /> Dramatic SUB-COMMITTEE.<br /> I.<br /> <br /> ig of the Dramatie Sub-<br /> Committee was held on Friday, May 1, at the<br /> offices of the Society, to meet the Society’s<br /> American agent, Mr. W alter Jordan, who had<br /> come over to England. The main subject for<br /> discussion was the question of cinematograph<br /> <br /> ights and prices. :<br /> oie Jordan pointed out that ten or twelve<br /> <br /> A speEcIAL mecetil<br /> <br /> <br />  <br /> <br /> ‘238<br /> <br /> of the theatres in New York had gone over<br /> entirely to the production of picture plays,<br /> that the demand for good plays and good<br /> films was greatly on the increase, and that<br /> much higher fees could be obtained now than<br /> formerly. Mr. Jordan stated that he would<br /> forward to the Society of Authors, for the use<br /> of the secretary, a copy of the contract he had<br /> been making for the use of authors and<br /> dramatists.<br /> <br /> The legal questions respecting authors’<br /> rights, which had been assigned before moving<br /> pictures were known, were also discussed, also<br /> questions of piracy and the legal decisions<br /> which had been given bearing on these points.<br /> <br /> The sub-committee thanked Mr. Jordan for<br /> his attendance, and for the information<br /> which had been given, which would be of<br /> undoubted assistance to them and to the<br /> secretary when dealing with these increasingly<br /> important questions.<br /> <br /> Il.<br /> <br /> Tue May meeting of the Dramatic Sub-<br /> Committee was held at the offices of the Society<br /> on Friday, May 15. After the minutes of the<br /> previous meeting had been read and signed,<br /> the first business dealt with by the committee<br /> referred to a dramatic agency agreement that<br /> had been sent for the consideration of the<br /> committee by one of the members of the<br /> Society. The agent was present at the meet-<br /> ing. It was clearly pointed out to him that<br /> the Society could not possibly advise any<br /> member to sign any agreement on the lines of<br /> the one put forward. After a considerable<br /> amount of questioning and discussion, the<br /> agent expressed himself willing to accept any<br /> reasonable agreement submitted by the Drama-<br /> tic Sub-Committee for the use of members of<br /> the Society of Authors. After the agent had<br /> retired, the sub-committee discussed at some<br /> length the position of agents in regard to the<br /> Society, and the secretary was instructed to<br /> draft an agency agreement for use in these<br /> particular cases, to be placed before the sub-<br /> committee at their next meeting.<br /> <br /> The next question dealt with cinematograph<br /> business.<br /> <br /> Mr. Carton reported that the meeting of the<br /> Joint Board, which had been held on the 14th<br /> had been unsatisfactory, owing to the small<br /> attendance, but that some important points<br /> had been discussed, and it had been decided<br /> to call a meeting for June 12. The question of<br /> cinema business, however, appeared to the<br /> chairman to be of such importance that he<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> proposed to the sub-committee that the Com-<br /> mittee of Management should be asked to<br /> consider the appointment of a sub-committee<br /> to deal only with cinematograph matters.<br /> The industry was, at present, in its infancy,<br /> and it was impossible, therefore, to come to any<br /> definite conclusion at the present time on the<br /> many important points involved; that cine-<br /> matograph representations were not simply<br /> matters concerning the dramatist, but also the<br /> novelist, and writers on educational subjects<br /> and on natural history—in fact, were so wide<br /> that it appeared essential to have a separate<br /> sub-committee to deal with the issues. Mr.<br /> Shaw was appointed delegate of the sub-com-<br /> mittee to attend and discuss the matter with<br /> the Committee of Management. ‘The secretary<br /> also brought to the notice of the sub-committee<br /> the question of cinema contracts and bad debts<br /> so far as they affected the author. The<br /> secretary pointed out that publishers paid<br /> royalties on all books sold and were responsible<br /> for all bad debts. It was most important that<br /> the same position should be adopted in regard<br /> to authors’ contracts with cinema manufac-<br /> turers.<br /> <br /> The sub-committee then considered certain<br /> cases. The first was a case of non-payment of<br /> fees by an American producer, and the sub-<br /> committee recommended the Committee of<br /> Management to do what was possible in the<br /> matter. The next case, the secretary reported,<br /> was also a case of non-payment of fees by an<br /> American manager. Immediate action had<br /> been taken and the papers sent to the Society’s<br /> lawyers in America.<br /> <br /> The Dramatic Sub-Committee<br /> this action.<br /> <br /> The third case, which was one of alleged<br /> copyright infringement, the secretary was glad<br /> to report had been settled.<br /> <br /> The fourth case also referred to the non-<br /> payment of fees by an American manager.<br /> The sub-committee recommended action to be<br /> taken in this case should an answer, which the<br /> author was awaiting from America, prove<br /> unsatisfactory.<br /> <br /> confirmed<br /> <br /> —<br /> <br /> Firm Ricuts Jomst Boarp.<br /> <br /> Tue first meeting of the Joint Board to<br /> deal with Film Rights was held at the<br /> offices of the Society on Thursday, May 14,<br /> at three o’clock in the afternoon.<br /> <br /> Regret was expressed by those present that<br /> the attendance was so small, owing to the fact<br /> that many of the delegates had important<br /> engagements elsewhere.<br />  <br /> <br /> JUNE, 1914]<br /> <br /> In these circumstances, it was decided that<br /> it would be inadvisable to pass any important<br /> measures, but it was determined to call another<br /> meeting for Friday, June 12, at three o’clock<br /> at the same place.<br /> <br /> The agenda before the meeting will include<br /> the rules for guidance of the committee, such<br /> as financial questions, the number to form a<br /> quorum, and other details. Beyond these<br /> there will be joint action in regard to piracy,<br /> and a proposal put forward by Mr. Browne, of<br /> the Kinematograph Manufacturers’ Associa-<br /> tion, that a sub-committee for purposes of<br /> arbitration should be appointed.<br /> <br /> 3<br /> <br /> Dunrine the past nivnth the secretary has<br /> dealt with nineteen cases, of which seven have<br /> been satisfactorily settled. The record runs<br /> as follows :—<br /> <br /> There were six claims for the return of MSS.,<br /> one has been settled, two have only recently<br /> come to the office, one has had to be abandoned,<br /> and in settling the remaining two it is possible<br /> that the Society will be unsuccessful, as they<br /> date back a considerable time. It is therefore<br /> difficult to obtain the necessary evidence.<br /> <br /> There were five claims for money. Three<br /> have been settled and the money has been<br /> paid; one in South Africa will necessarily<br /> take some time, and the remaining case has<br /> only recently come to the office.<br /> <br /> Two applications for accounts have been<br /> acknowledged, and the accounts have been<br /> forwarded to the authors.<br /> <br /> There were three disputes on contracts ;<br /> one has been settled, one has only recently<br /> come to the office, and one has had to be trans-<br /> ferred to the Society’s solicitors in the U.S.A.<br /> <br /> One infringement of copyright will take<br /> some time, as that is also in the U.S.A.<br /> <br /> There have been two claims for accounts<br /> and money; one has been settled and the<br /> other is still in the course of negotiation.<br /> <br /> The cases still open from the former month<br /> are all outside England, and consequently<br /> cannot be settled quickly; one is a case of<br /> infringement of copyright in the U.S.A., one a<br /> case of dispute on contract in the U.S.A., one a<br /> case of accounts in South Africa, and the last a<br /> question of royalties due in France.<br /> <br /> The record varies little from month to month,<br /> but during the last two or three months a much<br /> larger number of cases have come forward in<br /> foreign countries. These are naturally some-<br /> times very difficult to deal with.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 239<br /> <br /> May Elections.<br /> <br /> Douglas Anstruther<br /> <br /> Major J. B. Arbuthnot,<br /> M.V.O.<br /> <br /> Percy J. Barrow .<br /> <br /> M. V. Barty<br /> S. Bristowe.<br /> Evelyn Hope<br /> <br /> bell<br /> Sir Valentine Chirol<br /> <br /> Camp-<br /> <br /> Miss H. Emma Cole-<br /> brooke<br /> Richard St.<br /> Colthurst<br /> Denis Cox . ‘<br /> (* D. H. Dennis.” )<br /> <br /> Gordon Crosse<br /> <br /> John J.<br /> <br /> Madame Blaze de Bury<br /> (FE. Dickberry ).<br /> Henry Deutsch, Ph.D. .<br /> Alan Drew .<br /> <br /> Aleck T. Ellis<br /> <br /> Wilfrid H. G. Ewart<br /> <br /> Miss M. Z. Hadwen<br /> (‘‘ Margaret Hope’’).<br /> <br /> -H. W. Hicks<br /> <br /> The Rev. Russell H.<br /> <br /> Jeffrey<br /> Capt. E. G. D. Lardner<br /> ¥F. Gerald Miller ;<br /> <br /> Mrs. Muriel Minnitt :<br /> <br /> Mrs. Richardson .<br /> Reginald Rogers<br /> <br /> <br /> <br /> Cavendish Club;<br /> Piccadily, W.<br /> <br /> Derry House, Ross-<br /> earbery, Co. Cork,<br /> Ireland.<br /> <br /> 5, Kingdon Road,<br /> West Hampstead,<br /> N.W.<br /> <br /> Glenacros, Dun-<br /> blane, Scotland.<br /> 122, Sutherland<br /> Avenue, Maida<br /> <br /> Vale, W.<br /> <br /> Templeton, Hunger-<br /> ford, Berks. ;<br /> <br /> 34, Carlyle Square,<br /> Chelsea, S.W.<br /> <br /> 85, Bruton Street,<br /> London, W.<br /> <br /> Blainey Castle, Co.<br /> Cork, Ireland.<br /> <br /> Weir Cottage, Har-<br /> low, Bucks.<br /> <br /> 64, Lauderdale<br /> Mansions, Maida<br /> Vale, W.<br /> <br /> 37, Rue<br /> Paris.<br /> <br /> 60, Venner Road,<br /> Sydenham, S.E.<br /> <br /> Lower House, Burn-<br /> ley.<br /> <br /> 512, Fulham Palace<br /> Road, S.W.<br /> <br /> 8 West Eaton Place,<br /> London, S.W.<br /> <br /> 20, St. Leonard’s<br /> Terrace, Chelsea,<br /> S.W.<br /> <br /> c/o Thomas Cook<br /> - &amp; Son, London.<br /> <br /> Muckley Cross,<br /> Bridgnorth.<br /> <br /> The Army and Navy<br /> Club, Pall Mall,<br /> S.W.<br /> <br /> Studio Street, New-<br /> lyn, Penzance.<br /> <br /> Redmarley, Long-<br /> field Road, Ealing,<br /> W.<br /> <br /> 22, Egerton Gardens,<br /> S.W.<br /> <br /> 9, Upper Woburn<br /> Place, Tavistock<br /> <br /> Vaneau,<br /> <br /> Square, W.C.<br />  <br /> <br /> <br /> <br /> 240<br /> <br /> The Rey. Ewart Rust . Hamsteels Vicarage,<br /> <br /> Durham.<br /> <br /> -é L. Simon . 24, Mark Lane,<br /> a London, E.C.<br /> The Rev. W. H. K. 6, Albany Road,<br /> Soames, M.A. Bexhill.<br /> Walter Stephens . 6, York Street,<br /> London, S.W.<br /> Gladys Unger . , 18, Pack. Village<br /> West, | Regent’s<br /> Park, N.W.<br /> William James Ward . 86, Westbourne<br /> Road, Penarth,<br /> Glam.<br /> Adéle Warren. . 47, Cornwall Gar-<br /> <br /> dens, S.W.<br /> 1, Pemberley Cres-<br /> cent, Bedford.<br /> <br /> F. W. Westaway . :<br /> <br /> F, Weston : . H. M. Dockyard,<br /> Hong Kong.<br /> <br /> Thomas Whittaker . 13, Sharples Hall<br /> Street, Regent’s<br /> <br /> Park Road, N.W.<br /> <br /> ————__+—&gt;—_+___—__<br /> <br /> BOOKS PUBLISHED BY MEMBERS.<br /> <br /> ——— 1 —<br /> <br /> While every effort is made by the compilers to keep<br /> this list as accurate and exhaustive as possible, they have<br /> some difficulty in attaining this object owing to the fact<br /> that many of the books mentioned are not sent to the office<br /> by the members. In consequence, it is necessary to rely<br /> largely upon lists of books which appear in literary and<br /> other papers. It is hoped, however; that members will<br /> co-operate in the compiling of this list, and, by sending<br /> particulars of their works, help to make it substantially<br /> accurate,<br /> <br /> ANTHROPOLOGY.<br /> <br /> THE CHILDHOOD OF THE WoRLD. A Simple Account of<br /> Man’s Origin and Early History. By Epwarp Oropp.<br /> (New Edition, rewritten and enlarged.) 74 x 5. 240<br /> pp. New York. The Macmillan Co. 4s. 6d. n.<br /> <br /> ARCHITECTURE.<br /> <br /> MonvMentAL CLAsstc ARCHITECTURE IN GREAT BRITAIN<br /> AND IRELAND During THE EIGHTEENTH AND NINE-<br /> eTEENTH CENTURIES. By A. E. Ricnarpson. 15} x<br /> ll}. 124 pp. Batsford. £4 4s. n, :<br /> <br /> BIOGRAPHY.<br /> Tue Story or Dorotuy JorDAN.<br /> <br /> 9 x 53. 429 pp. Nash. 15s. n.<br /> RoMANcEs OF THE Pemrace. -By THorNTON Hatt, F.S.A.<br /> <br /> By Cuare JERROLD.<br /> <br /> 9x 53. 352 pp. HoldenandHardingham. 12s. 6d. n.<br /> My Variep Lire. By F.C. Puiirs. 9 x 53. 319 pp-<br /> Eveleigh Nash. 10s. 6d. n. 5<br /> <br /> Lirze or WattrerR Bacenor.<br /> <br /> By Mrs. Russert B :<br /> TON. 9} x 58. y 8 ARRING<br /> <br /> 486 pp. Longmans. 12s. 6d. n.<br /> DRAMA. ,<br /> <br /> Damacep Goops. A Play by Briuux. Translated b<br /> J. Pottock. With a Preface by Bernarp Saw ants<br /> <br /> Foreword by Mrs. Brr» : a<br /> Wiflelds. Je. a, RNARD SHAW. it Xx 5}. 244 pp-<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> Dusk. By R. Vansirrart. 7 x 4}. 43 pp. Hum-<br /> phreys. Is. n.<br /> Pures Wire. A Play by F. G. Layton. 7 x 5.<br /> <br /> 64 pp. Fifield. Is. n.<br /> PLAYWRIGHTING FOR THE CINEMA.<br /> <br /> Dealing with the<br /> Writing and Marketing of Scenarios.<br /> <br /> By E. A. Dencu.<br /> <br /> Tt x 43. 96 pp. Black. 1s. n.<br /> ECONOMICS.<br /> <br /> Tur Nation’s WEALTH. Witt it Expure? By L. G.<br /> CutozzA Money. 632 x 44. 264 pp. (The Nation’s<br /> Library.) Collins. 1s. n.<br /> <br /> FICTION.<br /> <br /> THe Woman’s Way. By C. Garvice. 7} x 5. 315 pp.<br /> Hodder and Stoughton. _ 6s.<br /> <br /> Tue Pricetess THrnc. By Mavup Srepney Rawson.<br /> 723 x 5. 352 pp. Stanley Paul. 6s.<br /> <br /> Tures AGAINST THE WorLp. By Suema Kaye-Smiru.<br /> <br /> 73 x 5. 304 pp. Chapman and Hall. 6s.<br /> Tue Lost Tripes. By G. A. BirmMINcHAM. 7} x 5.<br /> 331 pp. Smith, Elder. 6s.<br /> <br /> A GARDEN OF THEGODs. By Epira M.Keate. 7} x 43.<br /> 339 pp. Alston Rivers. 6s.<br /> <br /> THe Sent Cartan. By<br /> 304 pp. Stanley Paul. 6s.<br /> <br /> Pink Puriry. By Gertie De 8. Wentwortu-J AMES.<br /> <br /> at<br /> <br /> May Wynne. 74 xX 43.<br /> <br /> (Popular Edition.) 7} x 5. 375 pp. Werner Laurie.<br /> ls. n.<br /> <br /> Quinney’s. By H. A. VacHELL. 7$ X 5. 336 pp.<br /> Murray. 6s.<br /> <br /> BrepEsMAN 4. By Mary J. H. Sxringe. 63 x 43. 198<br /> pp. Duckworth. 2s. 6d. n.<br /> <br /> DeEsMonpD O&#039;Connor. By Grorce H. Jessop. 73 x 4.<br /> 320 pp. John Long.<br /> <br /> Tur Crowninc Gitory. By E. R. Punsnon. 7} x 5.<br /> 301 pp. Hodder and Stoughton. 6s.<br /> <br /> Eve AND THE Minister. By M. H. Saw. 7} x 43.<br /> <br /> 248 pp. Murray and Evenden. 6s.<br /> <br /> Tue Betovep Premipr. By H. MaAxweELt.<br /> 319 pp. John Long. 6s.<br /> <br /> THe Works OF MsarTEN MAARTENS:<br /> Gtory. 470 pp. An Oxp Matn’s Lovs. 449 pp.<br /> Her Memory. 281 pp. My Lapy Nopopy. 535 pp.<br /> Gov’s Foon. 442 pp. Tse Sry or Joost AVELINGH.<br /> <br /> 72 x 5.<br /> <br /> Tor GREATER<br /> <br /> 316 pp. 7% x 5. Constable. 3s. 6d. each.<br /> <br /> Resecca oF SunNyBRooK Farm. By Kate Doucias<br /> Wiaain. (Twentieth Edition.) 7} x 5. 347pp. Gay<br /> and Hancock. 2s. n.<br /> <br /> Aut Sorts. By Dorr Wytiarpe. 140 pp. THESECRET<br /> or CHAUVILLE. 140 pp. (Cheap Reprints.) 8} x 5}.<br /> Stanley Paul. 6d. each.<br /> <br /> Tue Wortp Set FRrEx.<br /> <br /> A Story of Mankind. By H. G.<br /> Weis. 7} x 5.<br /> <br /> zx 286 pp. Macmillan. 6s.<br /> <br /> Private Arrairs. By Caartes McEvoy.<br /> 320 pp. Everett. 6s.<br /> <br /> BREADANDBUTTERFLIES. By Dion Chayton CALTHROP.<br /> 7% x 5. 343 pp. Millsand Boon. 6s.<br /> <br /> THe Istanp. By Exeanor Morpaunt.<br /> pp. Heinemann. 6s.<br /> <br /> Tun Monny Hunt. A Comedy of Country Houses. By<br /> Kryeton Parkes. 74 x 4%. 318 pp. Holden and<br /> Hardingham. 6s.<br /> <br /> Tir Haven or DESIRE.<br /> <br /> 1d xX 4.<br /> <br /> 72 x 5. 296<br /> <br /> By Caprain Frank H. SHAw.<br /> <br /> 74 x 4%. 322 pp. Cassell. 6s.<br /> Tue Curse or Croup. By J. B. Harrtis-BurLanD. 7}<br /> &lt;x 43. 342 pp. Chapman and Hall. 6s.<br /> <br /> A Strance Sotution. By Wrnirrep GRAHAM. 252 pp.<br /> Tue Furnace or Youtn. By J. 8. Fuercuer. 252 pp.<br /> Mysrrry Srorres. Told in Brief. (Cheap Reprints.)<br /> 63 x 43. Pearson. 