https://historysoa.com/files/original/5/539/1914-04-01-The-Author-24-7.pdf d15705ee91c520a0e8951760cb945e81 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) 1914-04-01 Volume 24 Issue 7 Pages Page range in volume 181–206 Ngram Date Version of the date in YYYYMMDD format for use by the Ngram plugin 19140401 Ngram Text Version of the text with no HTML formatting for use by the Ngram plugin Che HMutbor. (The Organ of the Incorporated Society of Authors. FOUNDED BY SIR Monthly. ) WALTER BESANT. Vor. XXIV.—No. 7. APRIL 1, 1914. _ [PRICE SIXPENCE. TELEPHONE NUMBER: 874 VICTORIA. TELEGRAPHIC ADDRESS : AUTORIDAD, LONDON. a ee NOTICES. i 4 OR 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. Tur 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, 1, Cen- tral Buildings, Tothill Street, Westminster, 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. XXIV. 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. Messrs. Matthews’ Advertising Service, Staple Inn Buildings, High Holborn, W.C., will act as agents for advertisements for “The Author.” All communications respect- ing advertisements should be addressed to them. As there seems to be an impression among readers of The Author that the Committee are personally responsible for the bona fides of the advertisers, the Committee desire it to be stated that this is not, and could not possibly be, the ease. Although care is exercised that no undesirable advertisements be inserted, they do not accept, and never have accepted, any liability. Members should apply to the Secretary for advice if special information is desired. o> THE SOCIETY’S FUNDS. a 4 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 / 182 THE AUTHOR. matter closely connected with the work of the Society. (2) The Pension Fund. This fund is slowly increasing, and it is hoped will, in time, cover the needs of all the members of the Society. —____—_+—>—+___—_. THE PENSION FUND. —+——+ — N January, 1914, the secretary of the I Society laid before the trustees of the Pension Fund the accounts for the year 1913, as settled by the accountants. After giving the matter full consideration, the trustees instructed the secretary to invest a sum of £350 in the purchase of Great Eastern Railway Ordinary Stock. The amount pur- chased has been added to the investments set out below. The trustees desire to thank the members of the Society for the continued support which they have given to the Pension Fund. They have given notice to the Pension Fund Com- mittee that there is sufficient money at their disposal to enable them to give another pension. The nominal value of the investments held on behalf of the Pension Fund now amounts to £5,419 6s., details of which are fully set out in the following schedule :— Nominal Value. £ 4s. @. RGCAl Loans 6c 0is occ sc hecccs sconces 500 0 0 Victoria Government 3% Consoli- dated Inscribed Stock ............ 291 19 11 London and North Western 3% Debenture Stock .................. 250 0 O Egyptian Government Irrigation Trust 4% Certificates............. 200 0 0 Cape of Good Hope 34% Inscribed Block 6. ak - 200 0 0 Glasgow and South-Western Rail- way 4% Preference Stock ...... 228 0 0 New Zealand 34% Stock .......... 247 9 6 Irish Land 22% Guaranteed Stock 258 0 0 Corporation of London 24% Stock, 1927-57 ...............:-. . 4388 2 4 Jamaica 34% Stock, 1919—49 ... 1382 18 6 Mauritius 4% 1987 Stock ......... - 120 12 1 Dominion of Canada, C.P.R. 84% Land Grant Stock, 1988 ......... 198 3 8 Antofagasta and Bolivian Railway 5% Preferred Stock ............... 237 0 O Central Argentine Railway Or- dinary Stock 21.00.65. 0igsecsss0ccses 232 0 0 Nominal Value. SS, a. $2,000 Consolidated Gas and Electric Company of Baltimore 44% Gold Bonds ........+.++++-. 400 0 O 250 Edward Lloyd, Ltd., £1 5% Preference Shares ...............- 250 0 0 55 Buenos Ayres Great Southern Railway 4% Extension Shares, 1914 (fully paid) ................. 550 0 0 3 Central Argentine Railway £10 Preference Shares, New Issue... 30 0 0O Great Eastern Railway Ordinary Stock cess cecpesuesd esse 655 0 0 Total 2 £5,419 6 O —_——_———__+—>—_+—____—_- PENSION FUND. —.—~ + Tue list printed below includes all fresh dona- tions and subscriptions (i.e., donations and subscriptions not hitherto acknowledged) received by, or promised to, the fund from October, 19138. It does not include either donations given prior to October, nor does it include sub- scriptions paid in compliance with promises made before it. Subscriptions. 1913. Oct. 8, Rees, Miss Rosemary Oct. 8, Pearee, J. . : Z Oct. 9, Drummond, Miss Florence Oct. 9, Rumbold, Hugo Oct. 18, Knowles, Miss Oct. 20, Collison, Harry : Oct. 21, Buchanan, Miss Meriel Oct. 25, Baker, EK. A. . : Nov. 6, Bentley, E. C. : Nov. 6, Petersen, Miss Margaret Nov. 7, Lang, Mrs. John j Nov. 19, Langferte, Raymond Nov. 24, Webb, W. Trego Nov. 24, Mackenzie, Compton Dec. 4, Vansittart, Robert Dec. 4, Lunn, Arnold . < Dec. 4, Stewart, Miss Marie . Dec. 4, Berry, Miss Ana . Dec. 4, Vallois, Miss Grace . ‘ Dec. 17, Beresford, J. D. Dec. 29, Inge, Charles . Dec. 29, Cross, Miss May Dec. 29, Hardy, Thomas, O.M. _ ~ NASCSCAAANMooaaaaanwe ao Toe i concoconeoooooocoOoOoOOOoSoO OF wpooocooooormooocooooroocooooh i j i | THE AUTHOR. 1914. Jan. 7, Ford, Miss May Jan. 7, Sephton, J. Jan. 16, Singer, I. : Jan. 16, Cooke, Arthur O. Jan. 28, Exley, Miss M. : Jan. 26, Sarawak, The Ranee of Mar. 11, Dowson, Osear F. 19138. Donations. Oct. 7, Darwin, Sir Francis . : Oct. 9, Carroll, Sydney Wentworth Oct. 21, Troubetzkoy, The Princess Oct. 27, Frankish, Harold . 2 Oct. 30, Rosman, Miss Alice Grant Nov. 3, Holland, Theodore Nov. 3, Steane, Bruce . Nov. 3, Batty, Mrs. Braithwaite Nov. 10, Elrington, Miss Helen Nov. 10, Waterbury, Mrs. . Dec. 5, Dymock, R. G. Vaughton . Dec. 6, Macdonald, Miss Julia Dec. 11, Little, Mrs. Archibald Dec. 11, Topham, Miss Ann . Dec. 20, Edwards, Percy J. . Dec. 21, Keating, J. Lloyd 1914. Jan. 8, Church, Sir Arthur Jan. 5, Anon : Jan. 5, Joseph, L. Jan. 5, Swan, Miss Myra Jan. 5, Vernede, R. E. : Jan. 6, De Crespigny, Mrs. Champion Jan. 6, Rankin, Miss F. M. . . Jan. 7, Sneyd-Kynnesley, E. M. Jan. 7, Lathbury, Miss Eva . Jan. 7, Toplis, Miss Grace Jan. 8, Palmer, G. Molyneaux Jan. 9, Mackenzie, Miss J. . Jan. 10, Daniell, Mrs. E. H. . Jan. 12, Avery, Harold : Jan. 12, Douglas, Mrs. F. A. Jan. 15, Pullein, Miss Catherine Jan. 15, Thomas, Mrs. Fanny Jan. 16, James, Mrs. Romane Jan. 19, P. H. and M. K. Jan. 19, Greenstreet, W. J. . Jan. 19, Gibbs, F. Leonard A. Jan. 23, Campbell, Mrs. L. A. R. . Jan. 23, Cameron, Mrs. Charlotte, F.R.GS. . : Jan. 23, Blunt, Reginald Jan. 24, Raphael, Mrs. Mary. Jan. 25, Plouman, Miss Mary Jan. 80, Gibson, Miss L. S. . Feb. 5, Brooker, Lt.