https://historysoa.com/files/original/5/523/1912-12-01-The-Author-23-3.pdf ec484422f059faf243cc47701ef459b5 PDF Text Text �������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author Subject The topic of the resource <em>The Author</em> Description An account of the resource A digitised run of the Society of Authors' monthly periodical, <em>The Author</em>, 1890<span>–</span>1914, made available together for the first time.<br /><br />Currently users can browse issues and <a href="https://historysoa.com/items/browse?search=&amp;advanced%5B0%5D%5Bjoiner%5D=and&amp;advanced%5B0%5D%5Belement_id%5D=51&amp;advanced%5B0%5D%5Btype%5D=is+exactly&amp;advanced%5B0%5D%5Bterms%5D=Index&amp;collection=&amp;type=&amp;tags=&amp;exhibit=&amp;date_search_term=&amp;submit_search=Search+For+Items&amp;sort_field=Dublin+Core%2CTitle">indices</a> (not available for all volumes). Full text search for all issues, and other additional search functionality, will be added in 2022. Date A point or period of time associated with an event in the lifecycle of the resource 1890–1914 Identifier An unambiguous reference to the resource within a given context The-Author-Issues Publication Date The date of an event (in YYYY, YYYY-MM or YYYY-MM-DD format) 1912-12-01 Volume 23 Issue 3 Pages Page range in volume 65–96 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19121201 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che Hutbor. (The Organ of the Incorporated Society of Authors. Monthly.) FOUNDED BY SIR WALTER BESANT. VoL. XXTII.—No. 3. DECEMBER 1, 1912. [PRIcE SIXPENCE. TELEPHONE NUMBER: 374 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. Se ee NOTICES. ++ - the opinions expressed in papers that _ are signed or initialled the authors alone "are responsible. None of the papers or paragraphs must be taken as expressing the opinion of the Committee unless such is especially stated to be the case. Tue Editor begs to inform members of the Authors’ Society and other readers of The Author that the cases which are quoted in The Author are cases that have come before the notice or to the knowledge of the Secretary of the Society, and that those members of the Society who desire to have the names of the publishers concerned can obtain them on application. ARTICLES AND CONTRIBUTIONS. Tue Editor of The Author begs to remind members of the Society that, although the paper is sent to them free of cost, its production would be a very heavy charge on the resources of the Society if a great many members did not forward to the Secretary the modest 5s. 6d. subscription for the year. Communications for The Author should be addressed to the offices of the Society, 39, Old Queen Street, Storey’s Gate, S.W., and should reach the Editor not later than the 21st of each month. Communications and letters are invited by the Editor on all literary matters treated from Vou. XXIII. the standpoint of art or business, but on no other subjects whatever. Every effort will be made to return articles which cannot be accepted. ADVERTISEMENTS. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the case. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. ‘ Members should apply to the Secretary for advice if special information is desired. ee THE SOCIETY’S FUNDS. — + ‘T\ROM time to time members of the Society desire to make donations to its funds in recognition of work that has been done for them. The Committee, acting on the suggestion of one of these members, have decided to place this permanent paragraph in The Author in order that members may be cognisant of those funds to which these con- tributions may be paid. The funds suitable for this purpose are: (1) The Capital Fund. This fund is kept in reserve in case it is necessary for the Society to incur heavy expenditure, either in fighting a question of principle, or in assisting to obtain copyright reform, or in dealing with any other matter closely connected with the work of the Society. (2) The Pension Fund, This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. +2 THE AUTHOR. THE PENSION FUND. —1-—<—+ — N January, the secretary of the society laid before the trustees of the Pension Fund the accounts for the year 1911, as settled by the accountants, with a full statement of the result of the appeal made on behalf of the fund. After giving the matter full con- sideration, the trustees instructed the secretary to invest the sum of £500 in the purchase of Antofagasta and Bolivian Railway 5% Pre- ferred Ordinary Stock and Central Argentine Railway Ordinary Stock. The amounts pur- ehased at the current prices were £237 in the former and £232 in the latter stock. The trustees desire to thank the members of the society for the generous support which they have given to the Pension Fund. The money now invested amounts to £4,454 6s. Later in the year, at a meeting of the Com- mittee of Management, a question concerning the funds of the society was brought up for dis- eussion, and it was suggested that it would be a good thing for the Pension Fund trustees, if they had power, to sell out the Fund’s holding of -Consols and to invest in some more satisfactory -security. The suggestion was placed before the trustees of the Pension Fund, and a meeting was called, when the chairman of the Committee ef Management, the trustees, and Mr. Aylmer Maude, the member of the Committee of Management who had made the suggestion, were present. The figures were very closely eonsidered, and it appeared clear that altera- tions in the investment of the funds could be earried out with advantage to the Fund’s income. It was decided by the trustees, with the approval of the Committee of Management, to ‘sell out the holding of Consols.. With the amount realised, were purchased— $2,000 (£400) Consolidated Gas: and Elec- tric Company of Baltimore 44% Gold Bonds ; — — 30 Buenos Ayres Great Southern Railway ~ 4° Extension Shares, (1914) £8 paid ; £250 Edward Lloyd, Ltd., £1 5% Prefer- ence Shares. These amounts are fully set out and added in the nominal value to the Pension Fund investments, below. The trustees have also, in view of the option extended to them as holders of £282 Central Argentine Railway Ordinary Stock, subscribed for 8 Central Argentine Railway £10 Preference Shares, New Issue. The nominal value of the investments held on behalf of the Pension Fund now amounts to £4,454 6s., details of which are fully set out in the following schedule :— Nominal Value, Local Loans Victoria Government 3% Consoli- dated Inscribed Stock ........ London and North-Western 3% Debenture Stock Egyptian Government Irrigation Trust 4% Certificates ........ Cape of Good Hope 33% Inscribed Stock 0.665. a Glasgow and South-Western Rail- way 4°% Preference Stock .... New Zealand 34% Stock........ Trish Land 23% Guaranteed Stock Corporation of London 24% Stock, 1927-57... ......5..5. Jamaica 34% Stock, 1919-49 Mauritius 4% 1937 Stock ...... Dominion of Canada, C.P.R. 34% Land Grant Stock, 1938 ...... Antofagasta and Bolivian Railway 5% Preferred Stock .......5... Central Argentine Railway Or- dinary Stock -. 2.2.5. 5.50.5 $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ............ 250 Edward Lloyd, Ltd., £1 5% Preference Shares 80 Buenos Ayres Great Southern Railway 4°% Extension Shares 1914 (£8 paid) .......55.2,5% 8 Central Argentine Railway £10 Preference Shares New Issue . 291 19 11 250 0 O 200 200 228 247 258 438 132 120 Oo oac o ° 198 237 o o eo Nob ooo eo ¢ (a ” ) 232 ig C4454 Total PENSION FUND. — oe Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from April 1st, 1912. ‘ It does not include either donations given prior to April 1st, nor does it include sub- scriptions paid in compliance with promises made before it. :  ‘Oct. THE AUTHOR. Subscriptions. 1912. April 6, Bland, J. O. P. : April 6, Taylor, Mrs. Basil . April 6, Forrester, J. Cliffe . : June 6, Probert, W. S. Q . June 6, Wheelhouse, Miss M. V. June 6, Acland, Mrs. C. D. Z June 6, Spurrell, Herbert (from 1912 to 1915). June 6, Spens, Archibald B. . July 18, Liddle, S. Aug. 7, Joseph, L. : A ; Sept. 6, Garvice, Charles (in addi- tion to present sub- scription of £1 Is.) 2, Todhunter, Dr. John. 10, Escott, T. H. S. . ‘ 10, Henderson, R. W. Wright 10, Knowles, Miss M. W. : 11, Buckley, Reginald . 12, Walshe, Douglas 12, ‘‘ Penmark’”’ . : 15, Sinclair Miss Edith . 16, Markino, Yoshio : Oct. 20, Fiamingo, Carlo. “ Oct. 29, Henley, Mrs. . Nov. 8, Jane, L. Cecil . Noy. 14, Gibb, W. Oct. Oct. Oct. Oct. Oct. Oct. Oct. Oct. 1912. Donations, April 2, XX. Pen Club ‘April 6, Taylor, Mrs. Basil . : April 6, Cameron, Mrs. Charlotte . April 10, Kenny, Mrs. L. M. Stac- poole : . : April 10, Robbins, Alfred F.. April 10, Harris, Emma H. . April 11, Ralli, C. Searamanga April 11, Aitken, Robert . : April 16, L. M. F. (£1 per month, : February, March, April) April 22, Prior, Mrs. Melton ‘ May 2, Baden-Powell, Miss Agnes ‘May 25, Koebel, W. H. : : May 28, Harland, Mrs. Henry ‘ May 28, Wood, Mrs. A. E. . . June 4, Hornung, E. W. i June 4, Ward, Dudley June 6, Worrall, Leehmere . June 13, Robbins, Miss Alice E. July 5, Hain, H.M. . . : Aug. 16, Shipley, R. H. . ‘ Sept. 20, Willcocks, Miss M. P.. Sept. 23, Peacock, Mrs. F. M. Oct. 2, Stuart, James . : Oct. 14, Diblee, G. Bonney . oormooowh SOF OF COCOOOCOHH oooo noo aHwoOom oS SCrermnoceroouncoooon H _ So Ot GOS & — Or Or Or Or Sr or oro © 10 10 10 Or Or = OT eeceecscec eocococoaccococooeco ooco oocoo ooo @ASCoancoococooosoaso o> ~J tw — a Oct. 14, Michell, The Right Hon. Sir Lewis, C.V.O. Oct. 17, Ord, H. W. . i Oct. 20, Yorke-Smith, Mrs. . Nov. 10, Hood, Francis . i Nov. 20, Kennard, Mrs. N. H. wood uo ~ Cure © Ot coonanas 1+ COMMITTEE NOTES. — Tue Committee met at the offices of the Society on Monday, November 4th, and after the minutes of the previous meeting had been read and signed, proceeded to the election of members. Twenty-three were elected, bringing the total elections for the current year up to 313. There were two resignations. The solicitor reported on the cases with which he had dealt during the month. In two County Court cases judgment had been obtained, but as the judgments had not been satisfied he was proceeding to issue execution. In another case—against a music publisher—judgment had been obtained and the publisher had to pay the costs of the action. A curious case, chronicled in last month’s Author, against a book publisher, had arisen, in which the publisher, although the cost of production of the book had been defrayed by the author, refused to deliver the balance of the stock. As it was impossible to come to any agreement the solicitor reported he was about to issue process. In three other cases where no satisfactory replies could be obtained from the offenders, the solicitor had issued process. One case had sone very curious points, for the editor of a magazine had printed a story as by a well- known author, who had not, in fact, written it. The Society is commencing an action for literary libel and passing off. Two cases had been settled satisfactorily, the sums duz to the authors having been paid without the necessity of going into court, but in two other claims, as the defendants disputed the issues, it had become necessary to issue writs. Another action has had to be taken up against an American magazine on behalf of a member. Two cases involving the bankruptcy of publishers have occurred during the past month. In one ease the Society of Authors was given representation on the Com- mittee of Inspection, as representing the interests of authors. It is impossible to deal with these cases further until the liquidator 68 has been able to issue a report, but the com- mittee regret that quite a dozen members are involved in each bankruptcy, and perhaps more. In one other case in which a question had arisen concerning cinematograph rights the committee gave authority to take counsel’s opinion, upon which the author will no doubt act. The report of the Copyright Sub-Committee on the Australian Copyright Bill was laid before the committee, who authorised the secretary to present the report to the Premier of the Australian Commonwealth in the hope that the Society’s suggestions might meet with consideration, and, thereby, that the rights, not only of the Australian, but also of British authors, might be strengthened imperially and internationally. An important question of United States Copyright was laid before the committee by one of the Society’s correspondents in New York, and the secretary was instructed to obtain counsel’s opinion on the difficulty raised, and advice as to what action should be taken to bring the matter to the notice of the proper authorities. The secretary reported that Newfoundland had accepted the Copyright Act of 1911, and also called attention to some difficulties which had arisen owing to the fact that that Act had not as yet been proclaimed in India. He was authorised to take the necessary steps to draw the attention of the India Office to the difficulties in question. The working of the Copyright Act of 1911 in its relations to our Colonies and Dependencies will bring, and is bringing, many difficult and important questions before the committee. Matters connected with the new branch of the Society, the Collection Bureau, were then discussed. It was decided to accept the recommendation of the Composers’ Sub- Committee, to collect the mechanical instru- ment fees under the Act of 1911, at the rate of 15 per cent. commission, subject to the com- posers paying for the manufacture of their stamps. It was also decided to accept the recommendation of the Dramatic Sub-Com- mittee to collect the fees under contracts already entered into by those dramatists who were.members of the Society. for a commission of 5 per cent. It was further decided to keep a register of stamps to he placed on mechanical instruments at the Society’s office. The Composers’ Sub-Committee appointed two delegates to discuss important questions resulting from composers’ contracts with music publishers. THE AUTHOR. Mr. Maurice Hewlett, who has been a member of the committee for some years, and was chairman of that body’ from 1909 till 1911, having resigned from the committee owing to pressure of other work, the committee accepted his resignation with great regret, and instructed the secretary to write to him. Mr. Stanley Leathes, C.B., was elected to fill the vacancy, and has expressed his willingness to undertake the work. The committee then decided on_ the nominees to be put forward under the constitu- tion of the Society for election at the end of the year. The names of these nominees will” appear in The Author according to the regula- tions and rules laid down. Mr. E. J. MacGillivray was elected a member of the Council of the Society of Authors. Mr. MacGillivray has undertaken a_ great amount of. gratuitous work for the Society during the passing of the Copyright Bill, and has freely given his help to the Society on difficult copyright questions which have arisen. The next matter arose in connection with the advertisements in The Author. This was carefully considered by the committee, and the secretary was instructed to take the necessary steps to give effect to their decision. : Certain proposals laid before the committee by the Associated Booksellers of Great Britain and Ireland were. next considered, and it was decided to appoint a small sub-committee to confer with the Booksellers’ representatives, and to discuss the matters which their Associa- tion had raised. Mr. Aylmer Maude and Mr. G. Bernard Shaw kindly consented to act as a sub-committee, and the secretary was instructed to write to the Booksellers’ Associa- tion and to report progress at another meeting. A difficult matter arising out of multiple book-reviewing was discussed at some length, and the secretary was requested to write to the member who had introduced the matter, stating that the committee were considering it sympathetically but desired fuller information. The committee’s thanks were expressed to Mr. Thomas Common for a donation of £1 Is. to the Capital Fund of the Society, as a return for work accomplished by the Society on his behalf. — Dramatic SuB-COMMITTEE. Tur November meeting of the Dramatic Sub-Committee was held at the offices of the Society on the 15th. 2 After reading the minutes of the previous meeting, the sub-committee considered a THE AUTHOR. proposal placed before them by a gentleman who is not a member of the Society, for the re-organization of the dramatic section of the Society, under certain new articles and rules that he had drafted for their con- sideration. These articles and rules had been circulated to the members of the sub- committee prior to the meeting. The sub- committee came to the conclusion that it was impossible to consider the suggestions and, after discussion, decided that the matter should be adjourned sine die. The secretary read to the sub-committee the answer he had received from the Society of West End Managers in regard to the Managerial Treaty. -- The question of twice-nightly performances of plays in Music Halls was then discussed, and the secretary reported information he had received in regard to the prices which could be charged for these performances. All possible information was placed by the members present at the secretary’s disposal, that he might be able to advise dramatic authors who should apply to him for informa- tion on their contracts. ~The Translator’s Agreement was next con- sidered, and, with it, the question of the appointment of agents in foreign countries to deal with the work of members of the Society. Subject to confirmation by the committee of management an agent was appointed in Holland, and another in the United States. The secretary was instructed, also, to get into communication with an agent in Germany. The names of the agents will be published in The Author in full, after they have been duly appointed by the Committee of Management. A letter was read from a correspondent in Portugal who desired to act as agent of the Society, and the secretary was instructed to obtain information as to his standing and position. : The arrangements for the election of the Dramatic Sub-Committee for 1913 were next consideréd, and the secretary received