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E) ¢xosty 7 sr a r<br /> ¢ X gL ‘NOSLVM NOow] &quot;H WQAg ‘Isdaway, ATIsHanOTD<br /> <br /> ‘YOHLAWV AHL<br /> <br /> CFI6L ‘ANAL<br /> <br /> <br /> <br /> <br />  <br /> <br /> 242<br /> <br /> “Life of Walter Bagehot,” written as @<br /> precursor to a complete edition of Bagehot’s<br /> work which is to be published in the autumn<br /> of this year. Mrs. Barrington, who Is the<br /> sister-in-law of her subject, tries to present a<br /> picture of Bagehot the man, as traceable in his<br /> own and his friends’ letters and in the memortes<br /> of those still alive who were his closest inti-<br /> mates. The material used ranges from family<br /> correspondence in Bagehot’s carly boyhood to<br /> the tributes of his contemporaries on his death<br /> at the age of fifty-one (Longmans, Green &amp; Co.).<br /> <br /> Mr. W. L. George’s ‘“‘ Woman and To-<br /> morrow,” will be published in America by the<br /> firm of Appleton.<br /> <br /> Archdeacon Hutton writes the latest addi-<br /> tion to Macmillan’s Highways and Byways<br /> Series, ‘‘ Shakespeare’s Country,” to which Mr.<br /> E. H. New furnishes the illustrations.<br /> <br /> Mr. Philip W. Sergeant’s next book will be<br /> published by Messrs. Stanley Paul &amp; Co., the<br /> subject being the Princess Mathilde Bonaparte,<br /> the niece of the great Napoleon, and the link<br /> (it might almost be said) between him and the<br /> present day, since it is only ten ycars ago that<br /> she died.<br /> <br /> In “ The Utilisation of Solar Energy,” Mr.<br /> A.S.E. Ackermann, B.Sc., describes the expe1i-<br /> ments in this direction, costing about £30,000,<br /> with which he has been associated during the<br /> past four years, including those in the Shuman-<br /> Boys Sun Power Plant at Cairo. A method<br /> for estimating the value for power purposes of<br /> steam is a feature of the work; and there is<br /> also a full description of the Shuman high and<br /> low pressure engines. The publishers are the<br /> Society of Engineers, 17, Victoria Street, S.W.,<br /> and the price of the book is 2s. 3d., post free.<br /> <br /> Mr. Max Rittenberg has a book called ‘‘ Gold<br /> and Thorns,” for the spring of 1915. It deals<br /> with the sensational adventures of a cosmo-<br /> politan “‘ gentleman of fortune.’ Ward Lock<br /> &amp; Co. will publish in England.<br /> <br /> Mr. Selwyn Brinton has just visited Venice<br /> to report for the Studio and the Graphic at the<br /> Eleventh International Art Exhibition of<br /> Venice, which was opened on April 24th. The<br /> exhibition this year is of special interest to<br /> English art, as, besides the excellent show in<br /> the British Pavilion, a whole room in the<br /> Central Palace is dedicated to the work of Mr.<br /> Frank Brangwyn.<br /> <br /> A German translation of Mr. C. E. Goulds-<br /> bury’s latest book, ‘‘ Tiger Land,” is to be<br /> published and issued shortly by Mr. Robert<br /> a of Stuttgart, in his Memoirenbibliothek<br /> series.<br /> <br /> Mrs. Frederika Macdonald, D.Litt., is the<br /> <br /> THE AUTHOR.<br /> <br /> (JUNE, 1914.<br /> <br /> writer of the article upon Jean Jacques Rous-<br /> seau in the fifth volume of the “* Cyclopedia of<br /> Education,” published by Columbia University,<br /> New York.<br /> <br /> Mrs. Alec Tweedie’s ‘‘ Mexico as I Saw It ”<br /> is being translated for publication in Germany.<br /> <br /> ‘“‘ Pagan,” is the name of a book of verse by<br /> Mrs. Amy Skovgaard-Pedersen (A. C. Fifield,<br /> 1s. 6d. net).<br /> <br /> We have received from Messrs. William<br /> Collins &amp; Sons copies of five books in their new<br /> Nation’s Library, published at 1s. net :—“t The<br /> Nation’s Wealth,” by Mr. L. Chiozza Money ;<br /> “The Relations of Capital and Labour,” by<br /> Mr. W. T. Layton ; ‘‘ The State and the Poor,”<br /> by Mr. Geoffrey Drage; ‘‘ The Future of<br /> Egypt,” by Mr. W. B. Worsfold; and “ The<br /> Star World,” by Mr. A. C. de la Crommelin.<br /> <br /> Mrs. Dawson Scott’s&#039; novel, “‘ The Caddis<br /> Worm,” is being published immediately by<br /> Messrs. Hurst and Blackett.<br /> <br /> Miss Sheila Kaye-Smith’s novel, “ Three<br /> Against the World,” which Messrs. Chapman<br /> and Hall published in April, is to be produced<br /> in the United States by Messrs. Lippincott.<br /> <br /> A two-shilling edition is announced of Rita’s<br /> story of Bath, “A Grey Life,” of which the<br /> publishers are Messrs. Stanley Paul. The<br /> same firm is adding to its sixpenny Clear Type<br /> series Mr. Keble Howard’s ‘‘ The Cheerful<br /> Knave,” and Mr. Charles E. Pearce’s “ The<br /> Snake Girl.”<br /> <br /> ‘“ Megan of the Dark Isle,”’ is the title of Mrs.<br /> J. O. Arnold’s new novel (Alston Rivers).<br /> <br /> Mr. Georg? H. Jesscp’s historical novel<br /> ‘‘Desmond O’Connor ”’ has been issued by<br /> John Long, Ltd.<br /> <br /> Miss May Crommelin, who has lately returned<br /> from India, is engaged on a novel to be pub-<br /> lished in September by Messrs. Hurst and<br /> Blackett. The scene of this is mostly laid in<br /> Kashmir, and the book will describe the life in<br /> houseboats of English visitors to the country,<br /> with its comic incidents and opportunities for<br /> flirtation and courtship. Miss Crommelin’s<br /> previous book, “The Golden Bow,” is now<br /> being issued in a cheap edition by Messrs.<br /> Holden and Hardingham.<br /> <br /> Mr. James Baker’s ‘‘ By the Western Sea,”<br /> has been added to the popular edition of his<br /> novels (Chaprnan and Hall, 2s.).<br /> <br /> ‘“¢ World’s-End,” by Amelie Rives (Princess<br /> Troubetskoy), has been produced in the United<br /> States by the Frederick A. Stokes Co.<br /> <br /> Mr. F. R. M. Fursdon’s novel, ‘‘ The Story of<br /> Amanda,” deals with the rise of a girl from the<br /> slums to be wife to a leading English politician<br /> (Simpkin, Marshall &amp; Co.).<br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> <br /> <br /> JUNE, 1914.)<br /> <br /> H.M. the Queen has accepted a copy of<br /> ** Where Pharaoh Dreams,’ by Mrs. Irene<br /> Osgood, with a foreword by Mr. Stephen<br /> Phillips and illustrations by Mr. W. Gordon<br /> Mein.<br /> <br /> *“* How to Breathe, Speak, and Sing ”’ is the<br /> name of a book by Mr. Robert Stephenson,<br /> upholding the old Italian method of respiration<br /> and dealing with all aspects, including the<br /> therapeutic and hygienic, of voice-production<br /> (Jarrold, 2s. cloth; 1s. 6d. paper covers).<br /> <br /> DRAMATIC.<br /> <br /> At the Little Theatre on April 24th, Mr. R.<br /> Vansittart’s one-act fantasy, ‘ Dusk,’ was pro-<br /> duced for the first time.<br /> <br /> On May 3rd, ‘“‘ The Patience of the Sea,” a<br /> new play by Mr. Norreys Connell, was produced<br /> by the Pioneer Pleyers at the Ambassador’s<br /> Theatre.<br /> <br /> On May ‘th, Mr. H. V. Esmond returned to<br /> the London stage at the Vaudeville Theatre,<br /> appearing in his own play ‘“‘ The Dangerous<br /> Age” (originally ‘“‘ The Dear Fool”), with<br /> which he has been touring Canada and the<br /> United States.<br /> <br /> On May 5th Mr. Israel Zangwill’s play “ The<br /> Melting Pot ’ was played for the hundredth<br /> time at the Comedy Theatre. On May 28rd,<br /> after its 120th performance, it was replaced by<br /> Mr. Zangwill’s new play “ Plaster Saints.”<br /> <br /> In “ The Holy City,” played at some special<br /> matinees at the Comedy Theatre in the first half<br /> of May and subsequently at the Haymarket,<br /> Mr. Sydney Valentine filled the part of Judas.<br /> <br /> Mr. Roy Horniman is the adapter from the<br /> German of “ The Blue Mouse,” presented at<br /> the Criterion Theatre on May 12th.<br /> <br /> Mr. John Galsworthy’s ‘‘ Justice ’’ was seen<br /> at the Coronet Theatre during the week com-<br /> mencing May 18th.<br /> <br /> Mr. Jerome K. Jerome’s comedy “ The<br /> Great Gamble” was produced at the Hay-<br /> market Theatre on May 21st.<br /> <br /> The French rights of Mr. W. Somerset<br /> Maugham’s play “The Land of Promise ~<br /> have been secured by Mme. Bady for produc-<br /> tion in Paris next autumn. ee<br /> <br /> At a special matinee of West End Produc-<br /> tions, Ltd., at the London Pavilion on May 6,<br /> one of the plays was Mrs. E. P. Medley’s ‘Sold!<br /> At Store Prices.”<br /> <br /> MUSICAL.<br /> <br /> Mrs. Agnes Mary Astle’s song “ Morning<br /> tide ” was sung by Miss Gertrude Macaulay at<br /> Basingstoke on Sunday, April 26. The same<br /> composer has recently published — Nell’s<br /> Doll”. “The Doctor”; and “Light of<br /> <br /> ?<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 243<br /> <br /> pies One ad Morning ”’—the words of all<br /> ree songs being by Mrs. A. M. All Stai<br /> and Bell, 1s. 6d. net). Pee<br /> <br /> Sg a gg<br /> <br /> PARIS NOTES.<br /> — +<br /> : E MONARQUE ” is the title of Pierre<br /> § 4 Miulle’s new book, and all friends of<br /> Barnavaux will be delighted to make<br /> the acquaintance of Juste Claude Bonnafoux<br /> a native of a little provincial town of Southern<br /> France. Born with the imagination and the<br /> optimism of a true Meridional, Bonnafoux<br /> ought certainly to have known Tartarin. His<br /> fellow-townsmen surnamed him ‘ The Mon-<br /> arch” for the simple reason that, possessing<br /> nothing of his own, he had no eares and no<br /> responsibilities such as men have who must<br /> earn their living. He was kept, more or less,<br /> by the community, as he was considered an<br /> ornament to society. He visited one family<br /> during the shooting season, another during the<br /> vintage ; he was invited to all the marriages and<br /> baptisms. He had always plenty of time, and<br /> was always in a cheerful frame of mind. There-<br /> fore, as he said himself, he lived like a king,<br /> accepting everything from the world at large<br /> and giving himself in return. The stories of<br /> his various exploits are entertaining and, like<br /> Barnavaux, the ‘‘ Monarch ” is a philosopher,<br /> so that we learn many homely truths from his<br /> sayings and doings.<br /> <br /> ‘“*Mes Origines, Memoires et Recits ” (Tra-<br /> duction du Proveneal), by Frédéric Mistral.<br /> This is a translation of the poet’s Moun<br /> Espelido. An edition is also published with<br /> the original text and the translation together.<br /> <br /> Among the new books are the following :—<br /> “ La Dormeuse éveillée ” is the title of Helene<br /> Vacaresco’s latest volume of poems.<br /> <br /> “A travers Shakespeare,” by Jean Riche-<br /> pin. This volume contains the lectures recently<br /> given at the University of Les Annales. _<br /> <br /> ‘La Vie et la Mort de Paul Derouléde,” by<br /> Jérome et Jean Tharaud.<br /> <br /> “Le Commerce et l’Industrie de la Plume<br /> re,” by Edmond Lefevre, should be<br /> read by all interested in the subject of birds<br /> and feathers for millinery purposes. It con-<br /> tains 300 illustrations, and M. Lefevre is the<br /> President of the Committee of Ornithologie<br /> économique. He gives us a chapter on the<br /> different causes of destruction of the birds and<br /> another one on the situation of the feather<br /> trade in the various countries. _<br /> <br /> ‘‘Napoléon et sa Famille,” by Frédéric<br /> Masson, is the eleventh volume of this work.<br /> <br /> <br /> <br /> pour paru<br /> <br /> <br />  <br /> <br /> <br /> <br /> 244<br /> <br /> The twelfth and last volume of the series is<br /> announced for publication next season.<br /> <br /> “Les Cathédrales de France,’ by Auguste<br /> Rodin, is the title of a volume by the famous<br /> sculptor. Some time ago _ Maurice Barrés<br /> published his book entitled ‘* La Grande Pitié<br /> des Eolises de France,’’ and now Rodin writes,<br /> as an artist and a thinker, on the cathedrals.<br /> The volume contains about a hundred illus-<br /> trations. oe<br /> <br /> “Les Pays d’Albanie et leur Histoire,’ by<br /> Frédéric Gibert. The author is a specialist in<br /> Oriental subjects. He gives a detailed account of<br /> the actual condition of the Albanian countries.<br /> <br /> “* Histoire de la Musique européenne ” (1850<br /> —1914), by Camille Mauclair, will be greatly<br /> appreciated by music lovers. About a quarter<br /> of the book is given up to the works of Wagner.<br /> The author then studies the music of the<br /> various European nations.<br /> <br /> “Les Universités Allemandes au XX°<br /> Siécle,”’ par Dr. René Cruchet, is an account<br /> of a visit to twenty German universities by a<br /> Professor of the Bordeaux University. Dr.<br /> Cruchet gives us various anecdotes and a<br /> résumé of his conversations with the German<br /> Professors. He also shows up the various<br /> differences between the French and German<br /> university.<br /> <br /> In the Revue hebdomadaire, M. Laudet is<br /> now publishing a series of articles by prominent<br /> persons on the subject of France as it was in<br /> their youth and at present. The first of these<br /> articles is by General Lebon, who was formerly<br /> Commander of the first corps darmée. The<br /> General goes back to his recollections of 1866.<br /> He is now in his seventieth year, and after<br /> twenty-six admirable pages devoted to his<br /> experiences and observations, his advice to the<br /> present generation is: ‘‘Soyez gais, mes<br /> Jeunes camarades, d’une saine et vigoureuse<br /> gaieté qui vous donne le ressort d’un Gallifet.””<br /> Another of these fine articles is by Charles<br /> Richet of the Institute. He tells us of the<br /> “* Physiology of former days and of to-day.”<br /> He points out that physiological chemistry has<br /> made great progress during the last thirty-five<br /> years. He tells us of the experiments of<br /> Pasteur (1857—1880). M. Richet says, in<br /> conclusion, that the “ future of humanity is<br /> in science only, and that the miseries of<br /> humanity can only be attenuated by means of<br /> the discovery of scientific truths.”” He declares<br /> that disease is our enemy, and that, in order to<br /> fight it, it must be known and then treated by<br /> science, In an eloquent appeal, he asks that<br /> the scientists who are devoting their lives to<br /> this end shall not be allowed to die of starva-<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> tion themselves. He declares that the dearth<br /> of physiologists is largely due to the fact that<br /> the State does so little for scientists. ‘“‘ Ignor-<br /> ance with regard to science was the great error<br /> of former times; it is the great error too, of<br /> modern times,’”’ concludes M. Charles Richet.<br /> <br /> One of the most interesting articles of the<br /> series is certainly the one written by Madame<br /> Mary Duclaux. She tells us of the literary Paris<br /> of 1885. She left the ‘‘ poetic and pre-Raphaelite<br /> England of her early life,’ and went to Paris.<br /> Among the people she first met were Mlle.<br /> Louise Read, at whose house she met Barbey<br /> d’Aurévilly and Mme. Ackermann. Two or<br /> three years later she married James Darmes-<br /> teter, and at the house of his brother, Arséne<br /> Darmesteter, she met Sully Prudhomme,<br /> Gaston Paris, and Mme. Dieulafoy and the<br /> Renans. (Arséne Darmesteter, the celebrated.<br /> philologist, had also married an Englishwoman.<br /> Her Salon pictures have won for her a place<br /> in the recent book on ‘Celebrated Woman<br /> Painters.”) After James Darmesteter’s death<br /> his widow married M. Duclaux, who was then.<br /> at the head of the Pasteur Institute. Paris is.<br /> now the second home of Madame Duclaux, and,<br /> in her clever article, she tells us her impressions.<br /> of the Paris of former days and of to-day. Her<br /> advice to the present generation, in conclusion,<br /> is that they should not only follow General<br /> Lebon’s advice and be “ gay,” but that they<br /> should be “sincere and true.” Madame<br /> Duclaux finds that the great danger of modern<br /> times is the hurry to see the immediate result<br /> of everything. She wonders whether a group<br /> of young workers could be found now such as<br /> the group which devoted itself to the founding<br /> of the Pasteur Institute. She wonders, too,<br /> whether the words renoncement, désintéresse-<br /> ment and recueillement are as well understood:<br /> now as in the nineteenth century ?<br /> <br /> M. Gavault has been appointed Director of<br /> the Odeon Theatre. He is himself a well--<br /> known dramatic author, whose plays have had.<br /> great success. At the Bouffes-Parisiens M.<br /> Arthur Meyer’s play, ‘“‘ Ce qu’il faut taire,”’ is-<br /> now on the bill. M. Meyer, as Director of the-<br /> Gaulois, is a well-known Parisian, and the first<br /> night of his play was a society event.<br /> <br /> Autys HA.uarp.<br /> <br /> <br /> <br /> “Le Monarque’’ (Calmann Levy).<br /> <br /> “Mes Origines, Memoires et Récits ” (Plon).<br /> <br /> “La Dormeuse éveillée ” (Plon).<br /> <br /> “ A travers Shakespeare ” (Fayard),<br /> <br /> ‘““ Napoléon et sa Famille ’? (Ollendorff).<br /> <br /> “Les Cathédrales de France” (Colin).