-Col. E. P. Feb. 6, Buchrose, J. E. : — S coomoooocooooooooooeooscr- Seeeoecoon, _ ecoooceormroscoocooooro tu HH OOOH et K Or or or or or or? i — Ooo © OH eH Orbs Or Orr OO OO — peal _ —_ ooanrgnocounooeawmanoduncocmn oc = _ ee ON Oe et ccooocoeoe SCMmooooooanaaoacecooances ececoocoocoonanaoooooao ecoeoanooce 1838 Feb. 7, Smith, Herbert W. Feb. 20, Eden Guy : : Feb. 21, Mayne, Miss Ethel bourn : Feb. 21, K. ; : : Feb. 25, Aspinall, Algernon E. Mar. 2, Dalziell, J. ‘ Mar. 2,8. F.G. . ; Mar. 5, Saies, Mrs. F. H. Mar. 5, Thorne, Mrs. Isabel . : Mar. 5, Haviland, Miss M. D. : Mar. 5, Todd, Miss Margaret, M.D. Mar. 13, Cabourn, John 5 : Mar. 20, French, Mrs. G. F. . oon — oro 2 co Col- et Oo & CSCOrFOCCorFNOSS Soe Or or Oc coocoocooocoecocs — ee COMMITTEE OF MANAGEMENT. —-—— + —_ HE Committee held their March meeting on the second of that month at three o’clock, at the offices of the Society. After the minutes of the previous meeting had been signed the committee dealt with the elec- tions and resignations. The number of elections —twenty-six—is chronicled in another column of this issue. This brings the total number for the current year up to ninety-five, slightly in excess of the number for the corresponding period of last year. The committee accepted, with regret, eighteen resignations. The large number of resignations during the month may b> accounted for by the fact that at this period of the year the first application is issued for unpaid subscriptions. A certain number of resignations is bound to follow. The next question before the committee was the legal cases and the disputes of members. The solicitor attended and made his report. In the first claim against the proprietor of a magazine—the debt and costs had been paid. In a ease for the collection of dramatic fees, the solicitor reported that he had, at length, succeeded in obtaining the debt and costs. The costs had been increased as it had proved necessary, not only to issue a summons for an examination of the debtor, but also to proceed against him for an attachment. The solicitor then reported on the case of infringement of title by a cinematograph company which had been taken up at the last meeting. The judge considered it a case for a: speedy trial and the trial was fixed for the 10th of the month. In a case where money was claimed on a disputed account, the com- mittee decided to take action with the approval  184 of the member concerned. The secretary then reported that in a case where an award had been given, one of the members, party to the award, desired certain letters to be read to the committee. These were read in due course, and the secretary was instructed to write a letter in reply, placing before the member that the award must be adhered to, and that the committee were unable to discuss the matter further. ‘The letter was to be submitted to the chairman of the committee for his approval. Difficult issues had arisen owing to the fact that a publisher had shown unreasonable delay in publishing the book which he had agreed by contract to produce. The committee decided to issue a writ for damages for delay or for immediate publication. In a case of infringement of dramatic rights of amember in Australia, the secretary reported that he had, in order to catch the Australian mail, obtained the chairman’s sanction to place the matter in the hands of the Society's lawyers in Sydney. The committee confirmed the chairman’s action. In a dispute between a member and an agent which the committee, for various reasons, at the last meeting had refused to take up. the secretary read_ to the committee a further communication he had received from the member, and, after again reviewing the case, the committee regretted they were unable to depart from their previous decision, and instructed the secretary so to inform the member. A question concerning the conduct of a case in the United States on behalf of a member was considered by the committee in the light of fresh facts which had just come to hand from the Society’s American lawyer. It was decided to take up an action against a paper in Vancouver, and the secretary was instructed to communicate with the Society’s lawyers on the subject. : The judgment in the highest court in Switzerland, on a question taken up by the Society some years ago, was laid before the committee. The committee regretted it was against the claim put forward on behalf of the member. As no further appeal was possible, the secretary. was instructed to inform the member of the result. In a dispute between a member of the Society and the editor of an illustrated paper the correspondence was read, and the chairman undertook to write to the editor. The next matter referred to a case of infringement of dramatic rights. The com- mittee, after consideration, regretted they THE AUTHOR. were unable to take up the case. In a dispute arising from the publication of a book, the committee gave instructions to the secretary as to the settlement. There was a question, also, of infringement of the rights in a title by a cinematograph production. The committee decided to take no action in this case, but to await the'result of the case already pending. The next matter was a dispute, stretching over a period of years, under a publisher’s account. The committee decided to take up the case on behalf of the member. The secretary then reported the position of an important case in Toronto of infringement of copyright, taken up by the Society, and read a letter received from the member con- cerned dealing with the proposed terms of settlement as received from Canada. The committee approved the terms of settlement put forward by the member, and decided to instruct the lawyers in Toronto accordingly. As the chairman of the committee was going abroad for a short time, a vice-chairman was appointed in his absence. Authority was given for the payment of the cost of a cable sent to the Authors’ League of America, congratulating the League on its first annual dinner and on the success of the League. The question of the Society’s advertise- ments was next considered, and it was decided to settle the account of the previous agents in accordance with an arrangement made between them and the Society’s accountants. It was also decided to have an exchange advertisement with the Music Student. The list of non-payers for two years was laid before the committee, and the secretary was instructed to send a special letter to the members in arrears. Correspondence with a member on the subject of the libraries censorship was read, and the secretary was instructed