instruc- tions to carry out the usual steps in due course. It was decided to hold the next meeting on the second Friday in December, as the third Friday brought the date too close to Christmas. — 1 Composers’ SuB-CoMMITTEE. I. A SPECIAL meeting of the Composers’ Sub- Committee was held on Saturday, October 26th, 69 in order to re-discuss the relations between the Society of Authors and the Mechanical- Copyright Licences Co., and the question of mechanical instrument fees. The secretary read to the sub-committee certain letters which he had written to the representative of the Mechanical Copyright Licences Co. in the spring of the year, and the secretary received instructions to draft a further letter dealing with the terms of contract. The question of performing rights was also dealt with, and the secretary read a letter he had received from the Music Publishers’ Association. It was decided not to drop negotiations, but to persevere in the hope that some good might, in the end, be achieved by joint action. IT. Tue Composers’ Sub-Committee met again on Saturday, November 16th, at the offices of the Society. The first matter under discussion referred to a publisher’s agreement and the clauses which it contained. The secretary laid a letter he had_reecived from the publishers in answer to a communication from the Society of Authors, written under the instructions of the sub- committee, and the secretary was instructed to reply to the same, drafting a letter which should be approved by the chairman. The secretary then laid a letter before the committee that he had received from one of the directors of the Mechanical-Copyright Licences Co., Ltd. It was decided, as it was important for the Society to have agents for the collection of fees in foreign countries, to write to those persons who represented the Society in’ other matters and enquire what provision was made in France, Germany, and elsewhere, for the collection of fees on mechanical instrument reproductions, and the secretary was instructed, when the information came to hand, to lay the whole matter again before the sub-committee with a view to appointing reliable agents. The question of a united combination with the publishers in order to establish fees on performing rights was again considered. The secretary informed the sub-committee that he had had a conversation with Mr. Dixey, secretary of the Music Publishers’ Association. It was finally proposed that the secretary should write to the secretary of the Music Publishers’ Association, putting before him certain matters which could, with benefit to both parties, be discussed between the com- posers and the Music Publishers’ Association, @ _Adey, More 70 in the hope that the Music Publishers’ Asso- ~ Burnett, ciation would be willing to form a small sub- committee to consider the matter, The four main points put forward were :— 1. The main principles of contract. 2. Performing right fees, 3. Mechanical instrument reproductions, 4, Cost of production. Finally, the secretary laid a series of letters from the companies which were reproducing the composers’ works on mechanical instru- ments, promising their assistance in cases of infringement of copyright. —_1—~>+ — Cases. Tue number of cases taken up during the past month still keeps up the average. There have been four cases dealing with the question of the settlement of the exact terms of contract. These cases generally involve a certain amount of negotiation. One case has been satisfactorily settled, and correspondence is still going on with regard to the others. There have been five cases for the return of MSS. In three cases the MSS. have been returned. One case in Australia is necessarily not yet completed, and the last one has come only recently into the hands of the secretary. There have been five claims for accounts and money. Three of these have been settled, one has been placed in the hands of the Society’s solicitors and the other has only recently come to hand. Of two cases for money one is still in the course of negotiation and the other has been placed in the hands of the solicitors. Out of sixteen cases, therefore, six have been settled. This is a good average for one month. The cases still left over from past months are slowly closing up. Where the secretary has been unable to deal with them they have been handed over to the solicitors. a oo Elections. The Burlingion Magazine, 17, Old Burlington Street, W. ‘* Hillside,” Strath- cona Park, Ottawa, Canada ; Royal Societies Club, S.W. Ami, Henry M., M.A., D.Sc., F.R.S. (Canada) THE AUTHOR. Miss Olive Compton De Rehyn, Cyril . Ferguson, Dugald Florian, A.R., M.A. Haig, Kenneth George . Hare-Dean, Mrs. N. Harris, Clement Antro- bus. Lee, George ‘“ Wing- shaft.” MacDonald, Mrs.. Moore, Edith Mary Nesfield, Miss Frances Emily Percival, Archibald Stanley Picciotto, Cyril Rawlence, Guy Sichel, Miss Edith Theobald, Harry. Wenyon-Samuel Alex- ander Wriothesley, William, Wyton, Mrs. Alice Lyceum Club, Pieca- dilly, W. Edinburgh. Tapanui, Otago, New Zealand. Priory Lodge, Shrewsbury. 7, Brook Street, Hanover Square, W. Writers’ Club, 10, Norfolk Street, Strand, W.C. Ellangowan, Crieff, © 8, Vale Spital, field. 80, Auckland Road, Tiford. : Glan Aber, Purley; Surrey. c/o Messrs. Edghill Soulby, Clarence Park, Weston- super-Mare. 17, Claremont Place, Newcastle-on-Tyne. 54, Warrington Cres- cent, W. : The Chantry, Wilton Salisbury. 42, Onslow Gardens, S.W 37, Essex Street, Strand, W.C. 22, Lissenden Man- sions, Highgate Road, N.W. c/o. Messrs. Brown, Shipley & Co. 123, Pall Mall, S.W. 145, Woolstone Road, Forest_Hill, S.E. a Terrace, Chester- 1 —_—___ — BOOKS PUBLISHED BY MEMBERS. —_t——+ —— While every effort is made by the ccmpilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the office by the members. In consequence, it is necessary to rely largely upon lists of books which appear in literary and other papers. It is hoped, however, that members will  i es ee a ty a es THE AUTHOR. 71 co-operate in the compiling of this list and, by sending particulars of their works, help to make it substantially accurate. AGRICULTURE. By Frepsrick No&kt-Paton, Director- Calcutta Burma Rice. General of Commercial Intelligence, India. Superintendent Government Printing. 94. ANTHROPOLOGY. THE ORIGIN OF CIVILISATION AND THE PRIMITIVE ConpI- TION or Man. By Tue Ricutr Hon. toe Lorp AVEBURY. Seventh Edition. 9 x 6. 484 pp. Longmans. 7s. 6d. n. ART. A History or Enctisn Grass Paryrinc. By Maurice Drake. Ilustrated by 36 plates from drawings by Wirrep Drake. 133 x 8. 226 pp. Werner Laurie. £2 2s. n: BIOGRAPHY. Tae Diaries or Wiriaam Cuartes Macreapy (1833 ag Edited by Wiutiam Toynser, Chapman & all. Scenes anp Memories. By Warsurca Lapy Pacer. 8 x 54. 325 pp. Smith Elder. 7s. 6d. n. Mary QUEEN oF Scots. By Hirpa T. SKar. 204 pp. Foulis. 5s. n. BOOKS FOR THE YOUNG. SWEETHEARTS aT Home. By S. R. Crockert. 311 pp. Hodder & Stoughton. 6s. Tue Macic Wortp. By E. Nessrr. Illustrations by H. R. Mintar & Spencer Pryse. 73 x 5}. 280 pp. Macmillan. 6s. Tue Brrv’s Curistmas Carot. By Kare Dovcuas Wiecin. Illustrated. by Karuartne RB. WISEMAN. 82 x 6}. 90 pp. Gay & Hancock. 3s. 6d. n. 7% x +54. 8i x 6. DRAMA, Tur Tria or JEANNE D’Arc, an Historical Play in Five Acts. By Epwarp Garnerr. 74 x 5. 79 pp. Sidgwick & Jackson. 3s. 6d. n. Wacner’s Tristan und Isoxpz, An Essay on the Wagnerian Drama. By G. A. Hicur. 8} x 53. 281 pp. Stephen Swift. 5s. n. ECONOMICS. Szasonat Traps. By various writers. Introduction by Stpyey Wess. Edited by SipNey Wess AND Agnotp Freeman. 8} x 5}. 410 pp. Constable. “Ts. 64. n. , ENGINEERING. A Primer on THE INTERNAL ComBUSTION ENGINE. By H. E. Wimperis. 73 x 5. 143 pp. Constable. 2s. 6d. n. FICTION. Come Rack! Come Ropz. By R. H. Benson. Ti Xx 5, Alston Riyers. 6s. 7 yay Barriers. By Tar Hon. Mrs. Juuian Byna. 7% X 5h. 380 pp. Holden & Hardingham. Tue Distant Lame. By Harotp Bzcsre. 12 xX 6, 294 pp. Hodder & Stoughton. 6s. Tue Private Lire op Henry Maituanp. A Record Dictated by J. H. Revised and edited by Moruzy Roperts. 74 x 5. 316 pp. Nash. 6s. Mratam Lucas. By Canon Suuguay, D.D. 7% x 5. By ANATOLE 9 x 6. ASPIRATIONS OF JEAN SERVIEN. Translation by ALFRED ALIINSON. Lane. 6s. By Frorence L. Barcuay. 3s. 6d. n. ConstaANCE SMEDLEY (Mrs. 343 pp. Religious Tract TE FRANCE. 234 pp. Tue Upas TREE. 246 pp. Putnam. Ruty’s Marriace. By Maxwell Armfield), 8 < St. Society. 6s. THe Woornc oF Miranwy. By Eprru C. Kenyon. 7} x 5}. 344 pp. Holden & Hardingham. 6s. Taines THAT Pass. By Atice E. Ropsins. 7} x 5}. 319 pp. Melrose. 6s. A Grove or Noster Dames AND THE WetL Betovep. A Sketch of a Temperament. By Tuomas Harpy. 9 x 6. Macmillan. 7s. 6d. n. each. Tue Broap Hignway. A Romance of Kent. By JEFFREY Farnov. Illustrations by C. E. Brook. 9} x 63. 493 pp. Sampson Low. 10s. 6d. n. Fotrowinc Darkness. By Forrest Rerp. 7? x 5. 320 pp. Arnold. 6s. St. L6 By Dororny Marcarer Sruart. 337 pp. Holden & Hardingham. 6s. Tur Mystertovs Monstrur Dvuvant. (Author of “ John Merridew,” &c.). THe JUNE Lapy. By R. E. VeRNEDE. 7} x 5. Constable. és. Tue Rest Presence. By Una L. SmBERRAD. 55 pp. Hodder & Stoughton. Is. 6d. n. Sesarorp’s Snake. By Berrram Mrrrorp. 320 pp. Ward Lock. 6s. Corn in Ecypr. By E. Newrox BunNGEY. 286 pp. Lynwood. 6s. THe Canusac Mystery. By K. anp HESKeETa Pricnarp. 74 x 43. 340 pp. Heinemann. 6s. At Waat Sacririce? By Annre O. Trppits. 74 x 5, 286 pp. Digby, Lone. 6s. The Caszr or RicHaRD Meynett. By Mrs. Humenry Warp. New Edition. 7} x 5. 525 pp. Smith Elder. 2s. n. No Surrenper. By Constance ExizapetH Mavp. 7k x 5. 328 pp. Cheaper re-issue. Duckworth. 28. 1. WINAFRINT, VIRGIN. Ham Smith. 6s, Tue House Opposits. Eveleigh Nash. 6s. Tae Man with tHE Briack FEATHER. Leroux. Translated by Epaar Jepson. 7} 314 pp. Hurst & Blackett. 6s. A Recutar Mapam. By Arice Witson Fox. 7} x 5, 348 pp. Macraillan. 6s. Tue Jew or Pracun. By A. Witson Barrert. 31ll pp. F. V. White. 6s. A Base iy Bonemia. By FranK Dansy. 288 pp. Stanley Paul. 6s. Tar ENLIGHTENMENT oF Sytyrs. By A. D. PrckmRinea. 74 x 5. 310 pp. John Murray. 6s. GARDENING. Tue Rock GarpEN. By Rearnayp Farrer. (Present Day Gardening). 84 6}. Jack. HYGIENIC, Thr PrincipLEs oF HEALTH AND Mrs, Huns H. Cuapwick. 7} x 5. & Sons. ls. 3d. n. JUVENILE. Aunt Pex. A Book for Young Girls. By L. E. TippEMAN, S.P.C.K. 2s. 6d. A Crry Scnoon Girt anp Her Frienps. By May Batpwin. 74 x 5}. 370 pp. Campers Heart 0’ Gotp, or Tar Lirrte Princess. By KaraaRine TyNnAN. 7} x 5}. 344 pp. Partridge. 3s. 67. 72 x Bh. By F. ARTHUR John Murray. 304 pp. 8 x 5h. 72 x SE 7k x 43. By W.SHerReN. 7} x 5. 318 pp. By “ Reva.” 72 xf. 306 pp. By Gaston x 4. 72 x 5. 72 =< Sh. Illustrated. ls. 6d. n. TeMPeRANCE. By Sir Isaac Pitman 72 A Story of Adventure Tue Bravest Boy IN THE CAMP. i re 7% x 5. on the Western Prairies. By R. Letcuton. 285 pp. Jarrold. 2s. 6d. n. Tne Prrate AEROPLANE. By CaprarNn CHARLES GILsoNn. 71 x 5}. 327 pp. Frowde & Hodder & Stoughton. ~5s. Grayxt Tur Grenapier. His Adventures in the Fighting Fifth in the Peninsula. By Wattrr Woop. 326 pp. Routledge. 3s. Gl. Prerer THE PowpEr-Boy. of the Days of Nelson. THE ComMINnG oF CARLINA. to Twelve. By L. E. TIDDEMAN. By Water Woop. A Tale 317 pp. Routledge. 3s. 6d. A Book for Children from Ten Jarrold. 2s. 6d. Waerpe THE Ratnsow Enps. A_ Fairy Story. By Clifford Mills. 7 x 43. 160 pp. Hodder & Stoughton. 1s. n. Currosrry Kats. By Frorence Bonz. 7} x 54. 320 pp. Partridge. 2s. 6d. ANGELIQUE. By Constance ExizapeTH Maup. 7} x 9. 265 pp. Duckworth. 6s. Tue ADVENTURES OF SitveRsuIT. Pictures by ANGUSINE Macarecor. Verses by Jxesste Porr. 9} x 7. Blackie. 1s. 6d. Tue Turee Joviat Purrres. By J. A. SHEPHERD. Rhymes by E. D. Cumtna. 10} x 7}. Blackie. 3s. 6d. n. Tue Brrps’ Curistmas Caron. By Kate Doveras Wiccry. 72 pp. Illustrated by F.E. Hiruy. 6} x 4. Gay & Hancock. 1s, 6d. n. each. LAW. Tre Law or Copyricut. By L. C. D. OLprigLp. Second Edition. 350 pp. Stevens & Sons. 26s. LITERARY. Portraits AND SkETcHES. By Epmunp Goss, C.B. 73 x 5}. 296 pp. Heinemann. 6s. n. Persian LIrERATURE. By CLaup FIELD. Herbert & Daniel. 3s. 6d. n. LETTERS FROM SOLITUDE AND OTHER Essays. By Fitson Younc. 73 x 5. 317 pp. Chapman & Hall. 5s. n. Smrpuiciry anp Torstoy. By G. K. Caesrerton. A Rocur’s Memorrs, &c. By AvGUSTINE \BrRRELL. Bexsonrana. By E. F. Benson. 6 x 43. Hum- phreys. 2s. 6d. n. each. 4 Srupres anp Apprectations. By Darreut. 3 Freats. 83 x 53. 258 pp. Dent. 5s. n. ; Tur AcapEmMIc CommiTrer. Browning’s Centenary, Edmund Gosse, Sir Arthur Pinero, Henry James. Tuesday, May 7th, 1912. Reprinted from ‘Trans- 7 x 5. 363 pp. actions ot the Royal Society of Literature. Vol.XXXI Part IV. 8} x 53. 50 pp. Asher. 3s. Sampnrre. By Lapy Sysm Grant. 7} x 5. 307 pp. Stanley Paul. 3s. 6d. n. ScortisH Lire anpD Porrry. By Lavuciuian MacLean Warr. 9 x 53. 509 pp. Nisbet. 12s. 6d. n. MacatLay’s Essay on Appison. By N. L. Hattwarp. Lonemans’ Brivisu Ciassics.FoR Inpra. Longmans. MILITARY. Can, Germany Invape Enctanp? By Con. H. B. Hanna. 71 Xx 43. 159 pp. Methuen. 1s. n. Turiuine Tares oF Great Events. Re-told from Survivors’ Narratives. By Waurer Woop. 332 pp. Routledge. 3s. 6d. MISCELLANEOUS. UNEMPLOYMENT AND DrsEasus. Caused by Decay and Loss of ‘Teeth. Wm. Dawson & Sons. 6d. n. By a Dental Surgeon. THE AUTHOR. NATURAL NERVATION or Pants. Illustrated. 74 x 5. 3s. 6d. n. Basy Brrps at Home. By Ricnarp Kmarton. TIllus- trated from Photographs. By CnHEerry and Graok HISTORY. By Francis Guorce Heats. 186 pp. Williams & Norgate. Kearton. 8} x 53. 128 pp. Cassell. 6s. Tue Brrps or Austrauia. By 8. L. Marnews. Vol. IL. Part TV. 144 x 10. 359—476 pp. Witherby. NAVAL. Tue Barrizsuir. By Waiter Woop. Crown quarto. 309 pp. Kegan Paul. 12s. 6d. n. POETRY. Rivostes of Ezra Pounp. Whereto are appended the complete poetical works of T. E. Hume, with prefatory note. 73 x 54. 63 pp. Swift. 2s. 6d. n. Aw IpyLt AND OTHER Poems. By E. Hamitron Moors. 74 x 5. 112 pp. Melrose. 2s. n. Eaypt AND OTHER Porms. By Francis Courts. 122 pp. Lane. 3s. 6d. n/ Fatvuous FaBies AND OTHER VERSES. (X.Y,X.). Tk x 5. By Denis TURNER 6} x 44. 94pp. Fifield. 2s. 6d. n. REPRINTS. Porste VoLGARI DI Lorenzo De®’ MeEpict. Janet Ross e di Epwarp Huuton. Two volumes, 83 x 6}. 221 + 240 pp. Dent. 2ls. n. SeLecteD Waritincs or Wituiam Swarr. Vol. V. Vistas. THe Gresy Carist, and other Prose Imaginings. Selected and arranged by Mrs. Witniam SHarRp. 73 x 54. 484 pp. Heinemann. 5s. n. SCIENCE. Tur Story oF THE Heavens. By Sir Roperr §. Bani. Illustrated. 93 x 6}. 48 pp. Part. I. To be completed in 14 fortnightly parts. Cassell. 6d. n. Crramic CuEmistry. By H. H. Stepnenson. 10 x 6}. 91 pp. Davis Bros. 6s. SOCIOLOGY. Woman anp To-Morrow. By W. L. Grorcez. A Cura di 72 x 5h. 187 pp. Herbert Jenkins. 2s. 6d. n. Tur Servite State. By Hmarre Betioc. 8 X 5}. 189 pp. Foulis. 1s. n. Wacrs. By A. J. Cantyiz, D.Lirr. 7} x 5. 125 pp. Mowbray. 2s. n. SPORT. Huntinc in THE OtpEn Days. By Witusam ScarTe Dixon. Constable. 21s, n. TECHNICAL. Tar Businrss oF BooKBINDING. 7k x 4%. 223 pp. Stanley Paul. THEOLOGY. Mrprrations on Portions or St. Jonn’s Gosprn. By Mrs. Romanes. 5% x 44. 49 pp. Mowbray. 6d. n. Everyman’s History oF THE Prayer Boox. By Tus Rev. Percy Drarmer, D.D. 74 x 5}. 256 pp. Mowbray. ls. 6d. n. TOPOGRAPHY. A Votume on Exeter. Described by Smpney Heats, with pictures by E. W. Hastenurst. (Black’s “ Beautiful England’? Series of Colour books.) 9/x 7. 64 pp. A. & C. Black. 2s. n. By A. J. Pui. 6s. n. :  THE AUTHOR. 73 [Tur CoTTAGERS AND THE VILLAGE Lire or RURAL Enetanp. By P. H. Dircurietp. With coloured and line illustrations by A.R. Quinton. 10} x 8}. 185 pp. Dent. 21s. n. Exurer. By Smyey Huars. Prepared by E. H. HastEnurst. 9 x 64. 64pp. Blackie. 2s. n. TRAVEL. THe OLp GarpENs oF ITraty. How to Visit Them. By Mrs. AvBrEy LE Bronp. 72 x 5. 171 pp. Lane 5s. n, ————————_+——_—__ LITERARY, DRAMATIC, AND MUSICAL NOTES. — Some three or four years ago it might have been said that the day of the essay was over. No publisher would produce a collection in book form, because it did not pay, and that is the main point in a properly conducted business ; but now the book of essays seems to have come again into popular favour, and we are pleased to see two volumes from such old friends and well-known essayists as Mr. Austin Dobson and Mr. Edmund Gosse. Mr. Dobson’s book is entitled ‘“‘ At Prior Park and other Papers,” and is published by Messrs. Chatto & Windus. It deals in matters of interest in the 18th century, a period of which the author has made himself a master. Mr. Gosse’s book is entitled “* Portraits and Sketches,”’ and is published by Mr. Heinemann. Its title explains itself. The author draws with a strong pen portraits and sketches of some of the famous men he has met. Messrs. Methuen & Co. have published “* Perfect Health for Women and Children,” by Elizabeth Sloan Chesser, at the moderate price of 3s. 6d. Whilst in no sense a medical text book, the book aims at supplying intelligent women with useful information about health and sickness. Some of the subjects dealt with, such as “Nerves and their Cure,” “Health and .Open Air,” ‘“ Infectious Diseases,”’ ‘“‘ Winter Ailments,”’ will show the scope of the work. The same publishers have issued a volume of poems by Mrs. L. F. Wynne Ffoulkes entitled ** Poems of Life and Form.”’ She has repro- duced most of the old French metres, such as Roundels, Roundeaux, Triolets, Virelais, Villanelles, etc. One form, however, is not present, the “ Chante Royale,”’ perhaps the most difficult of any of the French metres. The subjects of her poems vary from poems of love to poems of mysticism ; from- poems written in dialogue, such as “ Joe’ and ‘‘ The Old ’oss,’’ to descriptive verse such as ‘* Ruth,” a setting of the Bible story. Mrs. Walford, the well-known novelist, has written her ‘‘ Memories of Victorian London,” and the book has been published by Mr. Arnold. It deals with certain aspects of London social life during the latter part of the last century. Mrs. Walford has new things to tell us about people like Laurence Oliphant, Charles Reade, George Macdonald, Wilkie Collins, and Coventry Patmore. Among the most notable of the present season’s publications, are ‘“‘ The Diaries of William Charles Macready (1833—1851), edited by William Toynbee,” which has been issued by Messrs. Chapman & Hall, Ltd., in two large volumes, with numerous portraits. These Diaries contain a considerable amount of interesting material, hitherto unpublished, and shed new light not only on Macready him- self, but on many of his famous contemporaries in the literary and dramatic world. * Our Alty,” by M. E. Francis (Mrs. Francis Blundell), author of ‘‘ The Tender Passion,” etc., is the title of a new novel which Messrs. John Long will shortly publish. Mrs. Blundell here returns to rural Lancashire, where many of her readers deem her at her best. The story deals with the adventures of a typical North- country lass. The description of the old-world customs and quaint characters of this corner of England adds an interest to the tale. Mr. Arnold Bennett states in his book, “Those United States,” published by Martin Secker, ‘‘ the one possible justification of them [his views] is that they offer to the reader the one thing that, in the very nature of the case, a mature and accustomed observer could not offer, namely an immediate account (as accurate as I could make it) of the first tre- mendous impact of the United States on a mind receptive and unprejudiced.”” But sure this view-point put forward as an apology is after all a great recommendation, when it is frankly stated by the author. A reader may object to the dogmatic assertions set down so often by those whose knowledge is superficial, and whose study is of the slightest ; but when he is met by this frank statement, the book gathers to itself a greater interest, as all those who have perused the book will readily allow. Mr. Morley Roberts will gladden the hearts of his admirers by the production of ‘“ The Private Life of Henry Maitland,’”’ published by Eveleigh Nash. It is presumably a-novel, but it is an open secret that it is a study of the life of his old friend George Gissing. There are no doubt dangers surrounding the writing a life of a close friend. If the author is over-critical or over-conscientious, he may 74 convey to the world a portrait exactly opposed to that he may wish to convey, if he is over- enthusiastic he may idealise. Those interested in George Gissing as a writer and a man should certainly read the book. The author of ‘‘ The Private Papers of Henry Ryecroft ” deserves a just appreciation. Among the illustrated books we are pleased to see Mr. Rackham’s annual appearance with a volume of Ausop’s Fables. There is no need to praise, for Mr. Rackham’s Christmas books have become an institution. The get-up of the book in the limjted edition is excellent, and the new translations of the classicare commendable. At the present season of the year fairy stories sprout up like snowdrops in the grass. We gladly welcome Mrs. E. Nesbit’s ‘‘ The Magic World,” published by Messrs. Mac- millan & Co., with illustrations by H. R. Millar and Spencer Pryse; and Miss Helen Margaret Dixon has produced, through Cornish Brothers, Ltd., Birmingham, “‘ Little Wander- ing Gil,” and other stories, prettily illustrated by photogravure reproductions from original photographs. This effective method of illus- tration is too seldom utilised. Much, however, must depend on the artistry of the original. Mr. Forbes Dawson has a series of articles running through the Era entitled ‘‘ Who wouldn’t be an Actor?’’ He portrays in a humorous manner the scenes in the life of an actor who has been stormed, has helped to build the stage on which he performed, has written dramas for production, and worked his way through the French Canadian towns and along the line to California. They will most probably be published in book form subse- quently. The relation between modern science and present day Christianity is a theme of peren- nial interest. The Rev. Luther W. Caws’ book, just published by James Clarke & Co. : “‘ The Unveiled Glory, or Sidelights on the Higher Evolution,” has come at an opportune moment when the origin of life discussed at the British Association meetings has aroused a fresh public interest in the life-long drama of evolution. incredible that the evolution of life, if it really is so, from the lowest and simplest forms up to the highest animals, including man, could possibly have been the offspring of blind chance. We regret an error in our announcement of Messrs. Everett’s sevenpenny reprint of Miss Amy McLaren’s novel. The title of the novel is ‘* Bawbee Jock,” and not as given in our previous notice. The author maintains that it is. THE AUTHOR. Mrs. Wilson Fox’s new story, “A Regular Madam,” is a tale of the eightecnth century. Messrs. Macmillan & Co. are the publishers. Miss Lillias Campbell Davidson’s new novel, “Houses of Clay,’ published by Messrs. Partridge & Co. at 6s., is now out. The Lady is running its second serial by her this year: entitled ‘“‘ A Tangled Inheritance,” and another serial, ‘The Primitive Law,” is announced to appear in The Lady’s World in April next. Miss L. G. Moberly’s latest novel, ‘‘ Violet Dunstan,”’ has just been published by Messrs. Ward, Lock & Co. It ran serially last year in the Daily Chronicle. Miss Moberly has now written several serials for the Daily Chronicle and Lloyd’s Weekly ; and new novels, “‘ Diana ”’ and “ A Very Doubtful Experiment,” both ran serially in The Lady. She is now writing a novel for Messrs. Methuen. Many of ther novels have been translated into the Scandi- navian languages, and some into French and German,—amongst the latter, ‘“‘ The Cost,” and “* Angela’s Marriage.” Mr. Charles T. Jacobi, of the Chiswick Press, whose “ Printing ” is a text book on its subject, is bringing out a new, revised (fourth) edition of his guide for Authors, Publishers, and others —‘‘ Some notes on Books and Printing.” At a most opportune moment a book is announced by Mr. John Lane on “ Austria, Her People and their Homelands.” It is a work cn the whole of Austria, and its complex population, by one who has for over thirty years studied the country through its entirety. Mr. James Baker, F.R.G.S., has already written much on various parts of Austria, and now this work, which is illustrated by forty-eight water colours by Donald Max- well, and completed by a map and full index, will help many to elucidate the real Austria and her people. Among the many colonial and foreign criticisms which have appeared on Mr. John Bloundelle-Burton’s historical work, ‘‘ The Fate of Henry of Navarre,” France is now con- tributing her opinions. The latest appears in the October number of La Science Sociale, a well-known magazine devoted to_ literary criticism, and covers three columns. It is signed Pierre Galichet, and the writer plainly tells his readers that they will glean a con- siderable amount of knowledge frcm the book about the matter in hand, as well as their own history—restée assez ohscure—which they have not possessed hitherto. He also laments that such a livre d'histoire de grande valeur should be only known at present to those acquainted  THE AUTHOR. "5 with the English language, and expresses the hope that a French translation will not be long delayed. ; “Ayrshire Idylls” is the title of a book about to be published by Messrs. A. and C. Black. It is the affectionate and patriotic work of two Scottish artists—of Dr. Neil Munro, whose pen, diverted, for the moment, from the romance of Highland life and character, redis- covers the spirit of Ayr as it was in another and more dramatic age, and of George Houston, the Scottish landscape painter, who has made the scenery of Ayr his life-long study. The author’s sketches reconstruct certain notable scenes in Ayrshire history, wherein such figures as Burns, Boswell and the Covenanters are dis- played at a modern angle ; the artist’s draw- ings represent, in the main, those landscape features which remain very much the same to-day as they have been for centuries. The subject of stained glass in England has never been dealt with in an exhaustive manner. It is a subject of interest to the public as well as to artists and antiquarians. It is with pleasure, therefore, that we see “‘ A History of English Glass Painting,’ by Morris Drake, published by Werner Laurie. The work— illustrated by photographs and drawings in colour and _half-tone—at the price of £2 2s. net, attempts to deal with the evolution of the subject in detail and from every point of view. Messrs. Holden & Hardingham have pub- lished a novel ‘“‘ St. Lé6,’? by Dorothy Margaret Stuart. Itis aromanceof the fifteenth century, introducing several historical characters, such as Maximilian of Austria, Louis XI., and Margaret of Burgundy. The details as to costume, heraldry and mise-en-scéne are derived from French and Flemish sources not accessible to most English students. We have received an announcement from Mr. Gerald Christy, of the Lecture Agency, Ltd., that he is adding a literary agency to his business. The literary portion is to be under the conduct of Mr. Leonard P. Moore, who has had eleven years practical experience of agency work. The Agency will conduct its business from the old address, The Outer Temple, Strand, W.C. “* Mrs. Fauntleroy’s Nephew ”’ is the title of a story of Oxford life, by Beatrice Braithwaite- Batty. The hero is an undergraduate of Magdalen, whose pretty sister comes to stay with an old aunt during the summer term. During the festivities and gaicties, the sister draws around her a bewildering number of admirers. It must be left to the reader to discover the successful candidate. 5. “The Gods of Pegana,” by Lord Dunsany, for some while out of print, has been re-issued, and can now be obtained only from Mr. W. Johnson, The Pegana Studio, 86 Newman Street, Oxford Street, W. A copy of Mr. C. L. Freestons “‘ The Passes of the Pyrenees,’ has been accepted by His Majesty the King. Monsieur Georges Bazile is translating into French Mr. Robert Sherard’s ‘‘ The Story of an Unhappy Friendship,” for publication in serial form in Gil Blus, the great Parisian literary daily. Dramatic NOTES. - Towards the end of October, but too late for the November issue of this magazine, a piece entitled ‘“‘ Tantrums,” by Mr. Frank Stayton, was produced at the Criterion. The three acts turn around the tantrums of the spoilt Virginia Halstead. Miss Marjorie Day takes the part of Virginia, and Mr. Charles Maude plays the part of wooer and husband. Mr. J. T. Tanner’s ‘‘ The Dancing Mistress ”’ was also too late for announcement. The piece was produced at the Adelphi, backed by the musie of Lionel Monckton; while Adrian Ross and Perey Greenbank were responsible for the lyrics. Miss Gertie Millar and Mr. Joseph Coyne took the chief parts. To hint at the plot will be sufficient to show the lines on which this musical comedy runs, for Naney Joyce (Miss Gertie Millar) is the dancing mistress at a finishing school for girls near Brighton. At the Garrick Theatre a one-act piece entitled ‘t Phipps,’”’ by Stanley Houghton, was produced on the 20th of last month, the characters were a butler and a recently married couple, The fact that the husband before marriage had met a certain young lady whom the butler had also fallen in with, affords the author an opportunity of giving the audience an enjoyable half-hour. Mr. Arthur Bourchier acted capitally as Mr. Phipps. The same author on the same night had a longer piece, “The Younger Generation,”’ produced at the Haymarket. It represents the eternal quarrel of the old and the new. The subject is set in a middle-class Manchester setting. The story is told with plain directness that carries convic- tion, and ends, as it was bound to end, in the triumph of the younger generation. Two pieces of a very different character were per- formed on the same night at the same theatre— ““An Adventure of Aristide Pujol,” by W. J. Locke, which needs no introduction ; and “‘ The Golden Doom,” by Lord Dunsany, a fantastic allegory in a legendary kingdom. 76 THE AUTHOR. On the 19th, Miss Marie Tempest produced three short plays for a series of Tuesday and Friday matinees. The first entitled ‘‘An Imaginary Conversation,” by Norreys Connell, represented Kate, a sister of Tom Moore, endeavouring to turn Robert Emmet from the thoughts of rebellion to those of love. Miss Tempest as Kate, though unsuccessful as a lover, was most successful in her representa- tion of the part. “The Play Boy of the Western World,” by J.M. Synge, has been translated into German by Mr. G. Sil-Vara, a Viennese author, journalist and playwright, who has made London his second home. Mr. Sil-Vara_ succeeded in placing ‘The Playboy’ at Professor Rein- hardt’s ‘‘ Kammerspiele’’ in Berlin at the ‘‘Neue Wiener Buchne ” in Vienna, and at the ‘“‘ Stadttheater”” in Muenster. The German version, published by George Mueller in Munich, has just appeared in book form. Mr. Sil-Vara has also translated into German and possesses the German rights of ‘‘ Prunella,” by Granville Barker, “The Gods of the Mountain,” by Lord Dunsany, and ‘“‘ 98 and 9,” by C. B. Fernald, and other plays which have not yet heen produced; and Mr. Gals- worthy has just transferred to Mr. Sil-Vara the German rights of his future plays. Mr. Galsworthy’s play, a dramatic version of his novel “ The Eldest Son,” is produced at the Kingsway under Mr. Granville Barker’s management. ““The Triumph,” a play by Florence Eaton and William Crossing, founded on Florence Eaton’s book, ‘‘ The White Demon,” was produced at the Royal Court Theatre. It is a fairy play, the main motif being the pursuit of health, and the triumph over the all- powerful demon “* Consumption.” A short play, written by special request of the Evening News, for their Santa Claus Doll Fund, entitled ‘‘ The House of Dolls,” from the pen of Mrs. Irene Osgood, has been produced at the Opera House, Northampton. “* Kitty of Ours,” a military comedy in four acts, by Emily Taylor, was produced at the Opera House, Harrogate, on October 30th. It deals with the love of the Quartermaster’s daughter for one of the handsomest officers of the regiment, and her subsequent dis- illusionment. It has a happy ending, however. The piece was produced by Mr. Charles Grattan and played by Miss Haidee Gunn, Mr. Frank Royde, and a capable company. A three-act comedy by Leonard Inkster entitled “The Emancipation ’’ was produced on October 9th and 11th in Sheffield. PARIS NOTES. ogee HE new literary convention between France and Russia came into force on November 13th. For the International Book Exhibition, which is to take place in Leipzig, in 1914, the first million is already subscribed. Austria, Hungary, France, England, America, the Netherlands, Sweden and Belgium are all to be represented, and it is believed that China and Japan will also exhibit. Holland has now joined the Berne Conven- tion with certain restrictions and, at present, only for European Holland. The Dutch colonies will be considered later on. The new arrangements came into force on November Ist, 1912. The Nobel prize for Chemistry is to be awarded to two French chemists : M. Sabatier, of Toulouse, and M. Grignard, of Nancy. ** Pages de Critique et de Doctrine,” by Paul Bourget, is the title of two volumes of studies on various subjects. The author writes of Taine, Brunetiére, Lamartine, Sully Prud- homme, Michelet, Barbey d’Aurevilly.. He analyses a novel by Léon Daudet and one by M. Barrés, and gives us portraits of the Duc d’Alencon, and Madame Taine. He also compares the past history of France with its present history. In these pages we have Paul Bourget’s opinions on matters literary, psychological, sociological, and political. ‘“* La Nouvelle Journée’’ is the title of the latest and last volume by Romain Rolland relating to Jean-Christophe. Rarely have we heard so many details of the life of any individual. This is the tenth volume which the author has given us concerning his protégé. Madame Marcelle Tinayre’s new novel. is entitled ‘‘ Madeleine au Miroir.” ‘Le Maitre des Foules”’ is the title of the latest novel by Louis Delzons. It will be remembered that this author was awarded an Academy prize for his novel “* L’Affaire Nell.” The present story is a very stirring account of the love affair of a professor, whose theories gradually lead him on to action and who is carried away by his success as an orator. An unpublished manuscript of the Goncourt brothers has been discovered and will shortly be published. It is a series of notes, giving us their impressions of Italy on the occasion of their first visit to that country during the winter of 1855—1856. The manuscript is illustrated with about 200 sketches by Jules de Goncourt.  THE AUTHOR. The second part of the ‘“‘ Lettres sur ]a Cour de Louis XIV. (1671—1673) du Marquis de Saint-Maurice,”” published by Jean Lemoine, has just appeared. ‘‘Autour de Saint-Simon ”’ is an interesting study, by M. Alfred Pereire, of the Saint- Simon unknown to the general public. It is now fourteen years since the Marchand Mission won its fame, and Dr. Emily, who accompanied it, now gives his diary in a volume entitled ‘Le Journal de Route.” M. Etienne Lamy writes the preface of this ‘* Odyssey, in which are pages of the Ihad.” A book by M. Gustave Lanson, entitled ‘“‘ Trois Mois d’Enseignement aux Etats-Unis ” is most instructive, and will probably be read by Americans with as much interest as it has been read by the French. M. Lanson has been lecturing in America, and he gives us his impressions and the results of his observation. Another book by the Abbé Jules Claraz, ex-vicaire of Saint-Germain I’ Auxerrois, cannot fail to attract attention. His ‘‘ Mariage des Prétres ’’ caused a great sensation, and the new volume is entitled ‘* La Faillite des Religions.” ‘‘La Protection internationale des Oeuvres cinematographiques,’’ by M. F. Potin, is a book that authors will do well to consult. “La Rénovation de VEmpire Ottoman (Affaires de Turquie),” by Paul Imbert, is a book which appears at the right moment. ** La Querelle des Communes et des Lords,”’ by Paul Hamelle, with a preface by M. Augustin Filon, helps us to see ourselves as others see us. ** Du Cubisme,” by Albert Gleizes and Jean Metzinger, the two most notorious artists of the group of Cubists. The volume contains thirty illustrations, and may serve as a guide to those who are still seeking to discover the raison @étre of this extraordinary departure. ‘*La Coopération neutre et la Coopération socialiste ’’ is a book that will be read with interest by all who know the previous works of M. E. Vandervelde. ** Aux Pays Balkaniques, Montenegro, Serbie, Bulgarie,’”” by Alphonse Muzet, is a volume just published in the collection ‘“‘ Les Pays Modernes.”’ Among the recent translations into French, we would specially mention a volume of essays and criticisms by Oscar Wilde: ‘‘ Noveaux Essais de Littérature et d’Esthétique,”’ trans- lated by Albert Savine, and ‘“ Parmi les Cheminots de I’Inde,” by Rudyard Kipling, by the same translator. ‘“* Prométhée délivré ” is the French title of Shelley’s fine drama, which has just been given to the public by Tola Dorian. No poet could > 7 be more difficult to translate than Shelley, and we must congratulate the well-known writer, who, under the pseudonym of Tola Dorian, has given French readers the opportunity of becoming acquainted with this poem. M. Pierre Berton’s death is sincerely regretted in the theatrical world. He was an excellent actor and a successful dramatic author. He came of a family of artistes, as he was the grandson of Samson of the Comédie Frangaise, and his father also belonged to the Théatre Francais. Some of Pierre Berton’s plays are as well known in England as in France. Among others, he wrote ‘“‘ Zaza’ with M. Charles Simon, and the ‘‘ Deux Gosses ”’ with Pierre Decourcelle. At the Renaissance, ‘“‘ L’Idée de Francoise,” by M. Paul Gavault, is now being played. It is an excellent piece, with plenty of incident and dramatic situations. The Athenée has become one of the favourite theatres. The new play, “‘ Le Diable ermite,” seems likely to have as long a run as its predecessor. Arys HALLARD. * Pages de Critique et de Doctrine.” (Plon.) “La Nouvelle Journée.”’ (Ollendorff.) ‘Madeleine au Miroir.” (Calmann-Lévy.) “Le Maitre des Foules.” (Calmann-Lévy.) “Lettres sur la Cour de Louis XIV. (1671—1673) du Marquis de Saint-Maurice.’’ (Calmann-Lévy.) “La Faillite des Religions.’ (Flammarion.) “La Protection internationale des Oeuvres cinemato- graphiques ’’ (Gauthier-Villais. ) “La Rénovation de PEmpire Ottoman. Turquie). (Perrin.) “La Querelle des Communes et des Lords.”’ (Plon.) “Du Cubisme.” (Figuiére.) “La Coopération neutre et la Coopération socialiste.’ (F. Alcan.) “* Aux Pays Balkaniques, Montenegro, Serbie, Bulgarie.”” (Roger.) *Prométhée délivré.”’ (Lemerre.) (Affaires de ————_+—_+___—_- REGISTRATION OF DRAMAS IN THE UNITED STATES. — INSTRUCTIONS FOR SECURING COPYRIGHT REGISTRATION IN THE UNITED STATES UNDER THE UNITED STATES COPYRIGHT Act or Marcu 4, 1909. (Published with the kind permission of the Register of Copyrights of the Library of Congress). N order to secure the registration of a claim to copyright in the United States for any dramatic composition, the following pro- cedure is required under the copyright law of the, United States. 78 I. If the drama is a new work which has been printed and sold as a book : 1. Print upon the back of the title page the copyright notice in the form prescribed by the eopyright statute. The usual and a correct form is the word “ Copyright ” ; the year date of publication (i.e. the year when copies were first sold, offered for sale, or publicly distributed) ; and the name of the person who claims the copyright ; e.g. “ Copyright, 1912, by John Smith.” 2. Promptly after such publication of the play send by post prepaid two (2) copies addressed : Register of Copyrights, Library of Congress, Washington, D.C., U.S.A. 3. These copies must be accompanied by a claim to copyright in the work, setting out (a) The full title of the play. (b) The name of the person who claims the copyright, his nationality and address. [This must be the real name and not the pen-name, stage name, or pseudonym. It is this name which must appear in the printed notice, and the form of the name in the printed notice should exactly agree with the name stated in the application for record.] (c) The nationality of the author or authors (i.e. the name of the country of which they are at the time of making the application citizens or subjects) must be given, or if permanent residents of the United States, that fact should be stated. [If the dramatic work is an adaptation or translation, then it is the name of the country of which the author of the adaptation or trans- lation is a citizen or subject that must be stated. | 4. The name of the author or authors should also be given, if printed in the book; or, if not so printed and no objection exists to placing the names on record. But it is not obligatory to disclose the name of the author. 5. The application must state the exact date of publication, i.e. “‘ the earliest date when copies of the first authorised edition were [ on sale, sold, or publicly distributed y the proprietor of the copyright or under his authority.” This application can be made by letter, provided all the essential facts are clearly set out. It would, however, be more conveniently supplied to the Copyright Office by using the THE AUTHOR. application form called “D1,” which will be sent upon request. 6. With the application must be sent an international post-office money order to pay the statutory registration fee of $1 (= about 4s. 2d.). This fee includes a certificate of registration under seal of the Copyright Office, which will be posted free of further charge to the address indicated in the application. The money order should be made payable to the REGISTER OF Copyricuts. Personal cheques or domestic British money orders or British postal notes cannot be received. The copyright is for a first term of twenty- eight years from publication, with a right of renewal for twenty-eight years more. Old plays which are now first printed as books cannot be registered to secure the statutory copyright. The law does not require that the drama be printed in the United States. II. If the drama is a new work and has not been printed and published, it may be registered as a dramatic composition “ not reproduced in copies for sale ” by proceeding as follows :— (a) Deposit in the Copyright Office one clean and complete copy, either manuscript or type-written ; _ (6) Send with it an application for registra- tion of claim to copyright exactly as above, omitting only the date of publication. (Appli- cation form “D2” can beused for this purpose.) [If it is the intention presently to print and sell the drama, there would seem to be no advantage in registering the manuscript, as the law expressly requires a second deposit of two printed copies, and registration when ay ae has been “‘ reproduced in copies for sale.”’ Address all matter to THz REGISTER OF Copyricuts, CopyricHtT OFrricr, LIBRARY OF Coneress, Washington, D.C., U.S.A. THORVALD SOLBERG, Register of Copyrights. Mopeu or Buank “D1,” Request rok REGISTRATION OF A PuBLISHED Dramatic COMPOSITION: : Rucister or Copyricuts, WasHineTon, D.C. Date Of the Dramatic Composition named herein, two com-— plete copies of the best edition first published on the date stated herein are hereby deposited to secure copyright registration, according to the provisions of the Act of March 4, 1909. $1 (statutory fee for registration) is also inclosed. The copyright is claimed by the undersigned : Name and address of i copyright claimant { ee eee eee  THE AUTIIOR. Name of Author, but if a trans- lation, then name of the Translator Country of which the author or translator is a citizen ee [An alien author domiciled in the United States should write here in addition to citizenship “domiciled in U. 8.”’] Brief title of work _ Exact date of publication _ __ [Must be stated] [Date (day, month, and year) when placed on sale, sold, or publicly distributed]. Send certificate of ( registration to | eee ak sia Name and address { of remitter t THE COLONIAL BOOK TRADE. — + M* who are acquainted at first hand with the conditions of modern indus- try maintain that the problem of production has been, so far at least, as is necessitated by existing facts, solved; the difficulty lies in distribution. To try to deal in any exhaustive sense with the question I have raised would be outside my present purpose. Let me, however, illustrate my meaning by a concrete example. I use in my office certain articles which cost me half a guinea when, as often happens, I have to buy them, and the manufacturer of which happens to be an intimate friend. I told him I paid half a guinea; he replied that he only realised half a crown, and that on the half-crown he made a profit of 30 per cent. Where then, do the other 8s. go ? In trade discounts, travellers’ commissions and advertising. The particular trade in which my friend is engaged is a lucra- tive trade; it is highly capitalised and pays considerable dividends. It fulfils all the conditions laid down by those who manufacture under present-day conditions. It produces but a few articles; it has standardised them, it employs highly-paid experts to control its processes, and its principal travellers and finance men earn large incomes. How does all this compare with the publishing trade ? Iwill admit, of course, that the analogy is not, and cannot be, complete; books will not, they refuse to, be treated as commodities, and 49 disaster awaits, in the long run at least, any publisher who fails to draw a sharp distinction between books and pounds of butter. But I do suggest that the publishing trade fails. in many important particulars, to satisfy the conditions met by the manufacturing firm of which I have just spoken. The publishing trade is, to my thinking, and to the best of my knowledge, under-capitalised, and consequently fails both in production and in distribution ; in the large commercial sense, it has no existence. No man who sets out to make money, as the City, Manchester, or even Fleet Street understands the word, would waste time in publishing. The difference between cost and selling prices is too small. And yet—if only the distribution problem could be solved—publishing should be lucrative enough ; lucrative enough for the author as well as the publisher. If the publisher is not a rich main, then certainly the remuneration received by the authors of the great majority of books is ludicrously small. The writing of books is not a trade, but a form of art, and, like all artists, the author must take his chance of finding what he has written to be to the general liking. Quite true; these things are so. But the circulation of even the successful author is not, I suggest, what it might and ought to be. His publisher breaks down when he comes to distribution. Despite a dictum of Mr. Wells to the contrary, publishers would rather publish good books than bad, the sifting of manuscripts is close and continuous, and only a proportion of the books that are written reach the stage of being printed. It may fairly be said that production is, allowing for under- capitalisation, reasonably near the best of which we, as a nation, are at present capable, even though much is not written that should be written, because the publisher cannot afford to offer the author a pecuniary temptation strong enough to induce him to abandon other activities. Here I speak, of course, only of certain kinds of books. The publisher cannot afford to pay enough because he has not the money and he has not, and cannot procure, the money, because the nation’s book-con- suming capacity is insufficient to attract capital. Can this capacity be increased? The impor- tant social changes through which we are passing so rapidly affect the book trade as they affect other enterprises. ‘The rich man used to be the publisher’s main support. Can it be said that heis sonow? ‘The landed gentry and the country parson, are, relatively to the rest of the community, poorer than they were. And  80 the rich man generally has means of spending his income that formerly did not exist ; he motors, he golfs, he spends much of his time in restaurants and other places of amuse- ment. He is abandoning the family mansion that used to be his pride, in which he passed most of his time and which usually con- tained a well-filled library. We may almost eliminate the rich man from our calculations ; the West End supports no bookshop com- parable with the establishments of New York “and the other American cities. It is, truly, only the rich man who can buy the very expen- sively produced volume, and for de luxe editions there will always be a demand. But the publisher should cease to think in terms of the income-tax paying class. and recognise the existence of the new public that has been called into being by compulsory education. One may approve or disapprove of the social evolution through which we are passing, but it is not going to stop because of our dislike, and the people who write and publish books will do well to recognise the fact that the national centre of intellectual gravity has shifted. Mr. Dent made the discovery some years back, and Messrs. Williams and Norgate, if report speaks truthfully of the success of The Home University Library, have bettered his example. But to produce books in large numbers at a cheap price for popular reading requires two things—more capital than most publishers can control, and a much more efficient book-selling machinery. The circu- lating library, important factor in distribution asit is, comes rather outside my present purpose ; let me only say that, if it is to last, its present unsound economic foundation must be changed radically, and that its profits should, as is the case with other middlemen, bear some relation to the degree of usefulness with Which it performs its functions. The future is not with the book specifically aimed at the libraries, but with the book that is meant to be bought, and is worth buying. The means of produc- tion are ready, or practically ready; for the capital necessary would be forthcoming if the publisher could sell what he published. At present he cannot. Most people have never acquired the bookshop habit. There are, indeed, not enough bookshops in which they can learn it. Large areas of London have no bookshops worth serious consideration, just as they have no schools other than those provided by the County Council. Some day, perhaps, the middle-class Englishman will be as sensible as the American, and send his chil- dren to the ‘ public ’ ? schools ; he may then, THE AUTHOR. too, learn to buy books. But the books that the working, or even middle-class man can afford to buy must be cheap, and the provision, both as to production and distribution, must be far better than anything that is offered now. We may leave the future to grapple with its own problems, though the future is not so very far distant and wisdom suggests that we do what lies in our power to hasten its advent. Mean- time, we seem to be losing our hold on the book markets of our own Colonies. The American book—particularly the American novel—is ousting us. Assuming the truth of the pro- position, it is as well to consider the reasons. In the first place, the American book publisher is helped very considerably by the American magazine publisher. American magazines are, it is generally agreed, incomparably better than ours, and the Colonial prefers McClure’s and Everybody's to what is offered him from London. So he gets the American view of things. And in the second place, when he comes to choose his books, he finds that the conditions of life set forth by the American writer are nearer to what he himself knows and understands, than the pictures done by the English novelist, who gathers his material in a complex civilisation, very remote from New Zealand or South Africa. It is a common- place to say that books reflect the intellectual life of their time, yet the publisher, who must always be something more than a tradesman, pays heavily if he forgets it. Here in England the author has to struggle against a book-selling machinery which has broken down; in the Colonies he has to face the invasion of men who write under conditions more nearly approximating to Colonial than to English life. The position at home can be improved, is, in fact, better than it was a few years ago; the nett book system has helped the bookseller materially. As far as the Colonies are con- cerned, some English writers will always find a Colonial circle of readers: the others must wait till America and the Colonies grow up. C, F. CAzENOVE. ——————_1-— > o—__—_ UNITED STATES OF AMERICA AND HUNGARY. — oo E understand from the Copyright Office of the Library of Congress that the following short convention has been agreed to between the United States and Hungary, and came into force on October 16th of this year.  THB AUTHOR. 81 Article 1. Authors who are citizens or _ subjects of the two countries or their assigns shall enjoy in the other country, for their literary, artistic, dramatic, musical and photographic works (whether unpublished or published in one of the two countries) the same rights which the respective laws do now or may hereafter grant to natives. The above provision includes the copyright control of mechanical musical reproductions. Article 2. The enjoyment and the exercise of rights secured by the present Convention are subject to the performance of the conditions and formalities prescribed by the laws and regula- tions of the country where protection is claimed under the present Convention; such enjoy- ment and such exercise are independent of the existence of protection in the country of origin of the work, Article 3. The term of copyright protection granted by the present Convention shall be regulated by the law of the country where protection is claimed. Article 4. The present Convention shall be ratified and the ratifications shall be exchanged at Washington as soon as possible. Article 5. The present Convention shall be put in force one month after the exchange of ratifica- tions, and shall remain in force until the termination of a year from the day on which it may have been denounced. In faith whereof the Plenipotentiaries have signed the present Convention in two copies, each in English and Hungarian languages, and have affixed thereto their seals. Done at Budapest, the 30th day of January, 1912. (Seal) Ricuarp C. Krrens (Seal) Esternazy Pau (Seal) Tory Gustav | Norr.