<br /> <br /> “Les Pays d’Albanie et leur Histoire” (Rosier). ”<br /> <br /> ‘‘ Histoire de la Musique européenne ” (Fischbacher).<br /> “Les Universités Allemandes au X Xe Sitcle” (Colin)...<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> =e a ®<br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> AUSTRALIAN BOOK RIGHTS.<br /> <br /> —— +<br /> <br /> {Reprinted fromthe * Bulletin of the U.S.A.<br /> Authors’ League.’’)<br /> <br /> Wuo SHouLD Have THEM—THE AMERICAN OR<br /> THE BrITISH PUBLISHER ?<br /> <br /> MEMBER of the Authors’ League who<br /> has had several of his books published<br /> in London, some sold through his<br /> American publisher, who supplied “ sheets ”<br /> (unbound copies), and some through a separate<br /> contract with English publishers, in attempting<br /> to sell an English edition of a recent work,<br /> encountered considerable difficulty in disposing<br /> of his British rights unless the London firm was<br /> permitted to handle the Australian rights also.<br /> The author was informed by his agent, more-<br /> over, that there appeared to be a greater and<br /> greater disposition on the part of English pub-<br /> lishers to insist upon Australian rights, and it<br /> might be difficult, in the future, to dispose of<br /> the English rights alone.<br /> In view of this fact, the League has investi-<br /> : c 3 sie<br /> <br /> gated the Australian situation in the endeavour<br /> to obtain for authors information which might<br /> enable them to decide advantageously as to the<br /> disposition of any Australian editions. To this<br /> end, inquiries have been made of a number of<br /> New York publishers and literary agents, the<br /> results of which we quote in abridged form.<br /> <br /> The following description, supplied by a well-<br /> known New York publisher, of actual sales con-<br /> ditions in Australia, will enable one to under-<br /> stand the reason for many of the opinions after-<br /> wards cited. This firm says, in part :-—<br /> <br /> “Many American publishers have placed the sale of<br /> their books in the hands of an importing firm in Sydney,<br /> which has agencies in Melbourne, Hobart, Launceston,<br /> Adelaide, Brisbane, and in several places in New Zealand.<br /> To this firm we send, as early as possible, advance copies<br /> of the books likely to find a market in Australia, and. also<br /> review copies for a number of papers. We then receive<br /> by cable orders for such books as our agents find the<br /> Australian trade will take. These agents concern them-<br /> selves with nothing but the wholesale importation of books<br /> and the sale of them to booksellers. As they have no<br /> retail trade whatever, their interests and those of the book-<br /> sellers are identical, and there exist, we believe, very<br /> friendly relations between them and the booksellers.<br /> <br /> “« Opposed to such agents as ours and to the bulk of the<br /> book trade in Australia is a large importing house in<br /> Melbourne which also conducts a retail business. This<br /> house, we are informed, endeavours to secure the exclusive<br /> rights in Australia to books from English and American<br /> publishers. Maintaining, as the house in question does,<br /> a large retail establishment of its own (perhaps more than<br /> one), it has aroused the antagonism of the Australian book-<br /> sellers, the more so because the prices it charges booksellers<br /> are much in excess of those charged for similar books by<br /> firms engaged in importing in wholesale business only.<br /> Booksellers in Australia have a further grievance in that<br /> <br /> THE AUTHOR. 245<br /> <br /> the house in question will not supply popular books i<br /> quantities desired by the teil, Wihsaiver hey an<br /> that they can sell their stock at retail themselves they<br /> either cut down the orders from the booksellers or do not<br /> fill them at all.<br /> <br /> “The attitude of booksellers toward this house was<br /> demonstrated to us in the case of a book for which we<br /> received an offer from the Melbourne house after we had<br /> shipped a large quantity to our agents. Two of the<br /> principal booksellers in Sydney, hearing that the Melbourne<br /> house might get a consignment of the book, notified our<br /> agents that if this were true their orders were to be cut<br /> from 250 copies each to 50 copies each. We have in the<br /> past urged our agents to try to arrange some basis by which<br /> the Melbourne house could sell at retail, but this has been<br /> foundimpossible. And whether the antagonism is justified<br /> or not, the attitude of booksellers in reducing orders from<br /> 500 to 100 copies shows that the condition is not one about<br /> which to theorize.<br /> <br /> “‘ Since we have had to choose between the jobber who<br /> also conducts retail business and the wholesale agent, we<br /> have decided in favour of the wholesale agent, partly<br /> influenced by the facts we had gathered, and partly by<br /> actual figures. In the case of a novel which sold in<br /> America less than 15,000 copies, our total orders for<br /> Australia were 2,000 copies, whereas the offer made by the<br /> jobbing and retailing firm was only 1,500.”<br /> <br /> So much for the details of market conditions.<br /> The American publishers who have answered<br /> the request of the League for their opinions on<br /> the matter are, as might have been expected,<br /> unanimous in declaring that the American<br /> authors are best served by disposing of their<br /> Australian rights to or through their American<br /> publisher, rather than to the English house<br /> publishing in London.<br /> <br /> One of the largest publishing firms answers<br /> <br /> as follows :—<br /> <br /> “In one case where we had sold an edition of only 500<br /> copies to England, our Australian sales exceeded 3,000 ;<br /> and in another case where the English publisher took only<br /> 250 copies, our Australian sales were 2,000. Two facts<br /> should be borne in mind when deciding the disposition of<br /> Australian rights: First, the Australians prefer the books<br /> of American manufacture. We always send cloth bound<br /> books exactly like those that are sold in America, Of<br /> course, we have to make very low prices, and, therefore,<br /> cannot pay more than half royalty. But the returns to<br /> authors on this basis, are, we are certain, much greater<br /> than they would be if the Australian sales were controlled<br /> by the English publishers. Second: we are informed that<br /> in many cases the English publisher sends what he calls<br /> his ‘Colonial edition,’ which is a cheap edition much<br /> inferior to the edition prepared for England. If, as must<br /> be the case, the royalty is computed on the low selling<br /> price of the Colonial edition, it 1s doubtful if the returns<br /> per book are as great as they are on the American edition.<br /> There is no doubt in our minds that the authors’ interests<br /> are best served by having the Australian rights remain with<br /> the American publisher.”<br /> <br /> A New York publishing house which has also<br /> an English office writes :-—<br /> <br /> “For a number of years we sold Australian rights<br /> through our English house, or through English agents. In<br /> recent years we have reversed this policy and have sold<br /> the Australian market directly from this country. We<br /> find that in doing so we are able to place more editions of<br /> <br /> <br />  <br /> <br /> <br /> <br /> 246<br /> <br /> to secure the continuing interest in each of the<br /> nee Se By the English method one edition is<br /> taken and there the matter usually ends. In the case of<br /> certain very popular authors this original edition would be<br /> larger than the edition taken from America; but this in<br /> only a very few cases indeed, and even in these instances<br /> when handled from America succeeding editions would<br /> more than make up the difference.” ;<br /> “The Australian public,” he adds, “seems to like the<br /> type of books which appeal to Americans rather than the<br /> type which appeal to the English.”<br /> <br /> Another prominent publisher, while desiring<br /> Australian rights for his own publications,<br /> thinks that individual cases may differ and<br /> leaves the general question in some doubt. He<br /> says :—<br /> <br /> “The American publisher, who has occasion to arrange<br /> with an English publisher for the British edition of a book,<br /> may often find it desirable to retain in his own hands the<br /> arrangements for Australasia. Firms like my own, whose<br /> imprint reads ‘ New York and London,’ and which carry<br /> on their publishing business on both sides of the Atlantic,<br /> make a practice of retaining in their own hands the control<br /> of the selling arrangements for Australasia. I should take<br /> the ground, therefore, that there was no such thing as ‘a<br /> proper ownership of Australian rights,’ but that the matter<br /> was one to be determined wholly by the origin of the book<br /> (that is to say whether England or America), and very<br /> largely by the status of the connections and the publishing<br /> machinery of the house controlling the book.”<br /> <br /> The following communication, however, from<br /> an equally important firm, is bolder and more<br /> definite in its reasons, corroborating a previous<br /> opinion :—<br /> <br /> ‘“We oftentimes secure from Australia alone an order<br /> just as large, if not larger, than we get from England, even<br /> when they have all foreign rights. As a general rule, we<br /> think the English publisher wishes the Australian market<br /> simply to use as a dumping ground. In case he is not able<br /> to dispose in England of books at the regular price, he<br /> sends them over there (Australia), and brings them out as<br /> a cheap edition. My feeling is that he does very little, if<br /> anything, to promote the sale in Australia.”<br /> <br /> Two New York literary agents, both of whom<br /> have had wide experience in placing foreign<br /> rights of American authors, take opposing<br /> positions in regard to the disposal of Australian<br /> rights. One of them says :—<br /> <br /> “Tt is my belief that a popular author gets more out of<br /> his Australian rights when they are sold by the American<br /> publisher than when they are sold by the English publisher.<br /> In the cases of several popular authors the American pub-<br /> lisher has got more out of the Australian rights than the<br /> English publisher was willing to offer for the English rights<br /> plus the Australian rights. Australia in its outlook on life<br /> and in the kind of books which attract it is much nearer to<br /> America than it is to England.”<br /> <br /> _The other literary agent makes the following<br /> distinction :— #<br /> <br /> “(a) Given an American novel of the type that is li<br /> to obtain manufacture and publication in Se oo.<br /> separate contract with an English publisher, I believe it is<br /> to the advantage of the author to put the Australian<br /> <br /> volume rights into the hands of the English publisher.<br /> (6) If the novel is of the type not likely to be sufficiently<br /> <br /> THE AUTHOR.<br /> <br /> (JUNE, 1914<br /> <br /> acceptable in England to attain the publication under a<br /> separate contract, I advise giving all rights of volume pub-<br /> lication in the English language, including Australia, to the<br /> American publisher. Taking two average standard con.<br /> tracts, one with an English publisher, the other with an<br /> American publisher, it is my experience that the author<br /> receives from the English publisher a larger sum per copy<br /> than from the American publisher. I need scarcely say<br /> that where American publishers have a fully equipped<br /> English house (and not a mere agency), and conform to the<br /> Australian royalty scales customary with the best English<br /> publishers, my advice to American novelists is—as a rule—<br /> to let such American publishers have all volume rights in<br /> the English language, including Australia. But (as you<br /> know), American publishers thus equipped are few.”<br /> <br /> One of the agents quoted above states :—<br /> <br /> “Many English houses will not take a book on which<br /> they don’t have the Australian rights, so that if you have<br /> sold the Australian rights to an American publisher you<br /> may find it difficult to place the book in England at all.”<br /> <br /> This opinion confirms that of the English<br /> agent first cited.<br /> <br /> But there is still another reason for favouring<br /> the American publisher. Every American<br /> author who has had books published and<br /> printed in England has bewailed their inferior<br /> appearance, as compared with his American<br /> edition. In typography, paper and binding<br /> most English editions are far behind the usual<br /> American made books. Not only does this<br /> displease the author’s esthetic sensibilities, but<br /> it probably seriously affects the sale of his book.<br /> A case could be mentioned in illustration of one<br /> book whose English sale fell far behind the<br /> American, indubitably for that reason alone.<br /> <br /> Says one of the above quoted New York pub-<br /> lishers :—<br /> <br /> “‘ We are certain that the appearance and manufacture<br /> of the American book is of more advantage, especially in<br /> the Australian market, where it is much preferred to the<br /> English book.”<br /> <br /> The concensus of opinion of those interested<br /> (on this side of the water at least) is, therefore,<br /> that the American publisher can do better for<br /> the author, in Australia, than the English.<br /> But, meanwhile, the League is iz communics-<br /> tion with London firms and agents, and hopes,<br /> later, to present the British side of the question,<br /> as well as supply direct information from<br /> Australia itself.<br /> <br /> Se<br /> <br /> FRANCIS, DAY, AND HUNTER v. FELD-<br /> MAN &amp; CO.<br /> <br /> 8<br /> <br /> fe eee action was tried on May 21 and 22,<br /> and involved two issues: (1), whethet<br /> <br /> the plaintiffs’ song called ‘‘ You made<br /> me love you (I didn’t want to do it),” written<br /> <br /> <br /> <br /> i<br /> &#039;<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> asain ities<br /> <br /> <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> by Joe McCarthy and James V. Monaco, both<br /> American citizens, was “ first published ” in<br /> the British dominions within the meaning of<br /> the Copyright Act, 1911, so as to entitle it to<br /> copyright thereunder; and (2) whether the<br /> words of the defendants’ song, called ** You<br /> didn’t want to do it—But you did,” infringed<br /> the copyright in the words of the plaintiffs’<br /> song. No complaint was made with regard to<br /> the music of the defendants’ song. :<br /> Section 1 (1) of the Copyright Act, 1911,<br /> provides that copyright shall subsist in every<br /> original literary, dramatic, musical and artistic<br /> work if, in the ease of a published work, the<br /> work was first published within His Majesty’s<br /> dominions to which the Act extends. Section<br /> 1 (3) provides that publication in relation to<br /> any work means the issue of copies of the work<br /> to the public ; and section 35 (3) provides that<br /> a work shall be deemed to be first published<br /> within the parts of His Majesty’s dominions to<br /> which the Act extends, notwithstanding that<br /> it has been published simultaneously in some<br /> other place, unless the publication in such<br /> parts of His Majesty’s dominions is colourable<br /> only and is not intended to satisfy the reason-<br /> able requirements of the public, and a work<br /> shall be deemed to be published simultaneously<br /> in two places if the time between the publica-<br /> tion in one such place and the publication in<br /> the other place does not exceed fourteen days.<br /> The plaintiffs’ song was published in New<br /> York and Toronto on May 5, 1918. On April 24,<br /> the Broadway Music Corporation, who pub-<br /> lished the song in New York, transmitted<br /> twelve copies to the plaintiffs and requested<br /> them to copyright the song in England on<br /> May 5. On that day the plaintiffs caused one<br /> copy of the song to be sent to the British<br /> Museum, four copies to be sent to the agent for<br /> the other libraries, and one copy to be filed as<br /> a record. The remaining six copies were<br /> placed in the plaintiffs’ retail premises in a box<br /> labelled ‘‘ New works issued this day.” They<br /> remained in the box from ten to fourteen days,<br /> other music being placed on the top each day<br /> as published. The six copies were then<br /> r moved to the stock room. It was proved<br /> that on the average from eighty to one hundred<br /> customers would come into the plaintiffs<br /> retail premises each day. It was also proved<br /> that American songs. were Oe ei oe<br /> until they had been performed 1n this co y-<br /> The sischite ae John Abbott, stated<br /> that it was their intention to have copies of the<br /> song in question available to meet any demand<br /> as and when it might arise. There was, how-<br /> ever, no demand for the song until August, and<br /> <br /> <br /> <br /> THE AUTHOR. 