to write to the member giving him the committee’s opinion and asking for possible suggestions. The seeretary then laid before the committee a short article dealing with a dispute between a member and a publisher which, on the suggestion of the Composers’ Sub-Committee, it was proposed to publish in The Author. He was instructed to lay the matter before the Society’s solicitors and, with their approval, to publish the article in the April issue. The matter of the change of the name of the Society from the Incorporated Society of Authors, to the Incorporated Society of Authors, Playwrights and Composers, was  THE AUTHOR. next considered. The secretary reported that the solicitors of the Society had obtained the approval of the Board of Trade, and it was decided to have a special meeting of the council and the shareholders of the Society on April 17 to approve the change, and a confirmatory meeting later, according to the provisions of the Companies Acts. The committee authorised the investment of £260 from the Life Membership account in the purchase of Buenos Aires Great Southern Railway 4% Extension Shares, and authority was given to affix the seal of the Society if necessary. A difficult question, arising under a certain section in the Copyright Act, 1911, was referred to the Committee of Managment by the Composers’ Sub-Committee. It dealt with mechanical rights. 'The Committee of Manage- ment decided to take counsel’s opinion on the matter. It was decided to purchase a new type- writer for the Society’s office. A proposal was submitted to the committee by the Independent Music Club, and the secretary was instructed to state that the com- mittee regretted they were unable to accept it. Letters were read from the Foreign Office on the question of copyright in India, and from the Society’s lawyer in New York on the ques- tion of copyright in the United States. Votes of thanks were passed to the following members for donations to the Capital Fund of the Society: Mr. Arnold Bennett, £10; Edward Carpenter, £3; Philip Hubbard, 10s. 6d. 4 Dramatic SuBp-CoMMITTEE. Tuer Dramatic Sub-Committee met at the Society’s offices on Friday, March 20. After reading the minutes the secretary reported that he had heard from Mr. Fladgate, the solicitor of the Society of West End Managers, in regard to the settlement of the Managerial Treaty, and that the question had been referred to Mr. Gatti and himself for dis- cussion. The secretary further reported that he had seen Mr. Gatti, and it was probable that the report would be laid before the next meeting of the sub-committee. The question of the conference to be held at the Society’s offices to discuss matters con- nected with the use of titles by film manu- facturers was mentioned to the sub-committee. Various bodies interested had consented to send delegates to the conference, and it was 185 decided to invite the Society of West End Managers to attend, as well as a representative of the Committee of Management of the Society. The secretary was instructed also to communicate further with the Film Renters’ Association. The agenda for the conference was settled in the following terms :— 1. To consider what joint action could be taken to safeguard (a) Titles. (b) Subject matter. 2. The appointment of a joint board to pro- tect the common interests of authors, manu- facturers, and the film trade generally. The secretary was instructed to send the agenda round to all the bodies which had signified their intention to be present. A cable from the Society’s American agent dealing with film rights was read to the sub- committee, and Mr. Cecil Raleigh reported on transactions which the agent had already carried through on his behalf. It was decided, as soon as Mr. Jordan arrived in England, to call a special meeting of the Dramatic Sub- Committee with a view to a discussion on the sale of cinema rights, as Mr. Jordan had stated that he had some important information to lay before the sub-committee. Mr. Raleigh then reported the action of the Society in regard to ‘Sealed Orders,’”’ and stated that the Society had obtained an injunction on his behalf, and, at the same time, a payment from the defendants towards the costs. Mr. Raleigh expressed his thanks to the Society for its assistance. A proposal to raise a fighting fund for sup- port of dramatic cases was carefully considered. It seemed clear that there were so many issues to be considered that it would be necessary to appoint a sub-committee for the purpose. Mr. Shaw, Mr. Raleigh and Mr. Chambers consented to serve. It was decided to have a meeting as early in May as possible. As the matters before the sub-committee had taken a considerable time to discuss it was decided to adjourn the general discussion on agents to another meeting. The Society’s representative who was to attend the Cinematograph Conference in Paris regretted he had been unable to do so. Two cases were then considered. The first was in relation to a contract carried through by the Society’s agent in Holland. The sub-committee instructed the secretary to write to the member concerned to the effect that it was important that action should betaken, andtothechairmanofthe Com- mittee of Management to get their sanction,  186 subject to the member’s consent to action being taken. o Another question arising out of a dispute on accounts was discussed. On_ the facts before them, the sub-committee did not con- sider that, at the present time, it was necessary to appoint an accountant to investigate the accounts. — Composers’ SuB-COMMITTEE. Tur Composers’ Sub-Committee met at the offices of the Society on Saturday, March 14, at eleven o’clock. After the minutes of the previous mecting had been signed, the secre- tary read counsel’s opinion that had been obtained, with the sanction of the Committee of Management, on a question arising under section 19 (7) (c) of the Copyright Act, 1911. The question related to rights assigned to publishers before the passing of the Act of 1911. The opinion, which was obtained from Mr. E. J. MacGillivray, was a very interesting one. The next question dealt with the matter of publishers’ contracts. The secretary reported that he had received no answer to two letters he had written to the Music Publishers’ Association. He was instructed to write again and to press for a reply. The secretary then drew the attention of the sub-committee to the fact that Messrs. Chappell & Co. were now manufacturing mechanical instrument contrivances, and put forward the suggestion that, as they were making a profit as manufacturers of these contrivances, they might not now think it necessary to share in