—Ratification advised by the Senate, July 238, 1912; ratifications exchanged, September 16, 1912 ; in force October 16, 1912.] A CRIMINAL PROSECUTION OF A LITERARY AGENT. ——— + — OR a good. many years past a Literary Agency has been carried on in the City at 34, Paternoster eae under the name of ‘“‘ A. M. Burghes.”” A. M. Burghes himself was made a bankrupt it in July, 1911, as the result of proceedings taken by a ‘member with the assistance of the Society, and he has been during the present month found guilty at the Old Bailey of fraudulently converting to his own use a sum of £50 paid to him by an author for the purpose of making a payment to a publisher. The Recorder postponed sentence to next Sessions. C. M. Burghes, son of A. M. Burghes, appears to have carried on the literary agency for some time past in his father’s name. C. M. Burghes has also been found guilty of fraud at the Old Bailey during the present month. He was convicted of obtaining a sum of £10 from a firm of publishers by f false pretences. He represented to the publishers that he was entitled as agent for an author to receive this sum and transfer the copyright of the author’s book, whereas he had no such authority, and in fact made no communication to the author at all. The Judge bound him over to come up for sentence when called upon. Se ee MAGAZINE CONTENTS. +—>—+-—— CONTEMPORARY. Letters of George Meredith. By Mrs. Sturge Gretton. Grimm’s Fairy ales: By Miss Constance ‘Spender. The Relationship Between Music and Life. By Gerald Cumberland. CoRNUILL. The Poetry of Sir Alfred Lyall. By MacMunn, D.S.O. Andrew Lang and “ X”’: Major G. F. A Working Man. EnouisH REVIEW. Malthus and the Publishing Trade. August Strindberg. By P. P. Howe. SCALE FOR ADVERTISEMENIS, [ALLOWANCE TO MEMBERS OF THE SOCIETY 20 PER CENT.) Frout Page nak Ne £4 0 9 Other Pages : ae ing ios — ee ae ies : 0 0 Half of a Page ... ae ae ise 28 ae es xe L 10 Y Quarter of a Page sek ies ce or ee ee so 0 16 Eighth of a Page = 07 ° Single Column ‘Advertisements : per inch 060 Reduction of 20 per cent. made for a Series of Six and of 25 per cent, foT Twelve Insertions. All letters respecting Advertisements should be addressed to J. F. Betmont & Co., 29, Paternoster Square, London, E.C.  HOW TO USE THE SOCIETY. —-—~<—4—_ 1, PSV VERY member has a right toask for and to receive K advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel's opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and |publishers’ agreements do not fall within the experi- ence of ordinary solicitors, Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, send the document to the Society for examination. 4. Remember always that in belonging to the Society you are fighting the battles of other writers, even if you are reaping no direct benefit to yourself, and that you are advancing the best interests of your calling in promoting the independence of the writer, the dramatist, the composer. 5. The Committee have arranged for the reception of members’ agreements and their preservation in a fire- proof safe. The agreements will, of course, be regarded as confidential documents to be read only by the Secretary, who will keep the key of the safe. The Society now offers: (1) To stamp agreements in readiness for a possible action upon them. (2) To keep agreements. (3) To enforce payments due according to agreements. Fuller particu- lars of the Society’s work can be obtained in the Prospectus. 6. No contract should be entered into with a literary agent without the advice of the Secretary of the Society. Members are strongly advised not to accept without careful consideration the contracts with publishers submitted to them by literary agents, and are recommended to submit them for interpretation and explanation to the Secretary of the Society. 7, Many agents neglect to stamp agreements, must be done within fourteen days of first execution, Secretary will undertake it on behalf of members, This The 8. Some agents endeavour to prevent authors from referring matters to the Secretary of the Society; so do some publishers. Members can make their own deductions and act accordingly. 9. The subscription to the Society is £1 1s. per annum, or £10 10s. for life membership. SRN eres os, ee WARNINGS TO THE PRODUCERS OF BOOKS, ro ERE are a few standing rules to be observed in an agreement. There are four methods of dealing with literary property :— I. Selling it Outright. This is sometimes satisfactory, if a proper price can be THE AUTHOR. obtained. But the transaction should be managed by a competent agent, or with the advice of the Secretary of the Society, II. A Profit-Sharing Agreement (a bad form of agreement), In this case the following rules should be attended to: C1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation, (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements. (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. ses Not to give up American, Colonial, or Continental rights. (5.) Not to give up serial or translation rights. (6.) Not to bind yourself for future work to any publisher, As well bind yourself for the future to any one solicitor or doctor ! III. The Royalty System. This is perhaps, with certain limitations, the best form of agreement. It is above all things necessary to know what the proposed royalty means to both sides. It is now possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in The Author, IY. A Commission Agreement. The main points are :— (1.) Be careful to obtain a fair cost of production. (2.) Keep control of the advertisements. (3.) Keep control of the sale price of the book. General. All other forms of agreement are combinations of the four above mentioned. Such combinations are generally disastrous to the author, Never sign any agreement without competent advice from the Secretary of the Society. Stamp all agreements with the Inland Revenue stamp. Avoid agreements by letter if possible. The main points which the Society has always demanded from the outset are :— (1.) That both sides shall know what an agreement means. (2.) The inspection of those account books which belong to the author. We are advised that this is a right, in the nature of a common law right, which cannot be denied or withheld. (3.) Always avoid a transfer of copyright. ee WARNINGS TO DRAMATIC AUTHORS. a EVER sign an agreement without submitting it to the Secretary of the Society of Authors or some com- petent legal authority. 2, It is well to be extremely careful in negotiating for the production of a play with any one except an established manager. 3. There are three forms of dramatic contract for plays in three or more acts :— (a.) Sale: outright of the performing right. This is unsatisfactory. An author who enters into such a contract should stipulate in the contract for production of the piece by a certain date and for proper publication of his name on the play-bills,  (2.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum in advance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (i.c., fixed nightly fees). This method should be always avoided except in cases where the fees are likely to be small or difficult to collect. The other safeguards set out under heading (0.) apply also in this case. 4. Plays in one act are often sold outright, but it 18 better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in any event, It is extremely important that the amateur rights of one-act plays should be reserved. 5. Authors should remember that performing rights can be limited, and are usually limited, by town, country, and time. This is most important. 6. Authors should not assign performing rights, but should grant a licence to perform. The legal distinction is of great importance, 7. Authors should remember that performing rights in a play are distinct from literary copyright. A manager holding the performing right or licence to perform cannot print the book of the words. 8. Never forget that United States rights may be exceed- ingly valuable. ‘They should never be included in English agreements without the author obtaining a substantial consideration, 9. Agreements for collaboration should be carefully drawn and executed before collaboration is commenced. 10. An author should remember that production of a play is highly speculative : that he runs a very great risk of delay and a breakdown in the fulfilment of his contract. He should therefore guard himself all the more carefully in the beginning. 11. An author must remember that the dramatic market is exceedingly limited, and that for a novice the first object is to obtain adequate publication. As these warnings must necessarily be incomplete, on account of the wide range of the subject of dramatic con- tracts, those authors desirous of further information are referred to the Secretary of the Society. <> +_ _____ REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. — we typewritten in duplicate on foolscap paper forwarded to the offices of the Society, together with a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant, One copy will be stamped and returned to the author and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same oa that a play will be charged for at the price of 2s. 6d. per act, THE AUTHOR. 83 DRAMATIC AUTHORS AND AGENTS. te A ee authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. ——_-—~<—_ —____ WARNINGS TO MUSICAL COMPOSERS. ees ITTLE can be added to the warnings given fur the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. —— 5 Se STAMPING MUSIC. a aaa The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble. —__-_—s —___ THE READING BRANCH. BA ae EMBERS will greatly assist the Society in this | branch of its work by informing young writers of its existence. Their MSS. can be read and treated as a composition is treated by a coach. The term MSS. includes not only works of fiction, but poetry and dramatic works, and when it is possible, under special arrangement, technical and scientific works. The Readers are writers of competence and experience. The fee is one guinea, see REMITTANCES. 1 The Secretary of the Society begs to give notice that all remittances are acknowledged by return of post. All remittances should be crossed Union of London and Smiths Bank, Chancery Lane, or be sent by registered letter only, 84 GENERAL NOTES. —_-—~— + — The Editor would be obliged if any members who do not file the magazine - could return copies of the last issue, which is now out of print. ANNUAL DINNER. Tue Annual Dinner of the Society will take place on Thursday, December 5th, at the Hotel Cecil. Mr. Maurice Hewlett will preside. AUSTRALIAN CopyriIGuT BILL. We understand that this Bill has now passed into law. As stated elsewhere in these columns, a report on the Bill had been drafted by the Copyright Sub-Committee and, with the approval of the Committee of Management, was to have been despatched to the Australian Premier. Unfortunately, the fact that it was only possible a few weeks ago (and then only with some difficulty) to procure a copy of the Bill, has prevented the committee from present- ing their report in time for it to be of any practical value. It is satisfactory, however to state that the Bill, even as originally drafted, was in many ways favourable to the interests of authors and dramatists, and unless it has been considerably altered during its passage through the Australian House, members of the Society will have gained stronger protec- tion for their property in the Australian Commonwealth than they have hitherto enjoyed. As soon as a copy of the Act is to hand we shall hope to publish it in The Author. SeconpAry RicuTs IN AUSTRALIA. We desire to warn members of the danger which they run in sending out MSS, to distant parts of the earth, in response to requests from agents and others, of whose standing and position they may know nothing. It ought not to be necessary to issue such a warning at this period of the Society’s existence, when most authors have learnt the necessity for prudence, but a case has recently come to our notice which seems to render a repetition of the Society’s warning desirable. The mem- ber in question—a prolific writer of short stories—was approached by a correspondent in Melbourne, who expressed a desire to be furnished with all the member’s published short stories, and a promise to pay £1 1s. each THE AUTHOR. for any he accepted for publication in Australian magazines. The writer did not send all his short stories, but forwarded half-a-dozen, requesting his correspondent, if he found three suitable, to forward the money for these and to return the remaining three. He also mentioned the terms on which he would be prepared to continue to deal if further stories were desired. The correspondence took place and the MSS. were sent early in 1911. Since then the author has heard nothing of the MSS., and has received no payment for any of the stories. The Society is doing what is possible, but the distance makes action a little difficult. If any of our members have had similar experiences in the Australian market, we shall be glad to hear from them, as it is possible that the Melbourne correspondent referred to may have been inviting other authors to supply him with stories, and in that case, some com- bined action might be possible. But in any event, the information will be useful in that it will provide the secretary with evidence justifying him in warning other writers from sending their work to the same quarter. The Australian magazine market may not be a very lucrative one to the British author, but that makes it still more necessary that he should not lower the rates by supplying ‘copy ” free, and this seems likely to be the practical result of yielding to the persuasions of the gentleman whose methods have been brought thus to our notice. “MALTHUS AND THE PUBLISHING TRADE.” Ix the November issue of the English Review an article of some discernment is published under the above title from the pen of P. P. Howe. Among the correspondence in_ this month’s issue will also be found a letter, “ The Latter Day Novel,” dealing with the same subject. Both writers are inclined to blame the publisher for over-production. We do not think this deduction is entirely correct, for although the publisher no doubt is responsible to some extent for the size and the spirit of the output, there is also the auther’s agent who, anxious to secure a firm commission on & number of books without the trouble involved in placing each one, leads on the author with specious arguments to bind himself to the publisher for a_ series of sometimes four, sometimes six. He then proceeds, with the least possible labour, to draw in the commis- sion. If the agent can sell the serial rights  THE AUTHOR. as well to the publisher—rights which, of course, he himself ought to place separately— he may even succeed in gaining a double commission, first from the author and secondly from the publisher, who presently asks him to sell on his (the publisher’s) behalf the rights which he has just sold on behalf of the author. We should put the limit of the agent on the question of over-production at one-third, and that of the publisher at two-thirds of the whole. CopyRIGHT QUESTIONS. We understand from the Board of Trade that the Copyright Act of 1911, under sec- tion 37 (2) (d), has been proclaimed in Ceylon, but that the proclamation of the act in India, including Burmah, is still under consideration. We trust that the Government will carry the matter through as quickly as possible, as the matter for certain technical reasons is of vital importance to all English authors. We understand also that there has been some difficulty about Crown copyright in The Board of Trade Journal, and that Mr. Sydney Buxton has decided that the journal shall be issued in future with the following notice attached : ‘“* Crown Copyright Reserved : extracts may be published if the source is duly acknowledged.” We also have much pleasure in reporting that Newfoundland, as a self-governing Colony, has passed a short Act which came into force on July Ist, 1912, practically incorporating in the Statute Book of Newfoundland the Act of Great Britain of 1911. We should have been glad if the Newfoundland Government had passed some severer penal clauses for infringe- ment of dramatic and other rights, as some of the Colonies propose to do. ———_ +§ —~< ¢ PUBLISHERS’ ROYALTY AGREEMENTS. —_+— + LIMITATIONS. II. ‘FAST month we dealt with the first point of the Limitations set out in that article, namely, the limitation ‘‘as to country,” in this article the remaining limitations are dealt with. The second, then, for consideration when dealing with the book rights is limitation as to time. 85 It has been decided that apart from any express arrangement the publisher will have the right to sell any copies printed before the expiration of the time limit. It is possible, therefore, that in the last year the publisher might overprint. This would not matter much in a technical work that needed much altera- tion and supervision, for the old edition could hardly command an extensive sale, but it might possibly be inconvenient. In the case, however, of the writer of imaginative literature, who was anxious to regain control of his work after a certain time, the position would be impossible, and the time fixed in the contract would be really no limit at all. One well- known ease came before the courts in which an author, who had a time limit in his contract, was always confronted by his publisher making the statement that he was still selling books printed prior toits expiration. At last the author decided to take action, and found that the publisher’s assertion was incorrect. He had printed after the time limit was at an end and had continued to sell. The author got judg- ment accordingly. If the work is a technical work it is not likely that a large and prolonged sale of a book, admittedly out of date, would continue. Over- printing on the part of the publisher would therefore be a waste of money. But in the case of a novel the author would either have to buy up all the stock, or run the risk that his work in the hands of a new pub- lisher would be constantly undersold. Indeed, it is doubtful whether, in the circumstances, he would be able to get another publisher to produce the work. What remedy, then, is there against this dilemma ? The author must insert a clause by which the publisher can only print and bind a certain number of copies, and no more, without the author’s consent during the final years of the author’s contract. This number is generally determined by the number of sales in the previous year, supposing at the end of the previous year there are not sufficient copies still on hand to meet the demand. The author must have another clause giving him the right to purchase the sheets and bound copies at the termination of the contract at a valuation, the price in no case to exceed the cost of production. With these safeguards the clause with its time limitation is well worth the consideration of the author. Thirdly, there is the limitation as to edition. 