947<br /> <br /> no sale could be traced before August 12. In<br /> July, the plaintiffs heard that the song was<br /> going to be performed in England, and on<br /> July 18, they ordered by cable ten further<br /> copies from America. On July 26, they ordered<br /> ten more. These twenty copies came to hand<br /> on August 12. On August 18, they cabled for<br /> 100 copies, which came to hand on August 25.<br /> The song was first sung in England on July 25<br /> by Miss Florence Smithson at the Chiswick<br /> Empire. On August 4 it was sung by Miss<br /> Grace la Rue at the Palace. The demand<br /> began about August 12, and on August 20,<br /> they published an English reprint of 750<br /> copies. They had always been in a position<br /> to supply any demand which was made,<br /> <br /> Beyond placing the six copies of the song in<br /> the box in their retail premises, the plaintiffs<br /> never advertised the song either in the Press<br /> or in their catalogue or otherwise until’ Sep-<br /> tember.<br /> <br /> On these facts the defendants contended that<br /> the song had not been issued to the pwhlie in<br /> England within fourteen days from May 5, and,<br /> alternatively, if it was so issued that the publica-<br /> tion was colourable and was not intended to<br /> satisfy the reasonable requirements of the public.<br /> Mr. Justice Neville, however, held that there was<br /> an issue of copies to the public and that, as<br /> there was a bona fide intention on the part of<br /> the plaintiffs to satisfy any demand for the<br /> song, as and when it might arise, the publica-<br /> tion was not merely colourable and the con-<br /> dition required by the Statute had been satis-<br /> fied.<br /> <br /> On the question of infringement, the defen-<br /> dants contended that their song was what was<br /> known as a reply song to the plaintiffs’ song,<br /> and as such was a legitimate publication.<br /> Evidence was given on behalf of the plaintiffs<br /> to the effect that there was great similarity<br /> between the words of the two songs in rhythm,<br /> idea and language, and that the sale of the<br /> defendants’ song was calculated to prejudice<br /> the sale of the plaintiffs’ song. Mr. Justice<br /> Neville said that the question was not free<br /> from difficulty. A song might well be what<br /> was called a reply song, and yet be an infringe-<br /> ment of the song to which it was a reply. The<br /> court must be guided by the general impression<br /> created on the mind by the one song and the<br /> other. In this case he thought the defendants’<br /> song was but a colourable imitation of the<br /> plaintiffs’ song, and he granted an injunction<br /> and inquiry as to damages.<br /> <br /> el<br /> <br /> <br />  <br /> <br /> <br /> <br /> HOW TO USE THE SOCIETY.<br /> <br /> —<br /> <br /> 4 VERY member has a right toask for and to receive<br /> : advice upon his agreements, his choice of a pub-<br /> lisher, or any dispute arising in the conduct of his<br /> business or the administration of his property. The<br /> ‘Secretary of the Society is a solicitor; but if there is any<br /> -special reason the Secretary will refer the case to the<br /> ‘Solicitors of the Society. Further, the Committee, if they<br /> «deem it desirable, will obtain counsel’s opinion without<br /> any cost to the member. Moreover, where counsel 8<br /> opinion is favourable, and the sanction of the Committee<br /> is obtained, action will be taken on behalf of the aggrieved<br /> member, and all costs borne by the Society.<br /> <br /> 2. Remember that questions connected with copyright<br /> -and publishers’ agreements do not fall within the experi-<br /> ence of ordinary solicitors. Therefore, do not scruple to use<br /> the Society.<br /> <br /> 3. Before signing any agreement whatever, send<br /> ‘the document to the Society for examination.<br /> <br /> 4, Remember always that in belonging to the Society<br /> ~you are fighting the battles of other writers, even if you<br /> are reaping no direct benefit to yourself, and that you are<br /> advancing the best interests of your calling in promoting<br /> the independence of the writer, the dramatist, the composer.<br /> <br /> 5. The Committee have arranged for the reception of<br /> ‘members’ agreements and their preservation in a fire-<br /> proof safe. The agreements will, of course, be regarded as<br /> -confidential documents to be read only by the Secretary,<br /> who will keep the key of the safe. The Society now offers:<br /> (1) To stamp agreements in readiness for a possible action<br /> upon them. (2) To keep agreements. (3) To enforce<br /> payments due according to agreements, Fuller particu-<br /> ‘lars of the Society’s work can be obtained in the<br /> Prospectus.<br /> <br /> 6. No contract should be entered into with a literary<br /> agent without the advice of the Secretary of the Society.<br /> Members are strongly advised not to accept without careful<br /> consideration the contracts with publishers submitted to<br /> them by literary agents, and are recommended to submit<br /> them for interpretation and explanation to the Secretary<br /> - of the Society.<br /> <br /> 7. Many agents neglect to stamp agreements. This<br /> must be done within fourteen days of first execution. The<br /> ‘Secretary will undertake it on behalf of members,<br /> <br /> 8. Some agents endeayour to prevent authors from<br /> referring matters to the Secretary of the Society ; so<br /> do some publishers. Members can make their own<br /> ‘deductions and act accordingly.<br /> <br /> 9. The subscription to the Society is £1 4s. per<br /> annum, or £10 10s. for life membership.<br /> <br /> <br /> <br /> ——&gt;— +<br /> <br /> WARNINGS TO THE PRODUCERS<br /> OF BOOKS.<br /> <br /> oe<br /> <br /> ERE are a few standing rules to be observed in an<br /> | [ agreement. There are four methods of dealing<br /> with literary property :—<br /> <br /> I, Selling it Outright,<br /> This is sometimes satisfactory, 7f a proper price can be<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> obtained, But the transaction should be managed by a<br /> competent agent, or with the advice of the Secretary of<br /> the Society.<br /> <br /> II. A Profit-Sharing Agreement (a bad form of<br /> agreement),<br /> <br /> In this case the following rules should be attended to:<br /> <br /> (1.) Not to sign any agreement in which the cost of pro-<br /> duction forms a part without the strictest investigation.<br /> <br /> (2.) Not to give the publisher the power of putting the<br /> profits into his own pocket by charging for advertisements<br /> in his own organs, or by charging exchange advertise-<br /> ments. Therefore keep control of the advertisements,<br /> <br /> (3.) Not to allow a special charge for ‘‘ office expenses,”’<br /> unless the same allowance is made to the author.<br /> <br /> (4.) Not to give up American, Colonial, or Continental<br /> rights.<br /> <br /> “By Not to give up serial or translation rights.<br /> <br /> (6.) Not to bind yourself for future work to any publisher,<br /> As well bind yourself for the future to any one solicitor or<br /> doctor !<br /> <br /> III. The Royalty System.<br /> <br /> This is perhaps, with certain limitations, the best form<br /> of agreement. It is above all things necessary to know<br /> what the proposed royalty means to both sides. It isnow<br /> possible for an author to ascertain approximately the<br /> truth. From time to time very important figures connected<br /> with royalties are published in The Author.<br /> <br /> I¥. A Commission Agreement.<br /> <br /> The main points are :—<br /> <br /> (1.) Be careful to obtain a fair cost of production.<br /> (2.) Keep control of the advertisements.<br /> <br /> (3.) Keep control of the sale price of the book,<br /> <br /> General.<br /> <br /> All other forms of agreement are combinations of the four<br /> above mentioned.<br /> <br /> Such combinations are generally disastrous to the author,<br /> <br /> Never sign any agreement without competent advice from<br /> the Secretary of the Society.<br /> <br /> Stamp all agreements with the Inland Revenue stamp.<br /> <br /> Avoid agreements by letter if possible.<br /> <br /> The main points which the Society has always demanded<br /> from the outset are :—<br /> <br /> C1.) That both sides shall know what an agreement<br /> means.<br /> <br /> (2.) The inspection of those account books which belong<br /> to the author. We are advised that this is a right, in the<br /> nature of a common law right, which cannot be denied or<br /> withheld.<br /> <br /> (3.) Always avoid a transfer of copyright.<br /> <br /> a<br /> <br /> WARNINGS TO DRAMATIC AUTHORS.<br /> ee<br /> <br /> EVER sign an agreement without submitting it to the<br /> Secretary of the Society of Authors or some com-<br /> petent legal authority.<br /> <br /> 2. It is well to be extremely careful in negotiating ‘for<br /> the production of a play with any one except an established<br /> manager,<br /> <br /> 3. There are three forms of dramatic contract for plays<br /> in three or more acts :—<br /> <br /> (2.) Sale outright of the performing right. This<br /> is unsatisfactory, An author who enters into<br /> such a contract should stipulate in the contract<br /> for production of the piece by a certain date<br /> and for proper publication of his name on the<br /> play-bills,<br /> <br /> <br /> <br /> :<br /> 5<br /> i<br /> <br /> <br />  <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> (.) Sale of performing right or of a licence to<br /> perform on the basis of percentages on<br /> gross receipts. Percentages vary between 5<br /> and 15 per cent. An author should obtain a<br /> percentage on the sliding scale of gross receipts<br /> in preference to the American system, Should<br /> obtain a sum inadvance of percentages. A fixed<br /> date on or before which the play should be<br /> performed.<br /> <br /> (c.) Sale of performing right or of a licence to<br /> perform on the basis of royalties (i.c., fixed<br /> nightly fees). This method should be always<br /> avoided except in cases where the fees are<br /> likely to be small or difficult to collect. The<br /> other safeguards set out under heading (0.) apply<br /> also in this case.<br /> <br /> 4, Plays in one act are often sold outright, but it is<br /> better to obtain a small nightly fee if possible, and a sum<br /> paid in advance of such fees in anyevent. It is extremely<br /> important that the amateur rights of one-act plays should<br /> be reserved.<br /> <br /> 5. Authors should remember that performing rights can<br /> be limited, and are usually limited, by town, country, and<br /> time, This is most important.<br /> <br /> 6. Authors should not assign performing rights, but<br /> should grant a licence to perform. The legal distinction<br /> is of great importance.<br /> <br /> 7. Authors should remember that performing rights in a<br /> play are distinct from literary copyright. A manager<br /> holding the performing right or licence to perform cannot<br /> print the book of the words.<br /> <br /> 8. Never forget that United States rights may be exceed-<br /> ingly valuable, ‘Lhey should never be included in English<br /> agreements without the author obtaining a su. bstantial<br /> consideration.<br /> <br /> 9.Agreements for collaboration should be carefully<br /> drawn and executed before collaboration is commenced.<br /> <br /> 10. An author should remember that production of a play<br /> is highly speculative : that he runs a very great risk of<br /> delay and a breakdown in the fulfilment of his contract.<br /> He should therefore guard himself all the more carefully in<br /> the beginning.<br /> <br /> 11. An author must remember that the dramatic market<br /> is exceedingly limited, and that for a novice the first object<br /> is to obtain adequate publication.<br /> <br /> As these warnings must necessarily be incomplete, on<br /> account of the wide range of the subject of dramatic con-<br /> tracts, those authors desirous of further information<br /> are referred to the Secretary of the Society.<br /> <br /> <br /> <br /> —&gt; -—<br /> <br /> REGISTRATION OF SCENARIOS AND<br /> ORIGINAL PLAYS.<br /> <br /> ——<br /> <br /> CENARIOS, typewritten in duplicate on foolscap paper<br /> forwarded to the offices of the Society, together with<br /> <br /> a registration fee of two shillings and sixpence, will<br /> <br /> be carefully compared by the Secretary or a qualified assis-<br /> tant. One copy will be stamped and returned to the author<br /> and the other filed in the register of the Society. Copies<br /> of the scenario thus filed may be obtained at any time by<br /> the author only at a small charge to cover cost of typing.<br /> <br /> Original Plays may also be filed subject to the same<br /> rules, with the exception that a play will be charged for<br /> at the price of 22, 6d. per act.<br /> <br /> THE AUTHOR.<br /> <br /> 249)<br /> DRAMATIC AUTHORS AND AGENTS.<br /> <br /> Ee<br /> De authors should seek the advice of the<br /> Society before putting plays into the hands of<br /> agents. As the law stands at present, an agent<br /> who has once had a play in his hands may acquire a<br /> perpetual claim to a percentage on the author&#039;s fees.<br /> from it, As far as the placing of plays is concerned,<br /> it may be taken as a general rule that there are only<br /> very few agents who can do anything for an author<br /> that he cannot, under the guidance of the Society, do<br /> equally well or better for himself. The collection of fees<br /> is also a matter in which in many cases no intermediary is:<br /> required. For certain purposes, such as the collection of<br /> fees on amateur performances, and in general the trans-<br /> action of frequent petty authorisations with different<br /> individuals, and also for the collection of fees in foreign<br /> countries, almost all dramatic authors employ agents; and<br /> in these ways the services of agents are real and valuable.<br /> But the Society warns authors against agents who profess:<br /> to have influence with managers in the placing of plays, or<br /> who propose to act as principals by offering to purchase<br /> the author&#039;s rights. In any case, in the present state of<br /> the law, an agent should not be employed under any<br /> circumstances without an agreement approved of by the<br /> Society.<br /> ee ae<br /> <br /> WARNINGS TO MUSICAL COMPOSERS.<br /> <br /> Segoe<br /> : ITTLE can be added to the warnings given for the-<br /> ey assistance of producers of books and dramatic<br /> <br /> authors. It must, however, be pointed out that, as<br /> a rule, the musical publisher demands from the musical<br /> composer a transfer of fuller rights and less liberal finan-<br /> cial terms than those obtained for literary and dramatic<br /> property. The musical composer has very often the two<br /> rights to deal with—performing right and copyright. He<br /> should be especially careful therefore when entering into<br /> an agreement, and should take into particular consideration<br /> the warnings stated above.<br /> <br /> a<br /> <br /> STAMPING MUSIC.<br /> <br /> Sage ee<br /> The Society undertakes to stamp copies of music on<br /> <br /> behalf of its members for the fee of 6d. per 100 or part<br /> <br /> of 100. The members’ stamps are kept in the Society&#039;s<br /> <br /> safe. The musical publishers communicate direct with the<br /> <br /> Secretary, and the voucher is then forwarded to the<br /> <br /> members, who are thus saved much unnecessary trouble,<br /> <br /> _—_____+—&lt;»—e —__—_<br /> <br /> THE READING BRANCH.<br /> <br /> —+—<br /> EMBERS will greatly assist the Society in this<br /> N branch of its work by informing young writers.<br /> of its existence. Their MSS. can be read and<br /> treated as a composition is treated by a coach, The term<br /> MSS, includes not only works of fiction, but poetry<br /> and dramatic works, and when it is possible, under<br /> special arrangement, technical and scientific works. The<br /> Readers are writers of competence and experience. The<br /> fee is one guinea,<br /> <br /> <br /> <br /> <br /> <br /> <br /> <br /> &gt; +<br /> <br /> EMITTANCES.<br /> <br /> f the Society begs to give notice<br /> a ee Ses are Scuyowiodued by return of post.<br /> All remittances should be crossed Union of London and<br /> Smiths Bank, Chancery Lane, or be sent by registered.<br /> letter only,<br /> <br /> <br />  <br /> <br /> <br /> <br /> COLLECTION BUREAU.