the composers’ fees. The sub-committee then discussed the question of publishers’ accounts. The secre- tary explained the difficulties, both financial and other, of putting in a chartered accountant to check the accounts regularly. The sub- committee were agreed that if any concrete case came before them where the accounts appeared to be inaccurate, they would advise the Committee of Management to place in an accountant. The matter was adjourned to the next meeting for further consideration. —_+—— Tue Pension FunNpD COMMITTEE. The Pension Fund Committee met at the offices of the Society on Tuesday, March 3. After reading the minutes of the last meeting the secretary made a full report of THE AUTHOR. the position of the fund. He stated that the trustees had invested the sum of £350 in the purchase of Great Eastern Railway Ordinary Shares, and that, after consideration of the income of the fund, had declared to the committee that a further sum of £40 could be used for pensions. The committee formally approved the in- vestments of the trustees for 1913 and 1914. The secretary then reported that Mrs. Francis Marshall, who is at present receiving a pension from the Society, had applied for an increase. After due consideration, and subject to certain conditions, the committee decided to increase the pension by an amount of £15 per annum, bringing the total pension up to £40 per annum. — a Cases. DurineG the last month the secretary has been very busy with cases coming into the office and, in addition to matters which it has been necessary to place in the hands of the solicitors of the Society when immediate legal action was imperative, has dealt with twenty- two cases. They may be catalogued as follows :— 8 claims for the return of MSS. ; 6 claims for money ; 3 claims for accounts and money ; 2 disputes on agreements ; 1 claim for infringement of copyright ; 1 claim for literary libel ; 1 claim for account. Of the six claims for money, one has been placed into the hands of the Canadian lawyers and one has been placed in the hands of the London lawyers. One will be placed in the hands of the London lawyers in the course of a few days, as no response whatever has been made to the secretary’s letters. One case has been completed and the money has been paid. Of the two remaining cases, one has only recently come to the office, and one lies in the United States. The claims for MSS. have been heavy. They are always difficult to deal with. In only one case has the MS. been collected. In one no answer has been given to the secretary’s letter, and it will most probably have to be placed in the hands of the Society’s solicitors. In two other cases the persons communicated with have promised to make a diligent search and write again. In two of the remaining no answer has been given, and it is very probable THE AUTHOR. from the facts before the secretary that the address of the delinquents being incorrect, it will be impossible to obtain any satisfactory reply. The last two have only recently come to the office. There have been three claims for accounts and money. Two of these are against one publisher. The cases against the firm are adding up so rapidly that it may be necessary to place them into the hands of the Society’s solicitors after conferring with the committee. A letter in reply is still wanting in the third case, but the letter of demand has only just been written. In two eases of disputes on agreements, one has been settled and one is still in the course of negotiation. One claim on infringement of copyright has been settled. One case of literary libel has been placed in the hands of the Society’s solicitors. In a demand for an account, the publisher has written and promised to render it as soon as he can get it out. The settlement of these cases has so far not been very satisfactory, but it is hoped that in the May number it will be possible to report that they have been terminated. The disputes still outstanding from former months have practically all been settled, except those that are in foreign countries, or those which necessarily need lengthy negotiations. March Elections. Comtesse Irma Adel- Villa Riviera, Wies- mann. baden. Miss E. M. Evors Harold J. Flowers Hugo William Koch, (“ Hugo W.’’). F. Beverley Lanyon, (of. B.L.”’). George Morrow . Miss Emily Newling Eille Norwood Ivor Novello Mary O’Conor-Eccles Miss Muriel O’Conor Miss Nancy Margaret Paul. Marshall O. Roberts F. J. St. Aubyn . Hugh Stokes Isabel Thorne . - 187 Lyceum Club, Piccadilly, W. Seagrave Rectory, Loughborough. 44, Doughty Street. London, W.C. Evelyns, Hillingdon, Uxbridge. 15, Penrith Road, Keswick. Little Marlow. Hotel Russell, Dub- lin. 30, Chester Street, Grosvenor Place, S.W. Hazel Rough, Hart- field, Sussex. Easton, Grantham. Lamb Building, Middle Temple, E.C. 77, Welbeck Street, Cavendish Square, W. Burleigh, Tudor Road, Upper Nor- wood, S.E. ee ee BOOKS PUBLISHED BY MEMBERS. A F, Britten Austin 1, Northgate End, i Basil Dean Bishops Stortford, Herts. c/o. Cox & Co., 16, Charing Cross, S.W. 19, Albany Ealing. Penrith New School, Long Lane, Finch- ley, N. Lt. ©. low. A. L. Brown- The Rev. chanan. Miss Frances N. Creaton E. S. Bu- Road, “* Custos” . 10, Abbey Court, Abbey Road, N.W. The Cobbles, Wal- ton - on - the - Hill, Surrey. 6, Portsdown Road, W. 5, Fetter Lane, E.C. Oscar F. Dowson Jack Edwards . David Delta Evans, (‘‘ Dewi Hiraddug ’’). While every effort is made by the compilers to keep this list as accurate and exhaustive as possible, they have some difficulty in attaining this object owing to the fact that many of the books mentioned are not sent to the 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 co-operate in the compiling of this list, and, by sending particulars of their works, help to make it substantially accurate. ARCHAOLOGY. DESCRIPTION OF THE TEST SPECIMEN OF THE RostRo- Cartnate INDUSTRY FOUND BrneatH THE NorwicH Crac. By Sir Ray Lanxester, K.C.B. (Occasional Papers, No. 4.) 11 x 74. 18 pp. Three Plates. The Royal Anthropological Institute of Great Britain and Treland. ARCHITECTURE. A Snort Account of GREAT MALVERNE PRioRY CHURCH. A History of the Monastery and Description of the Fabric. By the Rev. AnTrHony CHARLES Drannz, Vicar of Hampstead, sometime Vicar of Malvern. 74 x 5. 100 pp. (Bell’s Cathedral Series.) Bell. 1s. 6d. n.  188 GREEK SCULPTURE AN delivered to the Stu London. By Sir CHARLES 5}. Press. Our Lapy 208 pp. Arrowsmith. 1s. n. BIOGRAPHY. REMARKABLE WoMEN oF F ~.