86 This method of,limitation in the case of a book that is likely,to sell speedily is, no doubt, the best form of limitation, for the publisher’s right can easily be renewed by a letter for a further number of copies. But as the former method—limitation by time—was pointed out, except with proper protective clauses, to be a danger to the writer of imaginative literature, rather than to the technical writer, limitation by edition is likely to be more irksome to the writer of technical works whose books sell slowly. If the sales are slow it is possible that the writer may want to make alterations, additions, and emendations before the edition is sold, this he would be forbidden to do under his agreement. He ought, therefore, to protect himself so that he may be able to regain control of his work. This is sometimes done by a clause enabling him to purchase the stock on hand at a reasonable figure, or by putting an alternative limitation of edition and time by which, if the edition is not sold out within a fixed time from the date of publication, then the author may regain control. As we pointed out to technical writers, in Article No. I., this power to control their own work is of paramount importance. Yet, curiously enough, the publishers of technical books are less willing to grant it to them than the publishers of fiction. Lastly, there is the limitation by price and format. Limitation by format may, in some cases, be left to the publisher, but it is best that it should be settled mutually between author and publisher. The form and get-up of a book is of great importance to both parties. One very important point arises under this heading, namely the insertion of advertise- ments, either the publisher’s own, or general advertisements in the book. This point arises usually in the cheap reproduction of fiction, and is not likely to become prominent in other kinds of reproduction. Some pub- lishers have been known to insert advertise- ments in cheap 6d. reprints, opposite the last twenty or thirty pages of reading matter. If an author has no voice in the format he has no remedy, however strong may be his objection. There are two main causes for objecting, either that such a method is a degradation of Literature with a big L—a very reasonable objection—or that the publisher is making a profit in which the author should share. In the first case the author should have every _ Tight of control; in the second case he should THE AUTHOR. have every right to share the profit, for it is conceivable that in the second case an energetic publisher might obtain so many advertise- ments that the cost of production would be completely covered. Then the author should obtain a proportionately high financial return. From the point of view of format, therefore, the author should have the power to stop any unreasonable “ get-up.” Some authors object even to the insertion of advertisements of the publisher’s own publica- tions, all bound together at the end of the book. Again, they should have the power of control should they desire. Limitation as to price is by no means the least important limitation under consideration, for what royalty an author can ask must often / depend upon the price which the public give. | An author’s royalty will vary if a book is a nett book or a book published subject to discount. Again, some publishers, especially music publishers, state that they give a fixed sum per copy. The sum might be a fair royalty if the book was published at 1s., but a very unfair royalty if the publisher produced it at 5s. If the publisher has the right to publish in book form, unlimited as to price, he may not only produce at a high price, but after the issue at that price may then proceed to issue a cheap edition, without reference to the author at a most unseasonable time. The reasons against giving an unlimited licence as to price are many. First, in the matter of fiction it is often impolitic to issue cheap editions at all. It is certainly impolitic to issue them within two years from the publication of the original. Secondly, many authors, who do not mind republication in cheap paper-bound editions that are read and thrown away, object to the cheap cloth-bound edition which is read and then transferred to the book-shelves. Cheap editions sometimes ruin an author’s financial returns. 5 Booksellers who know that an author will never appear in cheap form can afford to invest their capital by stocking and continuing to stock an expensive edition. They cannot do so if their investment will be robbed of its value by a cheap issue within six months. Again, some publishers who have made a speciality of the cheap issue get a wider market. It is well, therefore, for an author to be able to place his cheap issue in those publisher’s hands, as he will be able to get a higher price and larger returns. It is just as important to consider the  THE AUTHOR. expensive edition, ‘* the edition de luxe,” as the cheap edition. Many authors, writers of bio- graphies, histories, travels, “et hoc genus omne,’? may wish to have a more expensive edition produced with more numerous illus- trations, better print and paper, but, if the matter is left under the control of the pub- lisher, cannot insist. An author should always remember that it is easy to cheapen a work subsequently, but when it is once issued in a cheap form, it is almost impossible to raise the price. To sum up, then, an author should employ a publisher as his agent to produce his work in book form only in the English language. This licence can be further limited, and in many ceases should be, 1. As to country. 2. As to time. 8. As to edition. 4, As to price and format. To give a publisher an unconditional licence to publish in book form is in most cases silly, in some cases ruinous, and in any case shows a deplorable ignorance of the rights and powers an author holds. There are two main reasons why authors make bad contracts—ignorance and conceit. it is hoped that this article may to some extent dispel the former. FRENCH PUBLISHERS AND CIRCULATING LIBRARIES. By W. L. Grorce. YY DO not, in this article. give the exhaustive details of French publishing methods which some may hope to find in it, partly because the facts are jealously guarded, and partly because they are not, as facts, inter- esting to British authors. Our almost in- variable method is to sell foreign rights for a lump sum, and I do not think that a perusal of the following notes will induce any English or American writer to depart from the practice. My main object is to compare literary con- ditions in two countries with reference to the circulating library, of which it may almost be said that it does not exist in France. It is because I look upon the circulating library as a useful and beneficial link between author and reader that I ask my fellow authors to consider the régime under which books are issued in France. 87 Broadly speaking it may be said that in France many writers who have made a name, and all the new writers, must, if they wish to attain publication, lay down the cost of the first edition. For 1,000 copies of a novel (paper bound) at 2s. 10d. nominal, this amounts to £36 to £48.* The book is sold to the public at 2s. 74d., by a few enterprising booksellers at 2s. 5d. The division of the selling price is approximately as follows :— Cost of the book, Bookseller’s discount Publisher’s commission Author’s profit about 10d. 10d. id 1 » 3dkd.to 7d. » 8d. to 44d. In a few cases the publisher charges the author a small fee for warehousing, also postages on copies sold, but this is not usual among the best firms. Advertisements, if any, are, how- ever, paid for by the author. These terms must not be taken as rigid ; they are subject to variation from firm to firm, and are greatly influenced when the publisher controls a printing office; in those cases he often supplies the books at a little over cost price, which may save the author 2d. a copy. They are not, however, unusual terms, and show that the author must sell a considerable proportion of his first edition before he begins to make profits. For instance, when the publisher makes the minimum charge of 33d. the author must sell 55 per cent. of an edition of 1,000 copies to clear expenses, after which he makes Is. 6d. a copy clear profit; in the second case he must sell nearly 70 per cent. before he begins to earn 1s. 24d. a copy. The author’s profits are a little larger on dearer books, published at 4s. and 6s., for the cost of production is not much greater. It may appear surprising that the cost of production should be 10d. a copy, but it must be borne in mind that I refer exclusively to new books, of which very small editions are printed in the first instance. Few “ first books ” appear in first editions of over 1,000; 500 is a common. figure, while 200 is not unknown. This, and the high cost of paper (more or less trust-controlled) makes it difficult to bring the cost down. I may therefore point out in passing that we must not too readily be im- pressed when offered a French book for trans- * French novels are seldom bound in the first instance ; the paper ‘‘ yellow cover”’ is the rule. The author, there- fore, benefits slightly when copies go to pieces, but this advantage must not be exaggerated, for well-to-do house- holders willingly fill their libraries with novels broken up into two or three segments. 88 lation ; 23rd edition may mean 100,000 copies, but it may mean 10,000 to 15,000. When a book is issued at publisher’s risk, and I repeat that “ first books ” are not often taken up on these terms, it frequently happens that the book is sold outright, and it is sig- nificant that several of Zola’s early works, of which I understand ‘“ L’Assommoir ”’ was one, were sold for £80. Where the publisher grants a royalty he pays 34d. to 7d. a copy, but 7d. is a large royalty, which was paid Zola, and is to-day given only to the most popular novelists. These are, in my opinion, very bad terms, and they are not offset by particularly large-sales : it is true that Zola repeatedly attained 200,000, but Messrs. Mirbeau, Bourget, Prévost, Anatole France, have not yet touched this figure. They may earn £1,000 to £3,000 a book, which does not compare very favourably with the £7,500 which an English author may earn on a 100,000 sale. French sales are not large; the figures I have quoted apply to a few favoured books, and they are not greatly exceeded by those of detective fiction, but the newcomer, however brilliant, very seldom attains them. It is true that about 90,000 copies of ‘‘ Marie- Claire ’” have, so far, been sold, but it is also Jamentably true that ‘“‘ a new author who has sold 1,000 copies has not done badly and is a rising man.” That statement was made to me by a French publisher, and, it seems to me, proves that the career of letters does not in France carry great material rewards. The newcomer is therefore not dissatisfied if he makes £30 to £40 on a first novel ; thus only can he become known and hope to begin to reprint his earlier works. There is nothing to help him, for the buying public of France is no larger than our own, while it is both avaricious and poor; it buys if it must, and it has of late years been corrupted by reprints at 94d., 63d., 6d., 4d. and 3d, The Frenchman, equally with the Englishman, will pay for two stalls at the theatre, but he does not readily part with 2s. 74d. for a book; he buys as little as he can, and assiduously exchanges books with his friends, thus constituting a small circulating library, but he does not buy from the new- comer; that one must fight his way into success, by repeated failure and loss, by jour- nalistic prowess, by scandal or length of time, before the buying public takes him to its heart. The French do not, I think, read as much as the English ; their railway carriages and restaur- ants are filled with people who read, not the equivalents of Temple Classics or Sevenpennies, but newspapers. With such a system as this it is not wonderful THE AUTHOR. that new authors are crushed out, fleeced of their capital or driven into journalism. There are no circulating libraries to help‘ them, that is, nO great organisations to which well-to-do households subscribe as automatically as they order coal. The ‘‘ Cabinet de Lecture ” is not the splendid British institution, which so reck- lessly orders thirteen copies of a first book and several hundreds of a favourite; the Cabinet de Lecture is, as a rule, a wretched shop kept by an elderly spinster; it charges “‘ so much a book,” generally 1d. to 23d. for four days ; it buys one Marcel Prévost, two or three under popular pressure ; it buys one copy of certain reviews, and remainders, and the derelicts in second-hand bookshops! As for the new writer, the publisher’s traveller knows better than to waste time over him; the Cabinet de Lecture will buy his work only if pestered by ten subscribers. There are in Paris two or three fairly large Cabinets, but they are inter- ested mainly in science, philosophy, and artistic theory ; their purchases are not liberal and their membership is. small. I questioned a number of well-to-do persons, who informed me that they did not belong to a library and that they knew very few people who did. Beyond Paris is literary emptiness ;_ Versailles, 55,000 inhabitants, equivalent to Lincoln, or Oxford, is said to have three Cabinets: I expect there are twenty in Lincoln; a reliable informant told me that in Bordeaux, 250,000 inhabitants, the principal Cabinet was not likely to have purchased more than 10 copies of “Les Dieux ont Soif,” by Anatole France. That is an amazing statement, for it means that Mudie’s bought more of this foreigner’s book than the biggest Cabinet of a French town equivalent to Leicester or Nottingham. The object of the Cabinet is to level the demand, to prevent the public from having what it wants by trebling the reading fee; it might, for instance, charge 5d. for two days in the case of ‘“Les Dieux ont Soif,’” so as to force its members to take “ something of our own.” In other words, the fraud of the label. The upshot of this enquiry is, therefore, that there are two sides to the library question. In France, where the people are poor, and in- credibly inhospitable and mean, it is clear to me that the literary profession is gravely hampered by the lack of libraries ;_ the libraries alone can help the young writer, in a country where books are not reviewed. There is practically no book-reviewing in France: let it not be urged against me that there are reviews in the Revue de Paris, the Mercure, the Revue des Deuxa-Mondes, etc., for these  THE AUTHOR. deal mainly with ‘serious books,” and are inclined to favour their own publishing houses ; nor must the objector lay stress on the poor scraps of space granted on certain days by Le Temps, Le Matin, L’Ewcelsior, etc. There is not a single newspaper in Paris which can put forward a service to literature equal to the minimum ten columns a week of the Daily News, the full pages of the Morning Post and Daily Telegraph, the column of the Daily Chronicle. The new writer is, in France, absolutely helpless. Because there are no circulating libraries he has nothing before him but a desperate struggle : this would be our fate also if we could not sell half our first editions to the libraries. It may be said that, if there were in France a demand for libraries the libraries would arise: that I cannot answer, but the French are cautious speculators, and it may be that the project has often been considered and abandoned. Personally I do not think that a large circulating library would succeed in Paris; two-thirds of my life have been spent in that city, and I am not sure that there are many Parisians prepared to lay down for books even so small an annual sum as a guinea. The French have been grossly over-rated by the British ; if we exclude the intellectuals there is nothing to show that the great bourgeoisie is one whit more liberal or cultured than our own. It is perfectly well contented with social inter- course as an alternative to reading, and is taking to its heart the illustrated press ; it is given over to sensationalism, which is abun- dantly provided by the dailies, and it is not in the main inclined to accord its literary men a treatment much superior to that enjoyed by its bank clerks. Ope THE DISGRACE OF NOVEL WRITING. —+—~<—+— 7 novelists are in disgrace; there can be no doubt about it. Some naughty ones have been writing foolish books and, for their fault, we are all being punished. For years we have been steadily losing favour and dignity, and now, unless we can manage to strike the taste of a large section of the public, or obtain some special press patronage, we have to take a very back seat indeed. There was a time, not so very many years ago, when a good novel received as much atten- tion from reviewers as any other well-written book. My own early work, for instance, far inferior to my later and more mature, was 89 taken seriously and criticised as fully as biography and essays are criticised to-day. But when a new novel of mine appears now it goes with a batch of pot-boilers (by all the nobodies who ere writing ‘slush’ novels for the uneducated) to some novice in the difficult and delicate art of