<br /> ee ecg<br /> HE Society undertakes to collect accounts and money<br /> <br /> due to authors, composers and dramatists. :<br /> 1. Under contracts for the publication of their<br /> <br /> <br /> <br /> works. : :<br /> <br /> 2. Under contracts for the performance of thei<br /> and amateur fees. é .<br /> <br /> 3. Under the Compulsory Licence Clauses of the Copy-<br /> right Act, i.e., Clause 3, governing compulsory licences for<br /> books, and Clause 19, referring to mechanical instrument<br /> records.<br /> <br /> The Bureau is divided into three departments :—<br /> <br /> 1. Literary.<br /> 2. Dramatic.<br /> 3. Musical.<br /> <br /> The Society does not desire to make a profit from the<br /> collection of fees, but will charge a commission to cover<br /> expenses. If, owing to the amount passing through the<br /> office, the expenses are more than covered, the Committee<br /> of Management will discuss the possibility of reducing the<br /> commission. :<br /> <br /> For full particulars of the terms of collection, application<br /> must be made to the Collection Bureau of the Society.<br /> <br /> r works<br /> <br /> AGENTS.<br /> Holland . ‘ ‘ A. REYDING.<br /> United Statesand Canada. WALTER C. JORDAN.<br /> Germany Mrs. Poason.<br /> <br /> The Bureau is in no sense a literary or dramatic<br /> agency for the placing of books or plays.<br /> <br /> ee =<br /> <br /> GENERAL NOTES.<br /> ae es<br /> PUBLISHERS’ AGREEMENTS AND THE AGENCY<br /> CLAUSE.<br /> <br /> Our attention has been drawn once again<br /> to the agency clause inserted by agents in<br /> publishers’ agreements. The clause runs as<br /> follows :—<br /> <br /> ** All accounts due and all moneys payable under this<br /> agreement shall be rendered and paid to of<br /> and it is hereby agreed that his receipt shall be a fulland<br /> sufficient discharge therefor and that shall have<br /> authority to treat for and on behalf of the said author in<br /> all matters under this agreement.”<br /> <br /> The publishers’ agreement, with a covering<br /> letter from the agent making several comments<br /> on the document as far as it concerned the<br /> publishers’ proposed terms, was submitted<br /> through the author to the Socicty for criticism,<br /> but the agent’s letter written to the author<br /> made no comment whatever upon the clause<br /> which referred to his own position and which<br /> he had inserted.<br /> <br /> We have on former occasions and at full<br /> length dealt with this matter. If an agent,<br /> when commenting on the publishers’ agree-<br /> ment, sets fairly before the author the diffi-<br /> culties that may arise under the clause which<br /> he inserts for his own benefit, states that it is<br /> irrevocable, that it may handicap the author<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> seriously, ete., ete., and if the author, having<br /> the full statement before him, says ‘* You are<br /> my agent, I am quite willing to trust you as<br /> regards this clause,” then no blame whatever<br /> can attach to the agent; though something<br /> might be said on the question of the author’s<br /> folly. But when an agent as in the present<br /> case says nothing the matter assumes quite<br /> another aspect. Supposing, for instance, a<br /> solicitor when drawing up a contract for a client<br /> inserted a clause which, of great benefit to him-<br /> self, might be seriously detrimental to his client,<br /> and omitted to point out the facts ; if the matter<br /> was then referred to the Incorporated Law<br /> Society, the result would most probably be that<br /> the solicitor would hive his name struck off the<br /> rolls. But agents who dealin a similar manner<br /> with their clients are full of anger when com-<br /> ments are made upon their methods of doing<br /> business. Solicitors are responsible to the<br /> council of their profession, but agents have no<br /> such responsibility. It has been said that all<br /> authors are not angels, and that unless the<br /> agent protect himself he runs a chance of being<br /> swindled; but the agent seems to forget that the<br /> author runs exactly thesame chance. It would<br /> be interesting to know the proportion of corrupt<br /> agents to the total number of agents, as com-<br /> pared with the proportion of corrupt authors<br /> to the total number of those who follow<br /> authorship as a profession. It is doubtful if<br /> this sum were worked out whether the agent’s<br /> care for himself could be wholly justified.<br /> <br /> AGENTS AND ACCOUNTS.<br /> <br /> WHILE we are discussing the question of<br /> agents, there is another matter to which the<br /> members’ attention should be called. Agents<br /> —literary, dramatic, and others—are very<br /> fond of receiving accounts and passing them<br /> on to authors without any comment. They<br /> take no trouble to compare them with the<br /> former accounts, to compare them carefully<br /> with the agreement and to see that the proper<br /> percentage is given throughout. They simply<br /> ask the author, who is helpless in the matter,<br /> whether he is satisfied with them. Many<br /> agents, however, have got a worse habit still.<br /> They make out an account of their own,<br /> presumably from the original accounts, deduct<br /> their agent’s fees, and send it on with a cheque<br /> <br /> to the author, who has no possibility of viewing -<br /> <br /> the original documents. We are glad to<br /> see, that this is not always the case,<br /> One or two of the best-known agents: make<br /> a point of always sending on the originals for<br /> consideration. Even then it is the agent’s<br /> <br /> <br /> <br /> <br /> <br /> |<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> duty to state clearly that he has compared the<br /> accounts with the former accounts and with<br /> the agreement. The matter would not be of<br /> such importance if, in the clause which we have<br /> quoted, the agent’s receipt was not a valid<br /> discharge. The insertion of these words into<br /> the clause cannot be supported by the same<br /> arguments that warrants the agent to collect<br /> the monies. They are merely an added<br /> burden to the author.<br /> <br /> Prorit SHARING ON THE SALES OF SHEETS IN<br /> ture U.S.A.<br /> <br /> WE re-publish in another part of The Author<br /> an article which deals with a clause inserted<br /> in Publishers’ Agreements giving the author<br /> half profits on sales to America. The matter<br /> is of growing and serious importance, be-<br /> cause such a clause, although the author is<br /> receiving a royalty on other sales, is being<br /> inserted more frequently in author&#039;s agree-<br /> ments, and its interpretation, when the<br /> accounts come in, is nearly alweys—there are<br /> honourable exceptions—to the detriment of<br /> the author. Every form of profit sharing in<br /> literary as well as dramatic agreements is<br /> unsatisfactory. If the accounts are rendered<br /> with the most honourable intentions, distrust<br /> and suspicion is bound to spring up, often<br /> because the author cannot understand the<br /> intricate details. Profit sharing on American<br /> sales is a subject which might very usefully be<br /> discussed between the committee and the<br /> Publishers’ Association, if the latter would<br /> care to discuss it.<br /> <br /> There are two reasons why, from the pub-<br /> lishers’ point of view, the power to sell on half<br /> profits to America benefits them. It enables<br /> them to cut down prices to an absurdly low<br /> figure. This is detrimental to the author, who<br /> practically gets no profits, but is not a serious<br /> matter for the publisher, because in any case,<br /> he takes care to get his cost of production<br /> eovered. The cost of production including, as<br /> is shown by the article, the cost of composition.<br /> <br /> The second point is that, however equitable<br /> the arrangement may appear, it is impossible,<br /> as shown in the article, that it should be an<br /> equitable arrangement if the book continues<br /> to sell briskly in England. Bot h these points<br /> are detrimental to the author&#039;s financial<br /> <br /> interests.<br /> <br /> We hope, therefore, that all authors who<br /> receive a royalty on the English sales, failing<br /> to obtain U.S.A. copyright, will oppose the<br /> clause of profit sharing on the American sales,<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 251<br /> <br /> and will insist upon receiving a royalty of so<br /> much per copy, which will force the publisher<br /> to keep up a reasonable price for the sale as he<br /> has to pay the author a reasonable price also,<br /> <br /> A Boox aspout AUTHORS.<br /> <br /> __WE are quoting the following from Mr. Hope<br /> Moncrieff’s ‘‘ Book about Authors ”’ :—<br /> <br /> *“The Authors’ Society has recently started a pension<br /> fund of its own which appears to be usually applied for the<br /> benefit of novelists, the only class of authors that does<br /> make any money to speak of. And in two cases it is paid<br /> to gentlemen also enjoying Civil List pensions. This looks<br /> as if the Authors’ Society contained few really necessitous<br /> members. But one has known only too many authors,<br /> and of note and of usefulness, who could not afford even<br /> the guinea subscription to this association.”<br /> <br /> We think Mr. Moncrieff is a little unfair to<br /> the Authors’ Society. The Authors’ Society<br /> is paying at the present time five pensions.<br /> Three of the pensioners are novelists ; two are<br /> not. The proportion of three to two is not an<br /> excessive proportion considering the member-<br /> ship of the Society. Mr. Moncrieff states,<br /> however, about novelists ‘‘ the only class of<br /> authors that does make any money to speak<br /> of.” With all Mr. Moncrieff’s large knowledge<br /> of authorship, he has failed to understand that<br /> many educational writers have a much larger<br /> circulation and a much surer and continued<br /> income than novelists, and that the suecesstul<br /> dramatist again is often far ahead of the<br /> successful novelist. The remark also is not<br /> quite fair because after all it is not the class<br /> that benefits by the pension but the individual.<br /> <br /> There is a further point to which attention<br /> might be drawn. It would appear that Mr.<br /> Moncrieff has written the paragraph without a<br /> correct knowledge of the Pension Fund scheme.<br /> It is absolutely essential that the author<br /> secking a pension should have been a member<br /> for a certain number of years. We regret to<br /> say we know more than one case in which an<br /> author has resigned from the Society, not<br /> always on account of poverty, and coming on<br /> bad days, has desired to rejoin the Society<br /> with a view to getting a pension. There is<br /> <br /> also a limit of age in the Society’s Pension<br /> <br /> Fund scheme. There is also the fact that the<br /> Pension Fund scheme was started with a view<br /> not to cut in any way into the work of the<br /> Royal Literary Fund. Like Mr. Moncrieff, we<br /> have known too many authors who have fallen<br /> <br /> on evil days.<br /> has only been tempore<br /> by the Royal Literary F<br /> <br /> In many cases their position<br /> ary, and being relieved<br /> und, they have regained<br /> <br /> <br /> <br /> <br />  <br /> <br /> 252<br /> <br /> their work and stemmed the tide of misfortune.<br /> The Socicty, although it cannot assist directly<br /> in these cases from its Pension Fund, can assist<br /> indirectly and is constantly doing so, by giving<br /> advice and referring members to the Royal<br /> Literary Fund, and by calling the notice of the<br /> more fortunate members of the profession to<br /> an urgent case.<br /> <br /> Again, amongst those authors who are not<br /> only known to Mr. Moncrieff, but also to_us,<br /> many were not entitled by age to relief.<br /> Finally, the Pension Fund of the Society is an<br /> exceedingly small fund, and when the income<br /> is exhausted by the payment of present pen-<br /> sions, however pressing may be the needs of<br /> those who claim, it is impossible for the<br /> Society to assist until the income at the<br /> disposal of the trustees is sufficiently increased.<br /> <br /> We think the Society may well be proud of<br /> its Pension Fund, small as it is. The first<br /> pension granted was to Mrs. Riddell. The<br /> fund was started by the Society, ten prominent<br /> members heading the list with donations of<br /> £100 each—and for members of the Society<br /> only. It has never appealed to the public by<br /> way of advertisements, charity concerts and<br /> other methods, but has gone steadily from<br /> year to year, supported by members of the<br /> Society both rich and poor, until its funds are<br /> over £5,000 in value. The amount invested<br /> per annum usually runs to between £200 and<br /> £300. It has not been a one-man fund, born<br /> of the generosity of this or that millionaire,<br /> although no doubt the trustees would be willing<br /> to receive outside gifts. It is because the funds<br /> are really part of the life of the Society, and its<br /> membership that the Society has reason to be<br /> proud of it.<br /> <br /> Tue Art or LEAyING Orff.<br /> <br /> _ A very interesting little paragraph appeared<br /> in the May number of the Chicago Dial, which<br /> we take the liberty of copying :—<br /> <br /> “* The Art of Leaving Off, in writing, in story-telling, in<br /> specch-making, in preaching, in calling, and in much else,<br /> is an art that many never learn, perhaps chiefly because it<br /> is so simple—to stop when you get through. Scott more<br /> than atones for the long-winded preliminaries to his novels<br /> by the masterly abruptness with which he closes them, A<br /> compliment worth winning from one’s readers is the<br /> involuntary exclamation at the end of the book, Is that<br /> all! Those who have read much aloud will recall many a<br /> masterpiece of fiction that has elicited from breathless<br /> hearers that unmistakeable testimony to the attention-<br /> compelling quality of the narrative. In her useful treatise<br /> on “The Art of Story-Telling,’ Miss Julia Darrow Cowles<br /> pertinently remarks : ‘ Story-tellers sometimes remind one<br /> <br /> THE AUTHOR.<br /> <br /> (JUNE, 1914.<br /> <br /> of a man holding the handles of an electric battery. The<br /> <br /> current is so strong that he cannot let go. The story-teller<br /> must know when and how to “‘let go.”’ Letus suppose that,<br /> in telling Hans Christian Andersen’s story of ‘‘ The Nightin-<br /> gale,” the story-teller—after the delightful denouement of<br /> the supposedly dead Emperor’s greeting to his attendants,<br /> where he “‘ to their astonishment said ‘ Good morning !’ ””<br /> —were to add an explanation of the effect of the nightin-<br /> gale’s song in restoring the Emperor to health! It would<br /> be like offering a glass of ** plain soda’ from which all the<br /> effervescence had departed.’ .. .”<br /> <br /> But is it true that authors generally know<br /> when to stop ? In the old days of long serials,<br /> many authors being bound by the serial<br /> market to make the beginning of the story<br /> <br /> interesting dragged on interminably towards<br /> the end. Is not the second volume of<br /> <br /> Thackeray’s “ Virginians” a fair example<br /> of not knowing when to stop?<br /> <br /> Copyricut Casrs, 1918.<br /> <br /> WE have received from the Publishers”<br /> Association the ‘‘ Copyright Cases for 1913,”<br /> edited by Mr. E. J. MacGillivray. This.<br /> collection is produced for private circulation<br /> at the expense of the Publishers’ Association,<br /> and the Society cannot be too grateful to that<br /> Association for allowing the Society every<br /> year to have a copy. It is an invaluable<br /> production.<br /> <br /> In the summary, Mr. MacGillivray touches<br /> on the question of titles, which he rightly<br /> says has jumped into supreme importance<br /> by reason of the fact that the producers of<br /> films are claiming the right to appropriate the<br /> title of any novel or drama.<br /> is one that may effect seriously all authors,<br /> and it is hoped that the efforts of the Society<br /> will be successful in organising a satisfactory<br /> defence.<br /> <br /> INTERNATIONAL CONGRESS OF AUTHORS<br /> AND JOURNALISTS.<br /> <br /> WE have received some papers with regard<br /> to the Congress of Authors and Journalists to-<br /> be held at the Panama-Pacific International!<br /> Exposition which will take place at San<br /> Francisco in 1915.<br /> <br /> The papers give some idea of the arrange-<br /> ments that are going to be made for all those<br /> who, specially invited, are able to accept the<br /> invitation.<br /> <br /> Fuller particulars may be obtained from:<br /> Miss Ina Coolbrith, 1067, Broadway, New York,<br /> or from Mr. Hermann Scheffauer, Bank Point,.