-CoL. ANDREW 353 pp. Stanley Paul. Lir—E AND WRITINGS. Constable, Is. n. A Personal Study of James By Liev 9 x 5}. ToLsToy, GaRNETT. On THE LEFT oF A THRONE. Duke of Monmouth. By Mrs. Evan NEPEAN. Tilustrations. CHILDREN oF THE DEap Enp. By Patrick MAcGILL. Tue SECRET OF CHARLOTTE BRONTE. Reminiscences of the Real Monsieur and Madame Heger. By Frepertka Macpona.p, D.Litt. 73 x 5}. 263 pp. Jack. Lives AND LeGEenps or EneuisH Sarsts. By L. M. Methuen. 6s. n. 5 By Henry James. 9} 7k x 5. 404 pp. Putnam. 6s. Navvy. SHORTT. Nores or A SON AND BROTHER. x 53%. 479 pp. Macmillan. A Gure to HistoricaL FICTION. D.Litt. Five Puays. Grant Richards. p MoprERN ABT. ; poole gory 4 aoe ay 304 pp. Ward, Lock. 6s. Conbud e University REBECCA OF THE Fetts. By Heten H. Warson. i 8 8 x 5}. 388 pp. Religious Tract Society. RANCE FROM 1431 To 1749. Haaa@arp, D.§.0. 16s. ‘n. By Lorp Dunsany. THE AUTHOR. A Girt rrom Mexico. By R. B. TownsHenp. 7} x 5. ; 314 pp. Methuen. 6s. Two lectures tyre Cason HONEYMOON. By Heapon Hitt. 7} x 5. THe Motor Maip. By C. N. and A. M. Witxramson. 4 r Forniss. 7 X 43. : : By Haray Fuenis 2 309 pp. Tur Man rrom Curpin’s River, on WHERE MEN aRE Mapr. By D. Mactan. (Cheap Reprints.) 7i x 4}. 280 pp. Hodderand Stoughton. 1s. n. each. Tur Para to Honour. By Sypney C. 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Pua@se Maroon. By Mary F. Rapuarr. 7} X 5. 7% x 5. 111 pp. 317 pp. Heath, Cranton, and Ouseley. 6s. SunsHine. The Story of a Pure Heart. By Mary OprensHaw. 7} X 5. 318 pp. Heath, Cranton and EDUCATIONAL. : : Tur Scnootmaster. A Commentary upon the Aimsand ,, Ouseley. 6s. . g Methods of an Assistant-Master in a Public School, GtBERT Ray. By Mrs. E, Hucues-Gins. 7} x 95. By A. ©. Benson. Third Edition. 7} x 5. 173 pp. 331 pp. Heath, Cranton and Ouseley. 65. _ Murray. Gorxe Some. A Romance of Strenuous Affection. By , Rex Beacu. 256 pp. THe Aurar Stairs. By G. B. Tae Brasts, Brrps AND BreEs or Vinci: A NATURALIST’S HANDBOOK TO THE GEORGICS. Royps, M.A., B.D. Fowuer, Oxford. JEHHANE OF THE ForEST. 315 pp. Melrose. Ir Witt se Att Rieu. 336 pp. Hutchinson. Tue Sea Caprain. Methuen. SHREWSBURY. Tar Granp Basyton Horst. Running WATER. 320 pp. THe WHEELS OF CHANCE. Brug Lagoon. 287 pp. 297 PoTTEeR AND CLAY. Biackiaw. By Sr Georce MAxKGILy. ‘THE BRIDGE. Fisher Unwin. By Tuomas FLETCHER With a Preface by W. WarDE 3s. 6d. n. By H. C. Batvey. By Stantey WEYMAN. By Arnotp Brennerr. THe Cuckoo Lams. By H. W. C. Newre. 7} x 5. By A. E. W. Mason. 402 pp. Chatto and Windus. 6s. By H. B. Marriorr WATSON. By Marx Somers. Lancaster. 324 pp. THE Man on THE Box. By H. MaceratH. 231 pp. (Shilling Library.) 74 x 44. Hodder and Stoughton. Is. n. each. Tur Grass Wipow. By DorotHEa GERARD. 318 pp. Toe Grau In Grey. By Curtis York. 318 pp. By L. A. Taupor. 7} x 5. Sevenpenny Editions. J. Long. Tur TRAIL OF THE Sworp. By Sir Gitpert Parker. By Tom Gatton. 7} X 5. 256 pp. Monrezuma’s Davucuter. By H. RipEr Haccarp. 320 pp. (Cheap Reprints.) 6} x 44. 7% x 5. 341 pp. Hodder and Stoughton. 7d. n. each. Tue Enp or Her Honeymoon. By Mrs. BELLoo 356 pp. Lownpes. 7} xX 5. 309 pp. Methuen. 6s. By H. G. Wetts. An Assent HeERo. By Mrs. Frep ReyNorps. Tk x 44. By H. pre VERE Mills and Boon. 6s. 260 pp. THE Proressor’s Legacy. By Ir Was THE Time or Rosrs. By Dorr WYLLARDE. Mrs. ALFRED SIDGWICK. Library.) Tue Fork or Furry Farm. 315 pp. Once Upon A Timez. (The Wayfarer’s 7h x 43. 274 pp. Holden and Hardingham. 6s. ls. n. each. Tue Epucation or Otiver Hypr. By R. E. SaLwey. By K. F. Purpon. 7} x 5. 73 x 5. 288 pp... Digby Long. 6s. Frivote. By Kate Horn. 7} x 4}. 296 pp. Stanley Paul. 6s. Farner O’Fiynn. By H.pe Vern Sracroore. 7} x 4}. 7h x By Mrs. StanLey WRENCH. 7} X 5. 245 pp. Hutchinson. Is. n. ; Tur AMAZING PARTNERSHIP. By E. Puiiiips OPPENHEIM. 74x 5. 483 pp. 72 x 5. 312 pp. Cassell. 3s. 6d. Tun Essex Papers. By C. E. Pru. 7kx 5. 352 pp. A Free Hanp. By Heren C. Ropurts. 74 X 43. 322 pp. Duckworth. 6s. ' i i THE AUTHOR. 189 LITERARY. An ENGLISHMAN Looks aT THE WoRLD. By H. G. WELLS. 8} x 54. 357 pp. Cassell. 6s. n. THs Derenpant. By G. K. Caesrerron. (The Way- farer’s Library.) 7 x 43. 172 pp. Dent. 1s. n. THE TRUTH ABOUT AN AuTHOR. By ARNOLD BENNETT. 62 x 44. 158 pp. Methuen. 2s. 6d. n. MILITARY. With tHe Turk in Wartime. By Marmaduke PIcK- THALL. § x 54. 216 pp. Dent. 5s. n. MUSIC. BuLuEBEARD. A Musical Fantasy. By Kate Dovcias Wiccin. 7 xX 4}. 58 pp. Harper. 2s. n. ORIENTAL. Tue Earty DEVELOPMENT oF MoHAMMEDANISM. Lec- tures delivered in the University of London, May and June, 1913. By D. Marcorrouts, D.Litt., Laudian Professor of Arabic in the University of Oxford. (The Hibbert Lectures, Second Series.) 83 x 5}. 265 pp. Williams and Norgate. 6s. n. PAMPHLETS. Immunity oF Sra-BorNE CoMMERCE FROM CapTuRE. By M. Pures Price. National Peace Council. 1d. POETRY. Darts oF Derrance. Sonnets and other Poems. By B.A. Mtecn. 7} 5. 110 pp. Lynwood. 2s. 6d. n. POLITICS. Home Rute anp Crviz War. An Appeal to the British People. By Esmé WINGFIELD-StRaTFoRD. 7} x 4}. 120 pp. Bell. 1s. n. REPRINTS. A Cuancep Man. Tue Waitinc Supper, &c. By Tuomas Harpy. Wessex Edition, Vol. XVIII. 9 x 53. 399 pp. Macmillan. 7s. 6d. n. Views AND Reviews. Essays in Appreciation. By W. E. Henvey. Literature. 7 x 44. 235 pp. Third Edition. Nutt. 5s. n. SCIENCE. Wrretess TeLtecrapHy. A Handbook for the Use of Operatorsand Students. By W.H.Marcuant. 74 x 5. 241 pp. Whittaker. 5s. n. SOCIOLOGY. Lup Makers AND CLUB Members. By T. H.S. Escort. 9 x 53. 352 pp. Fisher Unwin. 12s. n. Waite Suaves or Tom. By W. N. Wiis. 7} x 5. 208 pp. Pearson. Is. n. Lire-THEORY AND SocraLism. Essays by O. C. Ironsipe. 7 x 43. 96 pp. Milner. 6d. THEOLOGY. Some Counssts or S. Vincent De Pau, to which is appended the Thoughts of Mademoiselle le Gras (First Superior of the Sisters of Charity). Translated and selected by E. K. Sanpers. 7 x 4}. 144 pp. Heath, Cranton, and Ouseley. 1s. n. JUDAISM AND St. Paut. Two Essays. By C. G. Monre- FIORE. 74 x 5. 240 pp. Max Goschen. 2s. 6d. n. THe Cuurcu RevivaL. Thoughts Thereon and Reminis- cences. By.S. Barina Govunp. 9 x 5}. 407 pp. Methuen. 12s. 6d. n. Tue Winps or Dawn AnD OTHER PARABLES FROM NATURE. By T. Rarcrirre Barnerr. 7} x 5. 87 pp. Nisbet. 2s. n. TRAVEL. Catro or To-Day. A Practical Guide to Cairo and the Nile. By E. Reynoups-Batu. Seventh Edition. 6} x 44. 268 pp. Black. 