criticism, who emasculates it, outlines vulgarly its mere story and washes out all its true colours in the few inches of print allowed ; side by side with crude sensationalism and sentimentalism. My fate is the fate of all novelists who strive after a high ideal. Their striving is never recognised by those who are set up to guide and lead literary taste. No distinction whatever is made between the best and the worst in fiction; indeed it is not rare to find obvious pot-boilers well reviewed at length, while sincere, talented works of art are practically ignored. For it has become a rule with editors to give a large amount of space to those novelists who have ‘arrived,’ whether their arrival be due to the excellence of their work or to the bad taste of the general public. In short, the critics of our day are led by public taste and follow the lead of the average reader rather than point the way. In arecent number of The Author, Mr. Harold Thomson drew a moving picture of the author who, to gain his daily bread, is obliged to “* write down” to the level of the lowest intelligence of readers. ‘* You must either,” he said, “ wait for long years before your work *‘ gets there,’ or you must learn to tickle the palates of your masters in the gallery.” No doubt. But has he realised, I wonder, how much quicker the true artists eculd “get there.” if they received a little more assistance from those who ought to be willing and anxious to help such writers as strive to maintain a high standard of English fiction ? We know the excuse that is always given for treating all novels alike, that is, as beneath notice. Their enormous output and the lack of time and space. Hundreds of novels are dumped into newspaper offices every week, and one is not without sympathy for the harassed men who have to decide who shall review them. The average editor has no time to discriminate, we are told, and so the novels go out in batches, the good, bad and indifferent all well mixed up, to the young ladies and gentlemen who essay novel reviewing as a work of no importance, requiring no special training. Very true, of course, but surely it does not need much time to recognise a good book from a paltry one. A glance over the first pages, 90 or a dip anywhere, should be enough to tell an expert in literature what is the quality of the entire work, even when the name of the writer tells nothing. It is so very easy to distinguish Great A from a Bull’s Foot, handcraft from machine-made, art from rubbish? And this distinction should, in justice, be made. The well-written, the strongly-conceived and care- fully executed novel ought to have an assured place, to be treated seriously in criticism. For a novel is, at its best, no less a work of art than a picture, an opera, or a biography. There is always plenty of room in a paper for long reviews of biographies, of essays, historical works and travels. There is always room for a column about the novel of a popular favourite, irrespective of its merit. Such books are sent to expert reviewers at once, and receive the highest attention. But a novel by a comparatively unknown author—‘only a novel ’"—chuck it anywhere; let any tyro criticise it; shove it into some odd corner where it won’t be noticed ; lump it in with all the worst ‘slush’ that comes out at the same time, till it is buried under the mass of rubbish : and if any reader can dig it out, let him ! This is the spirit in which the novelist is treated to-day, and I protest against the rank injustice of it. Is it any wonder that our chance of finding our own special public (which, though smaller than the mass public, is not very small and steadily increasing) diminishes year by year? Can anybody be surprised if we are tempted to ‘write down’? We believe that our art isa noble one ; that it is inspiring and educational ; that it is conducive to a better understanding of our fellow-creatures in every part of the world. But a class that is treated con- temptuously tends to become contemptible. And what is to be our fate when publishers will no longer spend their capital on producing our despised and neglected books ? The present system is very hard on us; it is also very hard on those publishers who still cherish an ideal of becoming noteworthy through the high quality of the books they publish. And when they have printed, dis- persed and advertised a novel that they feel is worthy of their name as a firm, they naturally expect to be assisted in their enterprise by the papers to which they pay such huge sums for advertising. Must they not often despair at the press snippings sent to them concerning some novel they have ventured upon. And how long will they be able to publish ws—the unarrived but ardent strivers after the best. It is a pregnant question, my fellow-strivers. THE AUTHOR. Let us face our unhappy position frankly. It is no good blinding ourselves to it. Can we not make some appeal to the editors of literary papers, at least, for justice and discrimination ? We do not fear criticism, but we have a deadly fear of ‘ faint praise’ in an inch of print ; of being ignored or classed with the illiterate. We would be taught, corrected, shown the way to improve, to mend our many faults ; but we slacken and despair under the foolish reviews of ignorance. Give us back our old position. Let the novelist of quality again take his place in the world of letters, as the companion of biographists and essayists— “Else are we very wretched ! ” ONE OF THE D1IsGRACED,. —t$—— + THE LETTERS OF GEORGE MEREDITH.* + ne HE Letters of George Meredith” will be welcomed by all who appreciate the works of a great author as well as by those who find his style too severe for their taste. We venture to think they will come as a surprise to many who only knew him through the pages of his books, which are totally different in style from the letters. “Dulce est disipere in loco.” For pure bubbling fun and “ chaff ”’ it is difficult to beat those written to “Friar Tuck” (Sir W. Hardman) and other friends of early days. Full of humour, lightly tossed off, free from sting unde: the most exasperating cireum- stances, they make the most refreshing reading a man could wish for. A delightful description of a fellow-traveller, which will appeal to all who have gone abroad in un‘ongenial company: | “We walked from Innsbruck to Landek in three days. W. does not walk in rain, or when it’s to be apprehended, nor whea there’s a chance of nightfall; nor does he like it in the heat; and he’s not the best hand in the world at getting up in the morning, and he’s rather excitable. But still thoroughly kind and good. So we did not come at a great rate. “Somehow or other dear old W. isn’t at all the right sort of companion. He say’s he thinks it his stomach. { tell him that it is not fair for a man to throw his stomach jn one’s face.” It is impossible to lay the volume down as letter follows letter—brimful of healthy, genial humour, trenchant criticisms and whole- hearted gencrous friendship. In the second volume they have lost some of * «The Letters of George Meredith,” in two volumes, Published by Messrs. Constable & Co. :  ' ‘ eS ee. Lan of oe _ © THE AUTHOR. 91 the fresh buoyaney of youth, but they gain in interest with the wider outlook. So many subjects of public importance came under Meredith’s notice owing to his intimate friend- ship with such men as John Morley, Admiral Maxse, and others, that he is peculiarly fitted to write as the looker-on who sees most of the game. There are letters on the Irish question, Women’s Suffrage and French politics, which show how much he was in touch with the times whilst sufficiently aloof to be unhampered in his judgment. On all literary points he is doubly interesting, especially to those who know his works, for he writes freely of his difficulties and successes. His criticism of his fellow authors is marked by a generous appreciation of their merits. Throughout the two volumes we retain the impression of a vivid personality. The letters are so unstudied—so spontaneous—being written almost entirely to intimate friends— that the real man, tender-hearted, strong to bear, faithful and courageous, impresses one as few biographies can do. When we consider the storm his writings roused in religious circles when first published, the following extract from a letter written to his son Arthur, in 1872, is noteworthy. Few will cavil at such words as these. “Virtue and truth are one. Look for the truth in everything, and follow it and you will then be living justly before God. Let nothing flout your sense of a Supreme Being, and be certain that your understanding wavers whenever you chance to doubt that He leads to ood. We grow to good as surely as the plant grows to the ight. The school has only to took through history for a scientific assurance of it. And do not lose the habit of praying to the unseen Divinity. Prayer for worldly goods is worse than fruitless, but prayer for strength of soul is that passion of the soul which catches the gift it seeks.” It was long before his writings met with their due in England. They were received with more enthusiasm in America, and this fact doubtless helped him to bear the miscon- ceptions of his fellow-countrymen with more philosophy, though at no time did he show himself over-sensitive to their opinions. In a letter to G. P. Baker he sets forth his aims, and comments on the attitude of the public towards himself. “ For I think that all right use of life, and the one secret of life, is to pave ways for the firmer footing of those who succeed us. . . . In England I am encouraged but by a few enthusiasts. I read in a critical review of some verses of mine the other day that I was ‘a harlequin and a per- former of antics.’ I am accustomed to that kind of writing, as our hustings orator is to the dead cat, and the brickbat flung in his face—at which he smiles politely ; and I too; but after many years of it my mind looks else- where.” There is little reference in the letters to his connection with the society of which, after Lord Tennyson, he was the second President, but in his appreciation of Sir Walter Besant, at his death, July, 1901, he has written words that might with little alteration, well apply to himself. He gave a generous tribute to our founder’s character and force. “Tt is hard to speak of him within measure when we consider his devotion to the cause of authors and the con- stant good service rendered by him to their material interests. We have lost in him the very beating heart of our Society.” Yet in a different way the loss sustained by the death of George Meredith was as great. Though his health prevented the active union his wishes were always strong to support the efforts of his fellow toilers. It is difficult to realise at first what a long struggle his life must have been, but as time goes on it becomes fully apparent—not in weakness or complaint, but in the breadth and depth of his sympathy with others, his indifference to the world’s opinion, his stead- fast front under trials that would utterly have broken a weaker spirit. Through all the fun and frolie of his early letters, up to the quiet courage of the end, it is the living man that stands forth, no pranked out image set up by a partial bio- grapher. It is this which makes the two large volumes seem all too short, and gives them their fascination and their value. Jn the preface we are told that the collection is very incomplete. Nevertheless it is of wide range and far-reaching intertst, as must needs be when drawn from such a source. : ‘** Verily there were giants in those days,” and George Meredith was not the least of them. THE GREEK GENIUS.* —_+-~ + — “rW\HE Greek Genius and its Meaning to us’? is a work which deserves che immediate attention not only of every one who reads, or ever has read, more or less Greek, but also of all to whom the word “Greek”? has a meaning of any kind. The author has been at so great pains to make all that he has to say lucid, not to classical scholars alone, but also to the many who make no and its * R. W. Livingstone. “The Greek Genius : vo. Meaning to us.” Oxford: Clarendon Press, 1912. 92 pretension to classical scholarship, that every- thing, from one end of the book to the other, is presented in a shape that brings it within the reach of any reader who may wish to understand what ‘‘ Greek Genius”? means. Above all, the very many who, in these days find a great deal of pleasure in putting forward their views about the value, or the want of value, of a Greek education, will be without excuse for the things which they are pleased to advance, if they have not taken the trouble to inform themselves from a work so luminous, and so replete with scholarship, before stating their opinions respecting the importance of Greek. So powerful is the presentation of the dif- ferent aspects of Greek genius in this book, that it may be asserted without hesitation that no plea for Greek has been yet put forward so cogent as the impression which Mr. Living- stone’s pages produce, nor any reply to those who object to “compulsory Greek” so absolutely crushing. Yet to write an adequate snotice of the book is difficult, or, to say the truth, impossible. Mr. Livingstone holds out his guiding hand at the same time to “* students or teachers of the classics,’ and to “ the considerable public who take a humane interest in what Greece has done for the world,” although they themselves may possess no Greek. Now, no one can be at the same time acquainted with Greek and not acquainted with Greek; and so no human being can justly say what impressions this book will make upon minds whose standpoints are so diverse. All that can be here noted must, therefore, be accepted as a part only of the just appreciation of a book of a widely extended significance. What the width of that significance is may at once be seen from the opening words of the preface. ‘‘ When I began to teach Latin and Greek,’ writes Mr. Livingstone, ‘‘ a friend asked me what I supposed myself to have learned from them, and what I was trying to teach others.” Does a man exist, who has all his life clung with affection to the Greek that is in him (though it be but little), who has not, times out of number, been assaulted with that same silly question; and has regretted his inability to answer it as he would have wished ; because, as Mr. Livingstone justly puts it, the reply is *““an arduous task.”’ From this arduous task, however, so far as Greek is concerned, the author has not shrunk. How the answer is planned, and how it deals successively with the notes of beauty, freedom, THE AUTHOR. directness, humanism, and others, can be under- stood only from the work itself, whose exhaus- tiveness and profundity would be merely misrepresented in epitome. The book is one to be read. In page after page the supremest problems of art and ethics rise spontaneously to view, and meet with a treatment worthy of a man whose culture has a Greek basis. Witness the significance of this: ‘‘ The Greeks were not esthetes .... yet they were the authors of the most beautiful statues, the most beautiful buildings, and the most beautiful poems in the world. In mere beauty their art and literature has never been equalled.” “Why ?” is the word that will instantly spring from the lips of the modern. But the author makes no attempt to reply to that unanswerable ““ Why?’ He contents him- self, more wisely, with unfolding the central phenomena of Greek beauty, and thereby awakens more reflections than could arise from any effort to define the indefinable. For until the modern can attain Greek beauty he cannot know what it is. ‘‘ He that is without an art cannot rightly know the things of that art.” * Of an entirely different description is the author’s treatment of a _ subject directly interesting to authors—the contrast between classical conciseness, and modern lavish amplification—the quagmire of words that renders much at present named “ literature ” so repulsive to the classical scholar. Respect- ing this, Mr. Livingstone remarks, ‘‘ The classic shows us the scene... . and leaves us to find the appropriate emotions; and because many readers have no emotions to supply, they are apt to find the classics unfeel- ing and cold.’’ We would like to add, ‘* And many modern books delightful, because they are written exactly to suit the people for whom it is waste of time to write.” ~ Mr. Livingstone has also a happy knack of picking out plums. On Xenophon’s mention of ‘* physique eminently comely to the outward eye” as a qualification for high political office, he remarks, ‘‘ How few modern statesmen would satisfy this condition ! ” Of quotations from this book there would be no end; and they must be here foreborne for the sake of a few lines on the concluding chapters in which the author deals with ‘* The Exceptions,” as he declares them to be, Plato and Euripides, and with “ The Fifth Century and afterwards.” Here, if the term may be permitted ‘“‘ The Greek Genius” is * Plato, Ion. IX.  THE AUTHOR. beginning to droop ; and we perceive a move- ment in the direction of the thought of other jands and other times. The supreme things of beauty, directness, and sanity are drifting into the past. Are they ever to be revived ? That appears to be beyond hope. The Greek had no sentimentality. He “stood on the earth’?; but he was not “ of the earth, earthy”; and this is just what the modern cannot achieve. Among the thoughts which Mr. Livingstone’s book awakens is a regret for the passing away of a sense of beauty and stability that can never be again; buta regret accompanied by an infinite thankfulness for the preservation of but a fragment of the marvellous Greek world; whilst on this the author is to be wholly congratulated, that he had built for the defence of Greek a bastion that ignorance may choose to disregard, but which no attack can demolish. —————_—$_$§_e— > ——__ ANDREW LANG’S LAST BOOK.