<br /> Jackson’s Lane, Highgate, N.<br /> <br /> The matter<br /> <br /> vip<br />  <br /> <br /> JUNE, 1914.]<br /> <br /> ‘MODIFICATION OF THE BERNE-BERLIN<br /> COPYRIGHT CONVENTION OF 1908.<br /> —o— +<br /> (Reprinted from the U.S.A. “ Publishers’<br /> Weekly.’’)<br /> <br /> TWFNHE following additional protocol to the<br /> Convention of 1908 adopted by the<br /> countries of the International Copy-<br /> <br /> right Union, March 20, 1914, is of especial<br /> <br /> importance in the United States because it<br /> <br /> <br /> <br /> _ doubtless originated in and reflects the dis-<br /> <br /> satisfaction with the manufacturing and other<br /> restrictions of our own copyright code felt by<br /> those countries which grant full copyright.<br /> Under it, Great Britain can impose counter-<br /> restriction on books of American authorship<br /> without violating its full relations of reciprocity<br /> with the other countries of the Union.<br /> <br /> ADDITIONAL ProrocoL TO THE REVISED<br /> BERNE CONVENTION OF NOVEMBER 13,<br /> 1908.<br /> <br /> The countries, members of the International<br /> Union for the protection of literary and artistic<br /> works, desiring to authorise an optional limita-<br /> tion of the extent of the Convention of Novem-<br /> ber 13, 1908, have, by mutual agreement,<br /> -adopted the following Protocol :<br /> <br /> 1. When a country not belonging to the<br /> Union does not protect in a sufficient manner<br /> the works of authors who belong to a country<br /> -of the Union, the provisions of the Convention<br /> -of November 13, 1908, cannot prejudice, in any<br /> way, the right which appertains to the con-<br /> tracting countries to restrict the protection of<br /> works of which the authors are, at the moment<br /> -of the first publication of these works, subjects<br /> -or citizens of the said country ‘not being a<br /> member of the Union, and are not actually<br /> domiciled in one of the countries of the Union.<br /> <br /> 2. The right accorded to the contracting<br /> States by the present Protocol, equally apper-<br /> tains to each of their trans-marine possessions.<br /> <br /> 3. No restrictions established in virtue of<br /> No. 1 above, may prejudice the rights which an<br /> <br /> author has acquired upon a work published in<br /> -one of the countries of the Union prior to the<br /> putting into force of these restrictions.<br /> <br /> 4. The States which, in virtue of the present<br /> protocol, limit the protection of the rights of<br /> authors, will notify the Government of the<br /> Swiss Confederation by a written declaration<br /> ‘indicating the countries against which the<br /> protection is restricted, and also the restrictions<br /> to which the rights of authors from these<br /> -eountries are submitted. The Government of<br /> the Swiss Confederation communicates at once<br /> the fact to all the other states of the Union.<br /> <br /> THE AUTHOR.<br /> <br /> <br /> <br /> 2538<br /> 5. The present Protocol to be ratified, and<br /> the ratifications to be deposited in Berne within<br /> a maximum delay of twelve months from its<br /> date. It enters into foree one month after the<br /> expiration of this delay, and has the same power<br /> and duration as the Convention to which it<br /> relates.<br /> <br /> In witness whereof the Plenipotentiaries of<br /> the countries, members of the Union, have<br /> signed the present Protocol, of which a certified<br /> copy is to be transmitted to each of the govern-<br /> ments of the Union.<br /> <br /> _ Made in Berne, the 20th day of March, 1914,<br /> in only one copy deposited in the archives of<br /> the Swiss Confederation.<br /> <br /> (The signatures of the representatives of the<br /> countries of the Union follow) :—<br /> <br /> Liberia,<br /> <br /> Luxembourg,<br /> <br /> Monaco,<br /> <br /> Norway,<br /> <br /> The Nether-<br /> lands,<br /> <br /> Portugal, Spain,<br /> Switzerland, France,<br /> Tun’‘s, Great Britain,<br /> Germany, Haiti,<br /> Belgium, Italy,<br /> Denmark, Japan.<br /> <br /> ——__—— @ &gt; +~&lt;4 6<br /> <br /> ROYALTY AGREEMENTS AND HALF<br /> PROFITS ON SHEETS TO AMERICA.<br /> <br /> Pe Se EEE<br /> <br /> <br /> <br /> HERE is a clause often embodied in agree-<br /> ments issued by the best houses in<br /> London in which the author—failing<br /> <br /> to obtain the American copyright—is entitled<br /> to half of the profits on the sale of sheets to<br /> America. If this clause is inserted in the<br /> usual half-profit agreement, there is little to be<br /> said against it. The only points at issue, then,<br /> are: (1) Is a profit-sharing agreement desir-<br /> able? (2) In what proportion should profits<br /> be divided between author and publisher ?<br /> But if the clause is inserted in an agreement<br /> where the author is to obtain a royalty on the<br /> publication of the English edition, there are<br /> two very strong points of objection.<br /> <br /> The first point rests on the fact that a clause<br /> drafted on these lines is a distinct pitfall to the<br /> author. Itis 4 pitfall for the following reasons:<br /> (1) because to the ordinary person the difficul-<br /> ties with which the clause 1s pregnant are<br /> altogether invisible ; (2) because the amount<br /> the author receives is always calculated—see<br /> the books of the Society on the point—on the<br /> basis that the full cost of composition is charged<br /> against the English edition. If this were not<br /> the ease, the author ought to receive a higher<br /> royalty on British sales.<br /> <br /> <br /> 254<br /> <br /> Let us explain what we mean more fully.<br /> Take the ordinary 6s. book :—<br /> <br /> £8 ¢,<br /> Cost of composition of 3,000<br /> copies . : : 35 60, 0:0<br /> Cost of printing of 3,000<br /> copies . ; : - 16 0, 0<br /> Cost of paper of 3,000 copies 58 0 0<br /> Total - 104° 0 0<br /> <br /> Of the 3,000 copies the publisher sends 2,000<br /> to America and receives for the same (say) Ls.<br /> a copy—£100. The cost of composition was<br /> compulsory for the completion of the English<br /> edition, the author’s royalty, as stated, being<br /> based on this understanding; but the pub-<br /> lisher takes two-thirds of this cost towards the<br /> American edition as well as two-thirds of the<br /> cost for the print and the paper, leaving to be<br /> divided between himself and the author—<br /> <br /> £ sg<br /> By sale of 2,000 copies to<br /> America : ; . 100 QO 0<br /> Two-thirds cost of produc-<br /> tion : 69 6 8<br /> <br /> {30 138 4<br /> As the cost of composition has no right to be<br /> charged against the American edition, but only<br /> the cost of print and paper, the difference<br /> would work out as follows :—<br /> <br /> £3. d.<br /> By sale of 2,000 copies to<br /> America : : - 100. 0: 0<br /> Two-thirds cost of print and<br /> paper : 49 6 8<br /> <br /> £50 18 4<br /> <br /> Instead, therefore, of the author receiving<br /> £25 6s. 8d., by the publisher’s method of cal-<br /> culation of half profits, the author receives<br /> £15 6s. 8d. and the publisher £85 6s. 8d. It is<br /> almost as reasonable an arrangement as the<br /> ordinary half-profit agreement, whose clauses<br /> and workings have so often been exposed in<br /> The Author.<br /> <br /> To show how this method may be worked out<br /> in the interests of untrustworthy publishers<br /> unfairly to the author, say the publisher in the<br /> first instance only publishes 1,000 copies. The<br /> cost of composition would still be £80; print-<br /> ing, £10; paper, £20. He sells 500 copies to<br /> Amcerice,, end on the same principle the follow-<br /> ing sum is worked out :—<br /> <br /> fos ad.<br /> <br /> Half cost of production _ $0 0-0<br /> By sale of 500 copies to<br /> <br /> America at ls. per copy . 25 0 0<br /> <br /> £5 0 0<br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> This would leave a deficit against the author’s.<br /> <br /> account of £2 10s., as the sale to America has<br /> failed to cover the cost of production. As<br /> soon as the edition is sold and the amount is<br /> worked out against the author he prints<br /> 10,000 copies for the English edition, but never<br /> takes into account the proportion of the cost<br /> of production of the 500 sent to America to the<br /> 10,000 printed in England. Again, supposing<br /> you take the first instance and 20,000. were<br /> subsequently sold, the cost of the 2,000 sold to<br /> America is still taken in proportion to the cost<br /> of the 3,000 of the first edition printed, and not<br /> in proportion to the whole cost.<br /> <br /> It will be seen, therefore, that, quite apart<br /> from the contract being unfair, and a pitfall to<br /> the unwary (as on the face of the agreement<br /> the difficulty is invisible), even if it is worked<br /> out by a publisher with an honest idea of doing<br /> nothing dishonourable, the result of its working,<br /> its natural evolution, becomes a fraud on the<br /> author, as it is impossible to calculate this sale<br /> to America on the basis of future sales. It<br /> must always be calculated upon the sales that<br /> have already been made. The position is<br /> ridiculous. It is to be hoped that the Pub-<br /> lishers’ Association will dissociate themselves<br /> from this form of agreement.<br /> <br /> The second objection arises from the fact<br /> that this sale to an American house is mere<br /> agency work. If conducted through the<br /> medium of an author’s agent, the latter would<br /> be highly pleased with the payment of 10 per<br /> cent. on the net result. Not so the publisher,<br /> although he is constantly erying out against the<br /> agent and his charges. It is a well-known fact<br /> —instances have often been quoted—that the<br /> publisher, although he expresses strong dis-<br /> approval of the intervention of the agent who<br /> charges a modest 10 per cent., makes—when<br /> he endeavours to undertake any of the agent’s<br /> duties—a general charge of 50 per cent.<br /> Further arguments against allowing a pub-<br /> <br /> lisher to undertake an agent’s work need not<br /> <br /> be repeated here.<br /> <br /> ——_____o—&gt;_+_____—_-<br /> <br /> THE FAMILY HERALD PRESS.<br /> <br /> <br /> <br /> THVHE attention of the committee has been<br /> LT called to a letter issued from the<br /> ‘Family Herald Press ” to one of the<br /> members of the Society of Authors. The<br /> letter runs as follows :—<br /> “Dear Srr,—On the understanding that you are the<br /> <br /> author and sole owner of the above-named story, the<br /> Editor is prepared to pay you for the entire rights of<br /> <br /> <br /> <br /> i<br /> <br /> <br />  <br /> <br /> ‘JUNE, 1914.]<br /> <br /> ~publication and re-publication (Home, Colonial and<br /> International) the sum of ten shillings, the Editor to<br /> shave the right of making any alteration he nmy deem<br /> advisable in title, names of characters, and text.<br /> <br /> “Should the Editor’s offer be acceptable to you, we<br /> shall be obliged by an early intimation of the fact, so that<br /> a remittance may be sent at the end of the month.<br /> <br /> ‘“* WintraMs, STEVENS, Lrp.”<br /> <br /> The article for which the magnificent sum<br /> of 10s. was offered was an article of 2,000<br /> -words in length; therefore, the price being<br /> ‘paid was at the rate of 5s. per 1,000 words.<br /> Now from the point of view of the worst author,<br /> 5s. per thousand words must be considered an<br /> ‘impossible price even when the purchaser<br /> desires only the first serial use for a special<br /> paper ; but to offer to pay 5s. per 1,000 words<br /> for rights intended (as the form of receipt subse-<br /> quently sent showed) to cover the copyright<br /> ‘which now includes dramatic rights, transla-<br /> tion rights, and cinematograph rights is, from<br /> the author’s point of view, wholly absurd.<br /> No doubt the argument on the other side<br /> would be that there are many papers that pay<br /> as low as 5s. per 1,000 words. There is no<br /> doubt that some papers do fall as low, but two<br /> ‘wrongs will never make a right. and it is<br /> <br /> rather a shock to find an old and well-estab-<br /> lished paper like the Family Herald pays such<br /> prices. It is not often that so low a figure is<br /> paid, even for the first serial use, and it is quite<br /> <br /> the exception that the copyright is purchased<br /> for so low a figure. It would be further urged<br /> no doubt that the letter was a printed form,<br /> that as amatter of fact the work proposed to be<br /> purchased was not such as could be used either<br /> in book form, or for dramatisation, and. that,<br /> therefore, the author, although the contract<br /> embraced rights of so extensive a character,<br /> lost nothing. There is really nothing in this<br /> second argument, the point being that it is<br /> for the author to decide whether or not he<br /> ares to yield these rights, even though they<br /> are not likely to bring him in anything. There<br /> is one good point in the letter quoted. The<br /> author receives it before the article is published<br /> and puts quite clearly before him what the<br /> <br /> urchaser desires for the pittance that has<br /> <br /> een offered. This is a thousand times better<br /> than the case of those magazines which give<br /> an indefinite acceptance or no acceptance at<br /> <br /> all, then publish the story or article, and,<br /> when it has been published, claim, by an<br /> endorsement on the back of the cheque, all<br /> the copyright and prevent the author from<br /> obtaining his money until the cheque 1s signed<br /> without alteration.<br /> <br /> ———_—_—__—_4+—-_+___—_—_<br /> <br /> THE AUTHOR.<br /> <br /> 255<br /> <br /> TRANSLATIONS.<br /> <br /> See<br /> Tue RecENT ACTION OF THE ‘‘ SocrkTE Drs<br /> Gens DE LETTRES.”’<br /> <br /> VERY author whose works are capable<br /> of translation should take notice, and<br /> immediate notice, of the recent action<br /> <br /> of the ‘‘ Société des Gens de Lettres” respecting<br /> translations. If any one will remark that to<br /> say this is hardly necessary, seeing that all the<br /> proceedings of the great French society, the<br /> Queen of authors’ societies, are always of con-<br /> summate importance, it shall be immediately<br /> admitted that this is essentially true; but, at<br /> the seme time, it is to be feared that there are<br /> among authors, or at any rate among English<br /> authors, very many who have not realised that<br /> the “ Société des Gens de Lettres ” is not only<br /> the oldest, and by far the most powerful of all<br /> authors’ societies, but also on every occasion<br /> the first to seize the meaning of new situations<br /> and developments, and the quickest to per-<br /> ceive how they can be turned to the advantage<br /> of its members; in effect, in all cases the<br /> leading society of all societies of the same<br /> kind.<br /> <br /> Before proceeding farther, it may be well to<br /> mention, in case any reader should not be<br /> acquainted with the methods of the “‘ Société<br /> des Gens de Lettres,” that the society is not<br /> <br /> only a society for protecting the rights of its —<br /> <br /> members, but represents also a single and. most<br /> powerful agency. Its members confide their<br /> works to its care, publish through its inter-<br /> mediation, and find all their business interests<br /> most attentively watched by its officials ;<br /> whilst it at the same time enjoys a prestige so<br /> indisputable that any publisher or editor who<br /> gets his name into the black books of the<br /> society, if this expression may be used, finds<br /> his affairs in a very awkward predicament. —<br /> Some little time since the society turned its<br /> particular attention to the subject of trans-<br /> lations, and appointed a special commission<br /> to inquire into the whole question of trans-<br /> lations and royalties on and payments for<br /> translations. The ‘‘ Rapport sur la Tra-<br /> duction ” rendered to the general meeting of<br /> the society on Sunday, March 29 last, 1s<br /> published in the official organ of the society<br /> (Chronique de la Société des Gens de Lettres, Mai,<br /> 1914, Paris, Cité Rougemont, No. 10), and is<br /> well deserving of attentive perusal. A sum-<br /> mary only of it follows here ;<br /> ever, of importance 1s omitted ;<br /> <br /> nothing, how-<br /> and it will be<br /> <br /> <br /> 256<br /> <br /> seen at once that an entirely new light has been<br /> thrown upon the whole problem of translations<br /> and of authors’ benefits to be derived from<br /> translations.<br /> <br /> Authors’ rights in translations are fixed and<br /> protected by the Berne Convention, revised<br /> and regulated by the Congress of Berlin.