2s. 6d. n. Tue Istes or Scrtty: Terr Story, THEIR FotK, AND THEIR FLowers. With 24 coloured illustrations by Jessie MorHersoue. Published by R.T.S. at 2s. 6d. n. Se ee LITERARY, DRAMATIC, AND MUSICAL NOTES. + = ‘OTES of a Son and Brother” is the title of Mr. Henry James’s sequel to ““A Small Boy and Others”; a continuation of his early reminiscences, with special reference to his father and to William James, but containing many portraits of other members of the family and the circle. The book is published by Macmillan & Co. at 12s. Volumes XIII. and XIV. of the Bombay edition of Mr. Rudyard Kipling’s works are to be published this month by Macmillan. They will contain “ The Day’s Work ”’ and “ Stalky & Co.” From the same firm of publishers there is to be expected, in May, Mr. H. G. Wells’s work, which is running scrially in the English Review —‘‘ The World Set Free, a Story of Mankind.” The title of Mr. Frankfort Moore’s new book —‘* The Ulsterman ’’—indicates its relation to the question of the hour. Though in the guise of fiction, it presents a serious portrait of the men who have now the eyes of the world upon them (Hutchinson & Co.). Mr. Douglas Sladen’s ‘“‘ Twenty Years of My Life ’’ is announced by Constable & Co. The subject of Mrs. Evan Nepean’s ‘* On the Left of the Throne”’ is the unhappy James, Duke of Monmouth, whom the author tries to see “through the eyes of the two people who knew and loved him better than anyone else in the world, Charles II. and Henrietta Lady Wentworth,” though without idealising him. A feature of the book is the very large number of Monmouth portraits which illustrate it, Mrs. Nepean frankly confessing her pleasure in his good looks (John Lane, 10s. 6d. net). “Children of the Dead End, the Auto- biography of a Navvy” is by Mr. Patrick MacGill, who in a foreword says that most of his story is autobiographical, but asks a little allowance for the pen of the novelist. Ireland  190 and Scotland provide the scene of the greater part of the book, there is a short interlude in Fleet Street, and the story ends tragically in Glasgow (Herbert Jenkins). : ( “Ravenna” is a geographical, historical, and critical study of the great Italian city which the author, Mr. Edward Hutton, calls the only remaining monument of the Dark Age—the period between Antiquity and the Middle Age (Dent, 10s. 6d. net). : Mr. Ernest A. Baker’s ‘‘ Guide to Historical Fiction” (Routledge, 21s. net) follows the lines of his ‘‘ Guide to the Best Fiction in English,” and is much more than an enlargement of his earlier ‘‘ History in Fiction,” we are told. The second section of Dr. Edwin A. Abbott’s work, ‘‘ The Fourfold Gospel,”’ has been issued by the Cambridge University Press at 12s. 6d. net. It is part of the close and voluminous examination of the text of the Christian Gospels and its interpretation, on which Dr. Abbott has long been engaged. Dr. Charles Sarolea is the editor of the Collection Gallia” (Dent & Sons), the object of which is to spread the best French literature at a low price throughout the world. The first volumes include works by Balzac, Flaubert, Pascal, de Musset, etc. To the volume ‘‘ With Hunter, Trapper and Scout in Camp and Field”’ a story entitled “War Scouts at Tripoli” is contributed by Miss Ena Fitzgerald (Holden and Hardingham, 5s. net). ‘Simplified Spelling,” described as an appeal to common sense, is the third edition of a paper-covered booklet issued by the Simplified Spelling Society—as it spells itself on cover and title-page. Professor Gilbert Murray is the President—or Prezident—of the reformers. Four reprints of Miss Belham-Edwards’ works have appeared within the last few months, notably that of her first novel, ‘‘ The White House by the Sea” (1857), lately republished by Baron Tauchnitz and Collins, Glasgow, and ‘“‘ The Lord of the Harvest ” (1889), added to the Oxford Press ‘‘ World’s Classics,” 1918, with a preface by Mr. Frederic Harrison. The same writer’s ‘ Pearla ’’—published simultaneously in London, Leipzig and New York (Harper) in 1881—was lately re-issued in Arrowsmith’s tasteful 1s. novel series, and the seventh and popular edition of her “* Home Life in France’ has just appeared from the house of Methuen. A new edition (among others forthcoming) of a very early novel will also be published shortly THE AUTHOR. This is ‘‘ Doctor Jacob,” the proofs of which were corrected by the author on the wedding day of Edward VII. and Queen Alexandra, March 10, 1868, and which was published the following year. The book went out of print with the “ yellow- backs ’’ in 1894 or thereabouts, but has since by a famous house. been often reprinted by Baron Tauchnitz. It will be seen, therefore, that this early Victorian has no reason to complain of neglect by Georgian publishers and readers. “* Acute General Miliary Tuberculosis ”’ is the name of a work by Professor G. Cornet, of Berlin and Reichenhall, translated by Mr. F. S. Tinker, late Senior Resident and Oph- thalmic Assistant to the Royal Infirmary, Liverpool (Bale, Sons, and Danielsson, 6s. net). A sevenpenny edition of Mr. Charles. Garvice’s ‘‘ Better than Life ’’ was published last month by Hodder and Stoughton. K. L. Montgomery’s forthcoming romance, ‘“* Kars of Leather,’ will be published by John. Long, Ltd. ‘‘ Ears of Leather” deals with the witch persecutions of Massachusetts in 1692, which the historian Lecky has styled “one of the tragedies of humanity.” K. L.. Montgomery has been recently engaged on a series of articles on North Italian cities, for: The Car Illustrated. Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe Maroon,”’ a story dealing with the life of an artist’s model, was published last month by Heath, Cranton, and Ouseley. Mrs: F. R. M. Fursdon’s novel, ‘‘ The Story of Amanda,’ will be published in May by Simpkin, Marshall, Hamilton, Kent & Co. The prologue gives Amanda’s peculiar parent-- age; and the book, her transitions from childhood in the slums of a provincial city to life in a big country house during a General Election. Mr. G. B. Lancaster’s earlier stories of the South Seas, ‘‘ Sons 0’ Men” and ‘“‘ The Altar Stairs,” have been published in a shilling edition by Hodder and Stoughton, who are bringing out a third, “‘ The Spur,” later in the year. The new number of Poeiry and Drama,. edited by Mr. Harold Monro, includes poems by Messrs. Maurice Hewlett, Ezra Pound, etc. The Poetry Bookshop, which publishes this quarterly, has issued a shilling anthology of the Italian Futurist poets, compiled by Mr.. Monro. The spring announcements of Constable &. Co. include “‘ Cuddy Yarborough’s Daughter,” by Miss Ura L. Silberrad; ‘‘ Dust from the-  THE AUTHOR. Loom,” by Mr. James Noble; and a second impression of ‘‘ The Making of an Englishman,”’ by Mr. W. L. George. Miss Beatrice Chase’s Devonshire novel, **The Heart of the Moor,” has appeared with a prefatory note by the publisher, Mr. Herbert Jenkins, who explains how not only his four expert readers, but he himself, were compelled to defer their opinions to the author’s with regard to the book. Miss Jean Middlemass’s new serial, ‘‘ His Lordship’s Will,” is to