* —_—+ TTAVUIS book is likely to be the more rather [' than the less popular because it is not exactly the sort of book that the title might seem to indicate, Andrew Lang did not approach his subject in the spirit of a professor, put rather in that of an artist of the impres- sionist school, who paints just what he sees, without troubling overmuch about the other things which he knows to be there, though they do not happen to catch his eye. Only a man of great natural gifts and wide reading could tackle so large a theme acceptably in that manner; but he possessed both qualifications jn an eminent degree. For pretentious syn- thesis we must go to other writers—there are many professors who excel him in that depart- ment of endeavour, and are more helpful to the student who desires to stock his mind with ready-made generalisations of the kind which discover and penctrate the weak points in the armour of examiners. Impersonal exposi- tion was foreign to the habit of his mind. In whatever he wrote, there was always quite as much of himself as of his subject, and some- times a good deal more. He travelled among books for his pleasure ;_ and this is the relation of his journey. We find him no Baedeker among guides, apportioning his space according to the requirements of the conventional, but one “who digresses when he chooses, and does not * «History of English Literature from ‘ Beowulf’ to Swinburne,” by Andrew Lang. Longmans. 93 hesitate to leave Yarrow unvisited if he fears that Yarrow will be tedious. There is no existing “History of English Literature ” which it is more pleasing to open at random, and dip into in the hope of pulling out a plum. On page after page, one is reminded of those delightful leading articles which Lang used to contribute to the Daily News in the days before the Dawn of the Cocoa Age, when English journalism was as yet neither brace to the strenuous life nor watered by the tears of sensibility. Apposite allusiveness was always the chief charm of those compositions ; and it is also the chief charm of the manual now under review. In the old days, it will be remembered, Lang could not write of Aristotle without dragging in John Lillywhite, or of John Lillywhite without dragging in Aristotle. One could always spot his essays without reading them, by looking out for the unlikely name—unlikely, that is to say, in other leaders—in small capitals. So now, in the present volume, the individuality of the handiwork is marked by constant references— unnecessary from the academic point of view, but none the less entertaining—to other matters in which the author has interested himself in the course of a life rich in the variety of his interests. The mention of “* Peregrine Pickle,” for instance, suggests a mention of Pickle the Spy. Resemblances are pointed out between the plots of modern novels and the legends prevalent among aboriginal savage tribes. A quotation illustrative of Macaulay's hammer- and-tongs prose style is further illuminated by a comment on William III.’s treatment of the Scots. The Covenanters are also incidentally characterised; an error in the printed report of Bryon’s score in the Eton and Harrow match is corrected ; doubts are suggested as to the exactitude of Charles Kingsley’s account of the training of the Cambridge cight in the fifties; and of course the Maid of Orleans is defended against those who have assailed her memoryand treated her visions as hallucinations. It is to be noted, moreover, that writers are, for Andrew Lang, almost always human beings as well as writers. They, as well as their books, have been the travelling companions of his literary pilgrimage. He gossips about them, and even quizzes them, especially when he approaches modern. times. Both his method and his point of view may be illustrated by his remark on the limitations of George Meredith’s popularity : ‘‘ The writer has seen quite unaffected young girls absorbed in The Egoist or Diana of the Crossways, while he, after gallant efforts, was defeated by both ina 94 very early round, tripped up on every page by the leg of Sir Wilfrid the Egoist. Too much seemed to be made of that limb.” All the characteristic flavour of the book is in those sentences. F. G. ———_-+ > - THE PROBLEM OF EDWIN DROOD.* —— 1 HE problem of Edwin Drood has been much discussed of late, and there is little reason why the discussion should not continue, inasmuch as a vast field of criticism iS now opened up by the statements and de- ductions of various writers in their attempts to elucidate the mystery. A whole literature may rise around not what Dickens wrote, but around the various and varying inter- pretations of both his words and his implica- tions. The moment criticism reaches this point Dickens’s personal equation as man and as worker comes into consideration, and Sir W. Robertson Nicoll’s book is largely made up of an enquiry into the methods of Dickens as a story-teller, so that the probability of his intentions with regard to his unfinished book may be estimated in the light of his other works. The result is an interesting essay both for those who love Dickens and those who feel the fascination of unravelling a riddle. “The Mystery of Edwin Drood ”’ is a triple one, as has often been pointed out. Assuming that all who care anything about the book know the story, it will be sufficient to say that the first unanswered question is—Has Edwin Drood been murdered at all? the second is —wWho is Datchery, the detective who is left, as the pen dropped from Dickens’s dying hand, engaged in bringing home either a murder or an unsuccessful attempt at murder to Jasper, Edwin’s uncle; and the third is (speaking generally )—How was the book planned to end ? Obviously the answer to the third question to some extent depends upon the answer to the first, for, insignificant a character as Edwin is, still he is the centre around which the book turns, and if he has not been mur- dered, his position on re-entering the drama has to be accounted for. Sir W. Robertson Nicoll takes the view that Edwin has been murdered, and sums up all the evidence, supplied by the book and its numerous com- mentators, to arrive at this conclusion. If Edwin is not murdered, Dickens, anxiously * «The Proklem of Edwin Drocd,” Ly Sir W. Robertson - ce —_ Icndon: Hedder & Stcugkton. 212 pp. s, Od, net. THE AUTHOR. reticent as he was about his plot, would seem to have unnecessarily deluded personal friends as to his intention, This argument alone seems to us to be conclusive in favour of the now popular view that Jasper actually accom- plished his design; in addition to which, if Edwin is not murdered, his silent absence, leaving the innocent Landless under suspicion, is inexplicable ; while the part that remains for him to play in the story is puzzling, as his hero’s right to the affections of the heroine has been taken from him by a subsidiary leading gentleman, Tartar. The second ques- tion, the identity of Datchery is settled by Sir W. Robertson Nicoll in favour of Helena Landless, disguised as a man. This is the fascinating suggestion which was made by Mr. Cuming Walters six or seven years ago, and which has since been vigorously combated by many, and ultimately adopted by many of the combatants. The superficial improbabilities of this theory are large, though the actual written suggestions of Dickens can be made to support it. Its main strength depends upon the fact that Dickens in no way conceals the fact that Datchery is a disguised person keeping a watch over Jasper, while no other person in the book appears able to fill this part. Helena Landless is thus arrived at by exhaustion of the alternatives—all but one. The late Mr. R. A. Proctor suggested that Datchery was Drood himself; until Mr. Cuming Walters made his brave proposition, the accepted idea was either Proctor’s, or that Bazzard, a comic clerk, was playing the part; Bazzard’s aged master,Grewgious, has obtained some suffrages ; and lastly there is the possibility that Datchery may be anew character altogether, introduced by Dickens when the book was half complete —for we know that the “ Mystery of Edwin Drood,”’ was to appear in twelve numbers, and of these we have six numbers all but two pages. This last theory is the one that obviously cannot be dealt with as probable or improbable in connection with any events narrated ; therefore it presents the least difficulty, but it does imply a considerable loss of concentration in the plot. Sir William Robertson Nicoll does not support it, and shows that at any rate in some of Dickens’s best-known works, no really important character is ever introduced when the book is half written. ‘That is true, but there is some proof that Dickens was a little worried over the development of his last story, and in many ways, to suppose Datchery to be a new character, is the safest solution. For, indeed, it is hard to believe in the ability a :  THE AUTHOR. 95 of Helena Landless, a girl recently arrived in England from Ceylon, to exhibit the aplomb and experience necessary if she is to counterfeit successfully a middle-aged idle Englishman during a sojourn in hotels and lodgings. Concerning the final course of the story, there seems no reason to suppose that the little which Dickens actually said was other than his real intention. Jasper was to be convicted of his crime and to suffer for it. Jasper was himself to tell the story while in prison, and in this way, or owing to Datch- ery’s investigations, an explanation would be forthcoming of the actual circumstances of the crime, and of the various steps taken to bring it home to the doer. Jasper’s past life had passages in it, we may easily suppose, which would make clear the part in the story played by the “ Princess Puffer,’ and the “Deputy”; and we agree with Sir W. Robertson Nicoll, that these passages, con- cerning which we have no information and few hints, might furnish the material for finishing the book, logically drawing all the numerous loose threads tightly.together. Lovers of Dickens will thank Sir William Robertson Nicoll for an able exposition of an ever exciting question; the bibliography will possibly stimulate many readers to examine the evidence for themselves; no one can read the book without being impelled to read ** Edwin Drood,”’ a result which we are sure the latest writer on the mystery would love. CORRESPONDENCE. LITERATURE—ITS SupPLY AND DEMAND. Sir,—Complaints of the inevitable penury of the writer of books are frequent in the correspondence columns of The Author; for which state of things remedies such as “ co- operative publishing ”’ are suggested, publishers are blamed, and a vacuous public censured. It seems to me the explanation is quite simple. If, to-day, all living authors suddenly ceased to write, there would yet be books enough in the world to last to the Millennium. The English reader, living to old age, and following Dr. Johnson's advice to read for five hours a day, would have his work cut out to consume the masterpieces of his own language, from the Canterbury Tales to Tono Bungay. The creators of books cannot hope to prosper in ease and comfort in a business in which the supply so exceeds the demand; wnless their work either supplies some special and definite demand, or rises by dint of its own merit superior to the flood of mediccrity amidst which it must take its chance. Of course, there are, and always will be, hard cases ; such as the man who is too much in advance of his age. However, he has his small, but enthusiastic, public. He must rest content with that. Its smallness is responsible for his poverty; its enthusiasm, for his ultimate, and often posthumous, success. But these are the exceptions and not examples of the rule. There is no need for the army of admirable esthetes to complain, from one generation to another, of the extreme vulgarity of the age. To be cultured is the privilege of the elect, and of the leisured. And it is just as well, perhaps, that the greengrocer is mostly occu- pied with greengroceries. If his activities were employed upon the problems of bi- metallism we should have to be satisfied with indifferent vegetables. As a matter of fact, with such a world of books to choose from, fastidiousness—rather than vulgarity—in the public has been encouraged. They will have nothing but the best—that is to say, what they regard as the best. This applies not only to the scholar and the man of taste, but even to the reader of the feuilleton in the halfpenny paper. And why blame the last? He is most certainly your own green- grocer who, in his own humble department, supplies your wants, as punctiliously as the writer of the feuwilleton supplies his. And if you ventured to recommend to his notice the psychological studies of Mr. Wells, the mys- ticism of M. Maeterlinck, or the exquisite sensibility of Mr. Barrie, he would consider you utterly mad. And yet these three gentle- men, in their senility, are hardly likely to be found upon the doorsteps of the workhouse. As for the author who strives to excel in the highest representation of his art, he is much to be commended. But, if he fails, in 99 cases out of 100, he does so, not because his is the exceptional case of genius unrewarded, but because, in his profession—perhaps more than any other—it is only the fit who survive. Instead of laying the blame at the doors of publishers and public, it seems to me it would be well to recognise, not necessarily defeat, but the power of the forces we must combat before we can hope to win. C. L. GrILson. 96 Tue Latrer-Day Nove. Dear Avutuor,—Concerning Dean Inge’s generally resented attack in his recent speech to the Library Assistants’ Association on the inferiority of present-day novels, their ‘“‘sloven- liness,’’ ete.—referred to in The Standard of October 18th, under the heading of “‘ A Novelist’s Revenge ’—the writer notes one clause that provokes the following comment. It reads as follows : ‘No publisher wants, or would publish just now, works such as Thackeray’s if pre- sented in MS. The same thing applies to Dickens, Hugo, and many of our giants. “Les Misérables ’ would never be accepted by a publisher’s reader,”’ etc. From the above may one not be forgiven for wondering if perhaps the mass of trivial ‘“* popular ” fiction upon the market is not as much the fault of the publisher or publisher’s reader—who, like the author, ‘‘ must live ”— as indicative of the “ degeneracy ”’ of writers, or the “ public taste” ? The writer is not a wholly disgruntled author, having been read for some years both in America and England; but an experience with the MS. of a recent novel has opened her eyes to a state of things which may not seem lacking in pith to authors. The aforesaid MS. was the result of five years’ labour, during which other MSS. had been successfully launched. When sent out in its search of a “ convinced ”’ publisher it secured a totally different reception from its predecessors. Every publisher praised it, but no publisher wanted it. Instead of coming back with the customary printed slip, it invariably returned accompanied by apologies for its refusal appended to unqualified appreciation. Four pages from one well-known house explained that although acknowledging the MS.’ distinc- tion and capacity to excite nothing but praise from the leading reviewers—the publishers “could not assure it a sufficient sale to warrant,”’ ete. Another publisher, with a letter of high praise, gratuitously forwarded a copy of the reader’s “behind the scenes” report, which advised a curtailment of about 100 pages. Although no longer a novice—and therefore as incredulous of Jthe infallibility of the accredited reader as of the infallibility of the Pope—the author nibbled at the bait. To be opportune that novel, if published at all,.must be published at once. The work of curtailment was carried through with an aching heart, and the MS. found itself back with that publisher— THE AUTHOR. to be immediately returned. It was 80,000 words in length. It was returned in three days. The MS. then accompanied its author to America and was sent to a “ foremost ” publishing house. The unfavourable slip that ushered it back this time was also coated with sugar, “It is with real regret that we find ourselves forced to return your MS,” it read, ‘‘ as it has claims to great distinction of style, is altogether excellent, and treats of its subject—a difficult one—with engaging skill; but owing to the present overstocked state of the market we cannot undertake,”’ etc., ete. In an hour that writer found herself at that publishers in conversation with ‘the head of the firm ’”—to whom she had until this kept a personal letter up her sleeve. “If publishers that place themselves on record as believers in the excellence of a MS. won’t publish it?” she asked, ‘‘ who will? Can’t you see that you are the people who are’ overstocking the market with trash, and underrating public intelligence for buying it, because, by. your own confession, you daren’t publish ‘ excellence ’ ? ‘* Publishers consider all novels a_ wild speculation ’’ was the answer. ‘“‘ The books they bank on must be sure to excite a demand. Such publications as, for instance, ‘The Flora of Patagonia’ or ‘The Encyclopedia Britannica’ are no risk. . . . There are novels which secure a phenomenal success—such as ” —he mentioned thename of a “‘record-breaker,”’ which his house had launched. .. . “Singular how the enthusiasm of our ‘younger group’ put that through,” he vouchsafed, ‘“‘ andthow such enthusiasm prods the salesmen to big efforts. But it must be unanimous to make the salesmen take hold. In cases where it is not the salesmen in con- sequence are slack, and the book fails.” “You mean,’’ I exclaimed, ‘‘ that when the enthusiasm of one or two of ‘the group’ wavers, ‘the salesmen’ make little effort to sell it 22 ‘* Precisely.” Might not the remedy for too ephemeral literature be found between the lines of the following ? : ‘“* How do you keep your dog so healthy ?” inquired one sportsman of another. ‘“* T feed him on oatmeal,” was the reply. “But my dog howls continually for meat,” protested the first sportsman. “Starve him of all food but oatmeal,” insisted the second, “and he’ll be only too glad to eat It.” Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Author, Vol. 23 Issue 03 (December 1912) Subject The topic of the resource <em>The Author</em>, Vol. 23 Issue 03 (December 1912) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1912-12-01-The-Author-23-3 publications The Author