<br /> <br /> The exercise of these rights, on the other<br /> hand, is often qualified by arrangements and<br /> engagements with some third party, publishers<br /> becoming frequently, under various stipula-<br /> tions, co-proprietors of the rights, and having<br /> interests indissoluble from those of the authors.<br /> (Here, in France, the position of the ** Société<br /> des Gens de Lettres,’ as agent for its members,<br /> naturally comes into consideration.)<br /> <br /> Translations can be regardedin three different<br /> aspects.<br /> <br /> 1. The translation of a work in book form<br /> again in book form.<br /> <br /> 2. The translation in serial form (feuilleton)<br /> in a periodical, either of a work that has<br /> originally appeared in book form; or of one<br /> that has appeared as a serial (feuwilleton) not<br /> published in book form; or of tales, novels,<br /> articles, or poems, which have appeared in<br /> a periodical, but have not appeared in a<br /> book.<br /> <br /> 3. The reproduction of a translation, of class<br /> either 1 or 2, in a serial form. (In this case<br /> there are three different stages of publication ;<br /> the original work, its translation as first pub-<br /> lished, a reproduction of this translation in<br /> some other manner.)<br /> <br /> In reality there is another possibility, not<br /> mentioned in the society’s report. A work<br /> appears by some well-known author ; for it is<br /> only in the case of works by popular authors<br /> that the complication here considered takes<br /> place. The work is very soon published, in<br /> book form, in a translation ; first of all almost<br /> always either in French or German, and then,<br /> from this translation another translation is<br /> made. That, evidently, ought never to hap-<br /> pen. The best of translations is never any<br /> better than it should be—and often a great<br /> deal worse than it should be; but a trans-<br /> lation of a translation is an abomination for<br /> which no excuse can be pleaded. Still the<br /> things exist. At the present moment there is<br /> lying before us a Roumanian translation of<br /> Sienkiewicz’ well-known Polish novel ‘ Quo<br /> Vadis,” with the statement shamelessly printed<br /> on its title page “* Translated from the French.”<br /> Such frank admissions are indeed rare, but<br /> that in many cases what are offered as trans-<br /> lations are merely translations of translations<br /> is certain. The aberrations from the original<br /> <br /> <br /> <br /> THE AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> are, in many instances, such as to leave no-<br /> possibility of a doubt of a German inter}<br /> mediary. Neither can there be any possibility<br /> of a doubt that these lucubrations represent<br /> the happy hunting ground of the literary<br /> pirates of many tongues. There is probably<br /> no kind of literary production in which<br /> the producer of contraband wares is more.<br /> active.<br /> <br /> To return, however, to the French report.<br /> Up to the present authors and publishers have<br /> paid attention to translations of the first class<br /> only, either completely ignoring the second and<br /> the third, or, at the best, taking the second only<br /> into consideration quite by accident.<br /> <br /> ‘In fact, generally, and excepting only in<br /> the case of some agreements with England or<br /> with the United States, we are accustomed<br /> hitherto to sell our works purely and simply<br /> for a single payment made once for all either<br /> by translator or publisher, who afterwards<br /> makes of these works what use he pleases.<br /> <br /> ** Meanwhile the formidable development of<br /> the international Press tends to render more<br /> and more profitable to the foreign purchaser<br /> the exploitation of the complete right which<br /> he has obtained. Having become absolute<br /> proprietor (of the translating right) the foreigner<br /> is able to sell and to re-sell his translation, to<br /> publish it and to re-publish it in various forms,<br /> in volumes of various prices, in illustrated<br /> editions, in parts, to offer it for serial publica-<br /> tion, to publish it in twenty different periodi-<br /> cals, and everywhere to gather profits with<br /> both hands, whilst neither the author nor his<br /> co-proprietor has any suspicion of the con-<br /> tinuously increasing profits resulting from his<br /> having agreed to accept a single payment for<br /> his rights.”<br /> <br /> It appears, however, that some authors have<br /> been a bit more prudent, and whilst ceding<br /> rights of French translation, have reserved the<br /> rights of French serial production. Respecting<br /> which the report observes, ‘‘ We see no reasom<br /> why we should not treat our fellow-authors as:<br /> they treat us.”<br /> <br /> For the future the ‘“ Société des Gens de<br /> Lettres ” intends to support, with a firm<br /> expectation of making this mode of action<br /> triumphant, the following equitable general<br /> theory: the French author who treats with a<br /> foreign translator (publisher, editor of a<br /> journal, or individual translator) will sell for a<br /> fived sum the right to translate a work in one<br /> form strictly defined, and will explicitly reserve<br /> all the other rights, and in particular those which<br /> in any way represent reproductions of the<br /> translation.<br /> <br /> P|<br /> <br /> <br /> <br /> <br />  <br /> <br /> ——_—_—_ &gt;&lt;<br /> <br /> ‘sroyyne YSTSuy<br /> 100 SNoMas oy} SAVY OF qysno<br /> b jo coquunu ® dn suodo Ayo1008<br /> “oloR oY} ssefoyoAON<br /> : ‘ssay APOuTISsIP<br /> st sqysit uorpepsuesy si Jo onjea efoya. eq}<br /> spoutde [faa os sUBOT OU hq outry owes oy} 7”<br /> Burg “toyyne ysToug, oy? 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Ajotoos oy} vtoy ‘asamod Jo ‘ures<br /> _ UoIstAdodns FUIURUE<br /> -iod pue yous B dopun [[@—uoT}E[sUBs} oF<br /> jo suorjonpoidas poydrynut ‘sowmnyjoa ‘s.toquna<br /> ul UoT}RoTTqnd ‘szYSII [VLIos “ToYZOUR WOT} UO<br /> Susuttds ‘suoyovsupi, fo saisas @ oyUT “poyuas<br /> -oidaa A]Petouad sey S}YSM UWoryepsues} Jo [vs<br /> df} OMY IY YT “YAOAL Moy} Jo JUauuopungy<br /> <br /> oy} tWtojsuety OF ottsop OAL 9soyy Ie jo<br /> <br /> uortsodsrp oy} ye Fpos}t Soovd Azowoos oY, ,,<br /> <br /> [FI6l ‘ANOS<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> 258<br /> <br /> “THE LAW OF COPYRIGHT.” *<br /> <br /> +4<br /> <br /> TYNHIS volume is a reprint of a series of<br /> articles which appeared in The Bio-<br /> scope. In the nature of things, it was<br /> <br /> not to be expected that the author, in the<br /> <br /> space at his disposal, could give more than the<br /> merest outline of the law. Nevertheless, Mr.<br /> <br /> Croasdell has succeeded in presenting a fairly<br /> <br /> concise summary of the main features of the<br /> <br /> Copyright Act of 1911, and has added a<br /> <br /> certain amount of information respecting<br /> <br /> international copyright.<br /> <br /> We gather that the articles which go to<br /> make up the work were written, in the main,<br /> for the guidance of those interested in the<br /> cinematograph industry, and, no doubt, some-<br /> thing may be said in favour of a short treatise,<br /> such as the one before us, which presents the<br /> main features of the Copyright Law as amended<br /> by Parliament.<br /> <br /> There is, however, as we have pointed out<br /> on previous occasions, great danger in con-<br /> sulting works which seek to explain so complex<br /> a subject as copyright in the limited space<br /> which Mr. Croasdell allows himself. We are<br /> glad, therefore, to observe that it is to be<br /> followed by a larger work on the same subject.<br /> <br /> Mr. Croasdell, referring to the question of<br /> titles remarks :—<br /> <br /> Copyright exists in the title of a book if such title is a<br /> new and original literary composition, for the title is part<br /> of the book, and is as much the subject of copyright as the<br /> book itself. Although a book may have been out of print<br /> several years, still the copyright may exist, and another<br /> person is not justified in adopting the title so long as the<br /> copyright continues.<br /> <br /> This statement of the law is very misleading.<br /> Practically speaking, there is no copyright in a<br /> title, though there may be a certain property<br /> acquired by user. A general statement such<br /> as the one we have quoted is sure to mislead<br /> rather than to enlighten the layman.<br /> <br /> No doubt in the larger work which has been<br /> promised Mr. Croasdell will amplify what he<br /> has said on this subject, but it is precisely<br /> because such amplification is necessary, that<br /> we feel the dangers incidental to any attempt<br /> to explain the law in the small compass chosen<br /> by the author. bite<br /> <br /> In the chapter on Copyright Abroad, Mr.<br /> Croasdell speaks of Holland and the United<br /> States of America, among other countries, as<br /> being outside the Berlin Convention, In<br /> regard to the former, the statement is in-<br /> <br /> <br /> <br /> <br /> <br /> _* “The Law of Copyright,” by W. Carlyle Croasdell,<br /> Barrister-at-Law. London: Ganes, Ltd. 85, Shaftesbury<br /> Avenue, W. ,<br /> <br /> THE AUTHOR.<br /> <br /> ‘JUNE, 1914.<br /> <br /> accurate—Holland joined the Convention in<br /> November, 1912. In regard to the United<br /> States of America, the statement is inadequate,<br /> for while it is true that America is not a party<br /> to the Convention, copyright protection may<br /> be obtained in that country, and this should<br /> have been explained.<br /> <br /> ——— ¢ —~&lt;—<br /> <br /> THE TRADE OF AN AUTHOR.*<br /> <br /> oe<br /> <br /> \7 OT the least interesting of Mr. Hope<br /> ae Moncrieff’s ‘* Reflections and_ Recol-<br /> <br /> lections,”” is the Introduction, where<br /> we get the personal note, rather lacking in the<br /> rest of the volume. This is the more welcome,<br /> as this ‘‘ author of sorts,’? as Mr. Moncrieff<br /> modestly styles himself, has always been a<br /> determined opponent of publicity. Indeed,<br /> we would prefer more recollections and less<br /> reflections.<br /> <br /> The earlier chapters, which deal with a general<br /> history of authorship, the making of the author,<br /> his genesis and development, show traces of<br /> wide reading and a remarkable insight into the<br /> varied conditions of the literary ‘ife.<br /> <br /> The author’s genial personality is constantly<br /> reflected in the autobiographical portion of the<br /> book and in his tolerant and good-humoured<br /> reference to the eccentricities and shortcomings<br /> of certain well-known authors—a_ pleasing<br /> contrast to the mordant and cynical comments<br /> on contemporary writers in several popular<br /> books of reminiscences recently published.<br /> <br /> The book is not over-laden with anecdotes<br /> and good stories, but the few that are given are<br /> new and full of point. There is one of a cele-<br /> brated author who had had an unsatisfactory<br /> interview with two of the partners in a well-<br /> known New York firm of publishers. He had<br /> left them in high dudgeon, but before he had<br /> reached the corner of the block, he was accosted<br /> by a stranger who told him that he had seen<br /> the wrong man—that he had interviewed the<br /> literary partner and the financial member of<br /> the firm. ‘* You should have come to me first ;<br /> Tam the drinking partner!” Ultimately they<br /> both came to an harmonious understanding.<br /> <br /> Under the well-known pseudonym, Ascott R.<br /> Hope, the author has a high reputation as a<br /> writer of sound and wholesome stories of<br /> school life and adventure for boys, and with<br /> the late George Henty he stood at the top of<br /> the tree in this kind of fiction.<br /> <br /> <br /> <br /> <br /> <br /> * “ A Book about Authors: Reflections and Recollec-<br /> tions of a Bookwright.” By A. R. Hope Monerieff. 10s. net.<br /> A. &amp; C. Black. 1914.<br />  <br /> <br /> <br /> <br /> JUNE, 1914.]<br /> <br /> His stories of school -life, which” show a<br /> remarkable insight into boy nature, though<br /> well known and popular, have not, however,<br /> attained such success as they deserve. But the<br /> writer is, no doubt, handicapped through con-<br /> fining himself almost exclusively to studies of<br /> life at grammar schools and what are known as<br /> private schools, and ignoring the more popular<br /> field offered by the public schools and those<br /> public schools in miniature—the preparatory<br /> schools. Then too, Ascott R. Hope’s<br /> school-boy rather lacks modernity, especially<br /> as regards school-boy slang—his boys, indeed,<br /> talk too correctly. Perhaps this accounts for<br /> the fact that, though many of his books have<br /> reached several editions, he cannot claim one<br /> great out-standing success like his rivals,<br /> Desmond Coke or Ian Hay.<br /> <br /> In an instructive chapter on publishers, the<br /> unbusinesslike methods of some firms is<br /> humorously indicated by the following epi-<br /> sode. A publisher, “ who long somehow<br /> escaped bankruptcy,” happened to be travel-<br /> ling by the same train as our author. ‘* Guess-<br /> ing that the likes of him would travel first, I<br /> took a third-class ticket, and walked slowly<br /> along the train. Sure enough, he sat in state,<br /> where he graciously invited me to join him.<br /> ‘No,’ said I, * You can travel first-class ; I pay<br /> my debts.’ ”<br /> <br /> In the course of some good-humoured<br /> strictures on editors and their ways, in con-<br /> nection with one who wanted to commission<br /> him to write a school history of Europe, which<br /> should make no mention of the Reformation,<br /> he tells an anecdote of Leo XIII.. which is new<br /> to us. He had given a celebrated historian<br /> access to the archives in the Vatican Library,<br /> but impressed upon him that he need not feel<br /> restricted in the use he made of them, and<br /> added slily, ‘‘ There are some good people who<br /> would like to edit the Scriptures, cutting out<br /> the story of Peter and the cock, for instance,<br /> lest it should bring discredit on the Holy See)”<br /> <br /> The author holds rather pessimistic views<br /> of present-day literary criticism. The Early<br /> Victorian sledge-hammer methods of censure<br /> have had their day, and are apt to be replaced<br /> either by indiscriminate eulogy or tame and<br /> colourless criticism. With books, as with the<br /> stage, the public is more and more inclined to<br /> be its own critic, and our author asks with<br /> reason, Is the plebiscite of the readers a better<br /> guide than its professed counsellors ? Who<br /> shall say ? :<br /> <br /> On the question of press criticism, Mr. Mon-<br /> crieff is uncompromisingly severe. To prove<br /> the contradictory character of reviews he<br /> <br /> THER AUTHOR. 259<br /> <br /> devotes a page to a selection of favourable and<br /> unfavourable criticisms of the same book. But<br /> this method of the “‘ deadly parallel,” to show<br /> the futility of press criticism, is, however, mis-<br /> leading. It assumes that the exaggeratcd<br /> encomiums of the Mudford Mercury are of<br /> «qual value to the author and publisher as the<br /> few lines of guarded approval in the Times or<br /> Atheneum.<br /> <br /> Among Mr. Moncrieff’s excursions in. the<br /> various ficlds of literary enterprise, perhaps his<br /> most notable success has been in topography.<br /> A marked feature of his guide-books and topo-<br /> graphical works is their literary distinction—a<br /> feature which frees them from the reproach of<br /> not being literature—from which this class of<br /> book usually suffers.<br /> <br /> In ‘“ London” for instance, the following<br /> illumining speculation on London in posse is<br /> worth quoting as a vivid piece of word-<br /> painting :—<br /> <br /> “Are there children now elive whose<br /> bleared eyes may see London shrunk to its old<br /> bounds, perhaps huddled on some choice site<br /> like the heights of Highgate and Hampstead—<br /> which, according to Mother Shipton’s prophecy<br /> shoald become its centre—when for leagues, as<br /> about the walls of Delhi or Pekin, the open<br /> country will be dotted with ruined temples and<br /> towers, round the broken dome on Ludgate<br /> Hill, standing up in solitary state like the<br /> Kutub Minar? Can it ever come to lie<br /> squalidly deserted for a new city, rebuilt by<br /> some conqueror, as at Bokhara and Samarcand?<br /> Are there generations yet unborn to whom this<br /> capital will be a show, like ~ hundred-gated<br /> Thebes,’ a quarry of antiquities like Nineveh,<br /> or Knossos, a mystery like the Cambodian<br /> Angkhor, or the Bolivian Tiahuanaco, an over-<br /> grown wilderness like the buried ruins of<br /> Yucatan ? ”<br /> <br /> Probably the most enduring of Mr. Mon-<br /> crieff’s works is that by which he is least known<br /> to English readers. This is a monumental<br /> geographical work of reference in six volumes,<br /> called ‘‘ The World of To-day,’’ which gives a<br /> popular survey of the present-day geographical,<br /> historical, political, social and economic con-<br /> ditions of all the countries of the world. In-<br /> deed, the author of this colossal compendium<br /> of geography might almost be described as a<br /> twentieth century Reclus.