appear in the news- papers connected with the National Press Agency next year. K. M. Edge (Mrs. Caulfield) has published her novel “Through the Cloudy Porch” through John Murray. Mrs. Helen H. Watson’s ‘‘ Rebecca of the Fells,’’ published by the Religious Tract Society, opens on the Lancashire Fells, whence the reader is taken to British Columbia. The same author’s “* When the King Came South,”’ is being added to the Leisure Hour Monthly Library (6d.). Mr. Edward Wilmore, author of ‘“ East London Visions,’’ has a new book, ‘‘ Scril, a Story of the Stone Age ” (Longmans, Green & Co., 1s.). ‘** Miss Rossiter’s Reputation,”’ being an ex- posure of the narrowness and bigotry of English provincial life, by Mr. E. Newton Bungay, is to be published next month by Lynwood & Co. Mr. John Haslette, who has a serial running in the Daily News, has written a novel, which will be published this spring by Messrs. Smith, Elder & Co. The title is ‘‘ Johnnie Maddison,”’ and the story deals with a man’s struggle against the convention which holds that a man should not “ tell on ”’ a friend. Mrs. R. E. Salwey’s new novel is the story of a youngster, well placed in life, and en- dowed with great physical strength, who puts his instructors to flight by intimidation. Eventually the right man takes him the right way. The education lasts one day; after that it is self-education, and the real goodness of the hero’s nature comes out (Digby, Long & Co., 6s.). A new novel, entitled ‘“‘ Megan of the Dark Isle,” by Mrs. J. O. Arnold, author of ‘‘ The Fiddler,” ete., will shortly be published by Alston Rivers. The scene is laid in the Island of Anglesey. Early this month is to be published a monthly magazine, The Photo-Play Writer, aiming to give practical information to both beginners and experts in the rapidly increasing 191 body of British authors writing plays for the picture theatres. The editor is Mr. Ernest A. Dench, and the magazine may be obtained from 17, Frederick Crescent, Brixton, by subscription only. A new (acting) version of I. Hearne’s play “Queen Herzeleid,’’ is being published this month under the title of “The Mother of Parsifal ”’ (David Nutt). There will be a long Elizabethan poem by Dorothy Margaret Stuart in the May Pall Mall Magazine, entitled “Spring in the South Seas, 1572.” Messrs. Methuen are publishing early in April a sezies of letters written by Miss Grace Ellison, and entitled ‘‘Life in a Turkish Harem.” DRAMATIC. ** The Quod Wrangle,”’ a farcical comedy by Mr. Oliphant Down, was presented at the Apollo Theatre on March 38. Mr. Seymour Hicks’s one-act musical play, ‘*The Model and the Man” was put on as curtain-raiser at the Prince of Wales’s Theatre on March 4. The first performance of Mr. Alfred Sutro’s new comedy, “‘ The Two Virtues,” took place at the St. James’s Theatre on March 5. On March 10 Mr. Edward Knoblauch’s ** ¥ismet ”’ was revived at the Globe Theatre. ‘* After Twenty Years,’’ a short sketch by Miss Cicely Hamilton, was seen at the Coronet Theatre on March 12, the author herself taking the part of the mother. Two afternoon performances took place at the Court Theatre on March 27 and 80 of a play founded by Mr. H. J. Twyford on Mrs. Charlotte Mansfield’s ‘“* The Girl ana the Gods.” ‘* Helen with the High Hand,” Mr. Richard Price’s adaptation of Mr. Arnold Bennett’s novel, was visited last month by the celebrated ‘* deportes ’’ from South Africa. Mr. Bernard Shaw’s ‘‘ Pygmalion” is in rehearsal at His Majesty’s Theatre, and the first night is fixed for the 11th instant. Mrs. Percy Dearmer’s “‘ Brer Rabbit: a Musical Frolic ”’ is to be seen at five matinées at the Little Theatre, commencing on Easter Monday. Sir Edward Elgar will this summer lay the foundation stone of the Glastonbury Festival Playhouse, which is to be built primarily for British music-drama, including the Arthurian eycle, composed and written by Messrs. Reginald R. Buckley and Rutland Boughton. ‘** Caprice ’’ by Mrs. V. C. Greenaway is the title of a one-act play which was produced by 190 and Scotland provide the scene of the greater part of the book, there is a short interlude in Fleet Street, and the story ends tragically in Glasgow (Herbert Jenkins). : “Ravenna” is a geographical, historical, and critical study of the great Italian city which the author, Mr. Edward Hutton, calls the only remaining monument of the Dark Age—the period between Antiquity and the Middle Age (Dent, 10s. 6d. net). Mr. Ernest A. Baker’s ‘‘ Guide to Historical Fiction ” (Routledge, 21s. net) follows the lines of his ‘‘ Guide to the Best Fiction in English,” and is much more than an enlargement of his earlier ‘‘ History in Fiction,”’ we are told. The second section of Dr. Edwin A. Abbott’s work, ‘‘ The Fourfold Gospel,” has been issued by the Cambridge University Press at 12s. 6d. net. It is part of the close and voluminous examination of the text of the Christian Gospels and its interpretation, on which Dr. Abbott has long been engaged. Dr. Charles Sarolea is the editor of the «Collection Gallia’? (Dent & Sons), the object of which is to spread the best French literature at a low price throughout the world. The first volumes include works by Balzac, Flaubert, Pascal, de Musset, etc. To the volume ‘‘ With Hunter, Trapper and Scout in Camp and Field”’ a story entitled ‘‘War Scouts at Tripoli” is contributed by Miss Ena Fitzgerald (Holden and Hardingham, 5s. net). ‘Simplified Spelling,” described as an appeal to common sense, is the third edition of a paper-covered booklet issued by the Simplified Spelling Society—as it spells itself on cover and title-page. Professor Gilbert Murray is the President—or Prezident—of the reformers. Four reprints of Miss Belham-Edwards’ works have appeared within the last few months, notably that of her first novel, “* The White House by the Sea” (1857), lately republished by Baron Tauchnitz and Collins, Glasgow, and ‘‘ The Lord of the Harvest ”’ (1889), added to the Oxford Press ‘* World’s Classics,” 1918, with a preface by Mr. Frederic Harrison. The same writer’s ‘* Pearla ’—published simultaneously in London, Leipzig and New York (Harper) in 1881—was lately re-issued in Arrowsmith’s tasteful 1s. novel series, and the seventh and popular edition of her “‘ Home Life in France”’ has just appeared from the house of Methuen. A new edition (among others forthcoming) of a very early novel will also be published shortly THE AUTHOR. by a famous house. This is “‘ Doctor Jacob,” the proofs of which were corrected by the author on the wedding day of Edward VII. and Queen Alexandra, March 10, 1863, and which was published the following year. The book went out of print with