<br /> <br /> The book ends with a note of encouragement<br /> to his fellow-craftsmen, and an impressive and<br /> dignified Vale to the reader. ‘‘ On coming to<br /> add up my account, I find a balance on the<br /> right side. I have lived my life; I a<br /> spoken my mind; I have done what I could,<br /> <br /> <br />  <br /> <br /> ‘260<br /> <br /> in a world where at the best we are all but un-<br /> profitable servants.”<br /> <br /> “By diligently plying the pen rather than<br /> the sword or the plough, one may have more<br /> surely helped to turn the wilderness of life into<br /> a garden. If one have taken pains not to let<br /> one’s tool go rusty; if one have never prosti-<br /> tuted it to base uses; if one have cared to be<br /> an honest hireling in this day’s work; if one<br /> be aware of having given pleasure to some, of<br /> having sought to work harm to none, these are<br /> the things that should not make death terrible<br /> to an author who, like the silent many, must<br /> look to be forgotten ; yet what good or ill he<br /> could do for his generation will not die in the<br /> lives of men.”<br /> <br /> KH. A. R. B.<br /> <br /> BOOK-PRICES CURRENT.*<br /> <br /> to<br /> <br /> ry NUE first three numbers of the new volume<br /> <br /> of Book-Prices Current are lying before<br /> <br /> us, numbers as full as ever of interesting<br /> matter, presenting once more the insoluble<br /> problem of how any notice is to do justice to a<br /> publication of this kind. The modern reader<br /> of the notice of a book expects from the<br /> reviewer something more than an honest state-<br /> ment of how the work which the volume con-<br /> tains has been done; the reader wishes to<br /> know something about the book, something<br /> which will enable him to talk about it—without<br /> having read it; and how is any reviewer to<br /> enable a man to do that when the very essence<br /> and merit of the work lying before him is that<br /> it consists of hundreds of minutely accurate<br /> notes of various volumes, the excellence of the<br /> work and its interest being wholly in the<br /> minuteness of its details? Indeed, we will<br /> freely admit that our custom of selecting a few<br /> items for note, which we shall again do pre-<br /> sently, is really indefensible. In almost every<br /> vase not the books which anyone may happen<br /> to select, but very many others, are just those<br /> whose mention would be interesting to a reader<br /> of the periodical. All the books in the world<br /> cannot have a meaning for any one individual,<br /> any more than all the words in the world can<br /> have a meaning for him. Each real lover of<br /> books will be interested in his own specialities,<br /> and not at all interested in anything else ; for<br /> which reason the book-lover ought to read<br /> Book-Prices Current for himself; and will in<br /> <br /> <br /> <br /> * “Book-Prices Current.’<br /> <br /> Volume XXVIII, Nos. 1<br /> 2,3. London: Elliot Stock,<br /> <br /> 1914, :<br /> <br /> THER AUTHOR.<br /> <br /> [JUNE, 1914.<br /> <br /> all cases find his pains well rewarded by<br /> information that he will not be able to gather<br /> anywhere else. We have said this more than<br /> once; and still fear that the periodical does<br /> not find its place even in the libraries of all<br /> public institutions, nor even in the libraries of<br /> all literary institutions ; though it is certain<br /> that no public library ought to be without it.<br /> <br /> Since the beginning of the new volume a new<br /> arrangement of the contents has been adopted.<br /> The books are no longer catalogued under the<br /> headings of the different sales; but each<br /> number displays all the books mentioned in it<br /> in one alphabetical arrangement. A good deal<br /> is to be said for this. Any single book is more<br /> easily found, and different copies of the same<br /> book come into juxtaposition. The last par-<br /> ticular is a distinct advantage. The whole is<br /> also more easily used as a book of reference—<br /> or at least the whole of each single number.<br /> What form the index which ends the number<br /> concluding the year is to take we cannot tell<br /> until that number reaches our hands.<br /> <br /> Still, on the whole, we think that it must be<br /> granted that the new arrangement is more<br /> convenient for ordinary purposes ; though we<br /> must confess to a regret at the loss of the<br /> distinctly picturesque presentment of the<br /> several libraries grouped one by one. Some-<br /> thing there was of interest, not altogether<br /> purely sentimental, and in some ways very<br /> real, in the perspective, if the term may be used,<br /> of the different collections of books ; perhaps<br /> because the tastes of the collector peeped out<br /> from among them ; perhaps because the books<br /> themselves, that had sometimes been so long<br /> together, had the appearance of a grave<br /> symposium which the auctioneer’s hammer<br /> was, alas, to scatter, so that they could never<br /> come together again. The breaking up of a<br /> library is the undoing of a thing that had<br /> organic life for the brain that created it. So<br /> whilst we admit again, we admit it with the<br /> Oriental proverb, ‘“‘ There is no advantage<br /> without a disadvantage.”<br /> <br /> Our own task of selecting a few volumes for<br /> mention—which we have already admitted<br /> cannot be defended—has also become more<br /> difficult. It is no longer possible to say,<br /> ‘“* Look at the sale of this library or that for<br /> books of such and such kinds.’”? The books<br /> have succumbed to the tyranny of the alpha-<br /> bet. And so there is all the more reason why<br /> the book-lover should read Book-Prices Current<br /> for himself. He, indeed, will find his favourite<br /> authors more easily than before; so be it<br /> <br /> hoped that he may be the more disposed to<br /> read,<br /> <br /> <br /> <br /> <br /> <br /> <br />  <br /> <br /> <br /> <br /> laa<br /> ib.<br /> if<br /> <br /> <br /> <br /> JUNE, 1914.)<br /> <br /> : Among the greatest rarities are the follow-<br /> ing :—<br /> <br /> Byron, ‘ English<br /> Reviewers,” fifth edition, original boards,<br /> uneut. The only copy known. The edition<br /> was suppressed by Lord Byron, and every copy<br /> ordered to be burnt before publication. The<br /> title page, preface, and postscript found in this<br /> copy are not found in the two or three copies<br /> of the fifth edition with a fourth edition title<br /> page. It seems surprising that the work<br /> should not have fetched more than £12.<br /> <br /> A first folio of Shakespeare—last two pages<br /> of ‘‘ Cymbeline ” in facsimile—probably unique<br /> in having the “ Tragedy of Troilus and Cres-<br /> sida’ regularly and correctly paged through-<br /> out. This was sold in one lot with three other<br /> folio Shakespeares—1632, 1664, and 1685<br /> respectively—for £1,200.<br /> <br /> Richardson. A collection of the first edition<br /> of his works. ‘‘ Pamela,” 1741—42; “‘ Cla-<br /> rissa,” 1748; ‘‘ Grandison,”’ 1754, and ‘“‘ The<br /> Correspondence of S. Richardson,” by A. L.<br /> Barbould, 1804. The twenty-four volumes<br /> fetched £96.<br /> <br /> Records of sales of various works of<br /> Thackeray’s are numerous. Amongst them<br /> will attract particular interest—<br /> <br /> Thackeray, Autograph MS. of Lecture on<br /> Jonathan Swift, twenty-one pages written by<br /> Thackeray, and thirty-two by his daughter,<br /> Anne Thackeray Ritchie, with numerous cor-<br /> rections by Thackeray. $1,700.<br /> <br /> Still more interesting is the only known copy<br /> of “The Whitey-Brown Paper Magazine ” by<br /> Thackeray, lithographed. The mention of<br /> this strange periodical is accompanied by an<br /> explanatory note. $23,000.<br /> <br /> Books certainly have their fashions as well<br /> as their fates; and it is curious to place the<br /> following two sales side by side. :<br /> <br /> E. Fitzgerald, “‘ Omar Khayyam,” second<br /> edition in original wrapper. 1868. £12 10s.<br /> <br /> Sophocles, “* Edito Princeps,’’ Venice, Aldus,<br /> 1502. £11.<br /> <br /> From which it would be easy to deduce—<br /> well, too many different things to be set down<br /> here. ‘<br /> <br /> Mark T&#039;wain’s autograph MS. of “A Yankee<br /> at the Court of King Arthur,” 1889, sold for<br /> £100. :<br /> Meredith, ‘‘ Diana of the Crossways,” first<br /> edition, 3 vols., cloth, 1885, sold for £2 6s., and<br /> those who have in their libraries copies of the<br /> old three-volume novels, which Mudie no<br /> longer circulates, may easily possess works<br /> that are worth money. :<br /> her work of Meredith’s<br /> <br /> Bards and _ Scotch<br /> <br /> THE AUTHOR.<br /> <br /> 26r<br /> <br /> may be quoted, as evidence that when authors<br /> present their works to friends they should<br /> write their names in them. It makes a good<br /> deal of difference in the money value of the<br /> present. Meredith, “The Shaving of Shag-<br /> pat,” first edition, 1886, with author&#039;s inserip=<br /> tion, £19; although the original cloth binding-<br /> was cracked and the half-title torn. a<br /> <br /> ee i —2-+ + © ia ———__<br /> <br /> CORRESPONDENCE.<br /> <br /> —+—&lt;—+<br /> <br /> MacazZInE Payments.<br /> <br /> Dear Sir,—I was very much pleased to see<br /> in last month’s Author, under the above title,<br /> an exposition of the effrontery manifested by<br /> some unprincipled ‘‘ MSS. snatchers.” The<br /> writer leads us to suppose that these literary<br /> ghouls occupied chairs of distinction; this, of<br /> course, is an all-important consideration.<br /> Presuming this to be the case, I feel sure that a<br /> strongly-worded letter to the owners of the<br /> publication would have received attention<br /> and ultimately brought forth a statement<br /> to the effect, “* We regret that your contribu-<br /> tion entitled -—— published in our<br /> issue was erroneously underpaid, through a<br /> clerical error, and we have much pleasure in<br /> enclosing cheque value £—— to cover the<br /> deficiency. Regretting the error, ete.”<br /> Another case that I recall with great readiness<br /> was that of a very respectable 6d. monthly<br /> (not an English publication) that underpaid<br /> me by several shillings; the editor, upon<br /> having his attention drawn to the deficiency<br /> (not by the proprietors, however), promised to<br /> add the amount on to the next cheque. Six<br /> “next cheques’ have come and gone since:<br /> then, but no increase has been apparent.<br /> The editorial memory is exceedingly defective:<br /> upon such issues, and I have not the slightest<br /> doubt that the incident has long ago passed into<br /> the sub-conscious portion of it. If the cditor<br /> should see this letter, doubtless he will gladly<br /> add the amount to the neat cheque.<br /> <br /> Jpon still another oceasion a very experl-<br /> enced friend of mine (an old editor) told me<br /> that he found the best plan was to return the<br /> cheque with a covering note politely intimating<br /> that the amount 1s insufficient. This pe<br /> apparently causes the editor to be stung . i :<br /> he hastens to write<br /> <br /> <br /> <br /> out a fresh cheque.<br /> f ‘ ass of editor I forbear to<br /> <br /> oubtful whether I could<br /> with the aid of any<br /> <br /> Of the other cl<br /> speak, indeed, it 1s d<br /> really do them justice,<br /> <br /> <br />  <br /> <br /> 262<br /> <br /> printable words. These creatures trade upon<br /> the credulity of the inexperienced author,<br /> and are usually so bad that in many cases they<br /> reap their own reward, or at least the two very<br /> worst cases that came within my ken did.<br /> One rapscallion to whom I had sold some<br /> “ stuff’? arranged to pay for it on the instalment<br /> plan, which he did until he reached the third<br /> or fourth instalment (I forget which). He<br /> then heard rumours of absence in a far country,<br /> and promptly ceased to continue the pay-<br /> ments; no doubt he thought I had left the<br /> country for good, and, that, even if he did<br /> send it on, I should not be able to spend it.<br /> However, a little later the secretary of the<br /> Society relieved him of any doubts he may<br /> have entertained, by requesting him to send<br /> the rest of the monies to the secretarial depart-<br /> ment. This so scared him that he sent the<br /> remainder toute « coup.<br /> Haroup Ucrus.<br /> <br /> — &lt;4<br /> <br /> REAL EDITIONS.<br /> <br /> ‘<br /> <br /> Srr,—On the question of “editions” as<br /> against a statement of the number of copies<br /> of a book issued, your correspondent may be<br /> interested in the letter of Jared Sparks printed<br /> in ‘George Palmer Putnam, a Memoir,”<br /> published by G. P. Putnam’s Sons, 1912, pp. 55<br /> and 56. The writer says ‘ Prescott and<br /> Bancroft publish what are called ‘ editions,’<br /> 500 each. They think there is some advantage<br /> in it, although where there are stereotype<br /> plates, one can hardly see the propriety of<br /> calling each impression a new edition.”<br /> Earlier in the letter he had given figures with<br /> regard to Washington’s writings.<br /> <br /> Yours faithfully,<br /> E. A. ARMSTRONG.<br /> <br /> — ++<br /> <br /> A QUESTION AS TO PAPER.<br /> <br /> DrEar Sir,—A work of mine—published<br /> about a year ago—is printed on very thick,<br /> soft paper, which seems to me likely to be the<br /> sort that does not last. The paged proofs<br /> were printed on thin paper, which, apparently,<br /> is of much better quality. Bound up they<br /> <br /> make a book little more than half the bulk<br /> of those issued to the public; but I care<br /> nothing for bulk if the work is not to be lasting.<br /> Would some reader kindly tell me how I may<br /> know good, that is durable, paper from bad,<br /> <br /> THE AUTHOR.<br /> <br /> {JUNE, 1914.<br /> and what would, approximately, be the differ-<br /> ence in cost between the one and the other.<br /> <br /> The book in question is demy 8vo and<br /> consists of 360 pages.<br /> <br /> Cuaries F. Moxon.<br /> <br /> Sea peelings<br /> <br /> U.S.A. Puay Piracy.<br /> <br /> Dear Sir,—My attention has just been<br /> drawn to a paragraph in the May number of<br /> The Author referring to the piracy in New York<br /> of ‘“‘ La Petite Fille,’ under the title of “A<br /> Pair of White Gloves.”<br /> <br /> I shall be obliged by your publishing an<br /> immediate contradiction of the statement con-<br /> tained in this paragraph, to the effect that I<br /> prevented the authors, or the Société des<br /> Auteurs Dramatiques from benefiting from<br /> the unauthorised production at the Princess’s<br /> Theatre. The production was stopped at the<br /> instance of the Société des Auteurs Drama-<br /> tiques, acting for the authors, and the option<br /> I hold was only concerned so far as to make my<br /> consent to their action necessary.<br /> <br /> I am not, and have never been, a ‘‘ dramatic<br /> agent,” and am surprised that the editor of<br /> The Author should pass a paragraph oppro-<br /> briously mentioning a member of the Society<br /> of Authors without first submitting the con-<br /> tents to him. I have repeatedly tried to learn<br /> the particulars of the production of the play<br /> and the result of the French society’s action<br /> from the secretary of the Society of Authors,<br /> but so far without the slightest result.<br /> <br /> Your obedient servant,<br /> Joun PoLiock.<br /> <br /> [We gladly publish this letter, though we<br /> cannot admit that any opprobrious mention<br /> was made of the writer in the paragraph<br /> referred to, which was quoted from the United<br /> States Publisher&#039;s Weekly.]|<br /> <br /> a<br /> <br /> NovELISTS AND THE HosprraLs.<br /> <br /> Dear Sir,—Has it ever been suggested<br /> before that it would be a good plan if novelists<br /> and publishers sent proofs of novels to the<br /> fever hospitals for the amusement of patients<br /> and nurses? There are stages in illness when<br /> fiction is a good tonic and the last stage for<br /> these infectious sheets would, of course, be<br /> the fire. I see no harm that could come from<br /> this suggestion, if novelists will take it, and<br /> the corrections on the proofs would only<br /> add to the amusement and interest.<br /> <br /> Yours faithfully,<br /> A NOVELIST.	https://historysoa.com/files/original/5/541/1914-06-02-The-Author-24-9.pdf	publications, The Author