the “ yellow- backs ”’ in 1894 or thereabouts, but has since been often reprinted by Baron Tauchnitz. It will be seen, therefore, that this early Victorian has no reason to complain of neglect by Georgian publishers and readers. ** Acute General Miliary Tuberculosis ”’ is the name of a work by Professor G. Cornet, of Berlin and Reichenhall, translated by Mr. F. S. Tinker, late Senior Resident and Oph- thalmic Assistant to the Royal Infirmary, Liverpool (Bale, Sons, and Danielsson, 6s. net). A sevenpenny edition of Mr. Charles. Garvice’s ‘‘ Better than Life’ was published. last month by Hodder and Stoughton. K. L. Montgomery’s forthcoming romance, ‘‘ Ears of Leather,” will be published by John. Long, Ltd. ‘‘ Ears of Leather” deals with. the witch persecutions of Massachusetts in 1692, which the historian Lecky has styled ‘‘one of the tragedies of humanity.” K. L.. Montgomery has been recently engaged on a series of articles on North Italian cities, for The Car Illustrated. Mrs. Mary F. Raphael’s novel, ‘‘ Phoebe Maroon,”’ a story dealing with the life of an artist’s model, was published last month by Heath, Cranton, and Ouseley. Mrs: F. R. M. Fursdon’s novel, “* The Story" of Amanda,” will be published in May by Simpkin, Marshall, Hamilton, Kent & Co. The prologue gives Amanda’s peculiar parent-- age; and the book, her transitions from childhood in the slums of a provincial city to life in a big country house during a General Election. Mr. G. B. Lancaster’s earlier stories of the South Seas, ‘‘Sons 0’ Men” and “ The Altar Stairs,” have been published in a shilling: edition by Hodder and Stoughton, who are bringing out a third, “‘ The Spur,”’ later in the year. The new number of Poetry and Drama,. edited by Mr. Harold Monro, includes poems by Messrs. Maurice Hewlett, Ezra Pound, etc. The Poetry Bookshop, which publishes this quarterly, has issued a shilling anthology of” the Italian Futurist poets, compiled by Mr.. Monro. The spring announcements of Constable &: Co. include *“* Cuddy Yarborough’s Daughter,” by Miss Ura L. Silberrad; ‘‘ Dust from the-  THE AUTHOR. Loom,”’ by Mr. James Noble; and a second impression of ‘‘ The Making of an Englishman,”’ by Mr. W. L. George. Miss Beatrice Chase’s Devonshire novel, “The Heart of the Moor,” has appeared with a prefatory note by the publisher, Mr. Herbert Jenkins, who explains how not only his four expert readers, but he himself, were compelled to defer their opinions to the author’s with regard to the book. Miss Jean Middlemass’s new serial, ‘‘ His Lordship’s Will,” is to appear in the news- papers connected with the National Press Agency next year. K. M. Edge (Mrs. Caulfield) has published her novel “Through the Cloudy Porch” through John Murray. Mrs. Helen H. Watson’s ‘‘ Rebecca of the Fells,’ published by the Religious Tract Society, opens on the Lancashire Fells, whence the reader is taken to British Columbia. The same author’s ‘‘ When the King Came South,” is being added to the Leisure Hour Monthly Library (6d.). Mr. Edward Wilmore, author of ‘* Kast London Visions,’’ has a new book, “ Scril, a Story of the Stone Age ’’ (Longmans, Green & Co., ls.). ‘* Miss Rossiter’s Reputation,”’ being an ex- posure of the narrowness and bigotry of English provincial life, by Mr. E. Newton Bungay, is to be published next month by Lynwood & Co. Mr. John Haslette, who has a serial running in the Daily News, has written a novel, which will be published this spring by Messrs. Smith, Elder & Co. The title is ‘‘ Johnnie Maddison,”’ and the story deals with a man’s struggle against the convention which holds that a man should not “ tell on ”’ a friend. Mrs. R. E. Salwey’s new novel is the story of a youngster, well placed in life, and en- dowed with great physical strength, who puts his instructors to flight by intimidation. Eventually the right man takes him the right way. The education lasts one day; after that it is self-education, and the real goodness of the hero’s nature comes out (Digby, Long & Co., 6s.). A new novel, entitled ‘“‘ Megan of the Dark Isle,” by Mrs. J. O. Arnold, author of ‘‘ The Fiddler,’ etc., will shortly be published by Alston Rivers. The scene is laid in the Island of Anglesey. Early this month is to be published a monthly magazine, The Photo-Play Writer, aiming to give practical information to both beginners and experts in the rapidly increasing 191 body of British authors writing plays for the picture theatres. The editor is Mr. Ernest A. Dench, and the magazine may be obtained from 17, Frederick Crescent, Brixton, by subscription only. A new (acting) version of I. Hearne’s play *“ Queen Herzeleid,”’ is being published this month under the title of ‘‘ The Mother of Parsifal ’’ (David Nutt). There will be a long Elizabethan poem by Dorothy Margaret Stuart in the May Pail Mall Magazine, entitled “Spring in the South Seas, 1572.” Messrs. Methuen are publishing early in April a sezies of letters written by Miss Grace Ellison, and entitled ‘‘Life in a Turkish Harem.” DraMatTIc. ‘** The Quod Wrangle,”’ a farcical comedy by Mr. Oliphant Down, was presented at the Apollo Theatre on March 3. Mr. Seymour Hicks’s one-act musical play, ‘The Model and the Man” was put on as curtain-raiser at the Prince of Wales’s Theatre on March 4. The first performance of Mr. Alfred Sutro’s new comedy, “ The Two Virtues,” took place at the St. James’s Theatre on March 5. On March 10 Mr. Edward Knoblauch’s ‘** }fismet ”’ was revived at the Globe Theatre. ** After Twenty Years,’’ a short sketch by Miss Cicely Hamilton, was seen at the Coronet Theatre on March 12, the author herself taking the part of the mother. Two afternoon performances took place at the Court Theatre on March 27 and 30 of a play founded by Mr. H. J. Twyford on Mrs. Charlotte Mansfield’s ‘“* The Girl ana the Gods.”’ ‘** Helen with the High Hand,” Mr. Richard Price’s adaptation of Mr. Arnold Bennett’s novel, was visited last month by the celebrated ‘* deportes ’’ from South Africa. Mr. Bernard Shaw’s ‘“ Pygmalion” is in rehearsal at His Majesty’s Theatre, and the first night is fixed for the 11th instant. Mrs. Percy Dearmer’s ‘‘ Brer Rabbit: a Musical Frolic ’’ is to be seen at five matinées at the Little Theatre, commencing on Easter Monday. Sir Edward Elgar will this summer lay the foundation stone of the Glastonbury Festival Playhouse, which is to be built primarily for British music-drama, including the Arthurian cycle, composed and written by Messrs. Reginald R. Buckley and Rutland Boughton. ‘** Caprice” by Mrs. V. C. Greenaway is the title of a one-act play which was produced by 192 West End Productions, Limited, on March 11, at the London Pavilion. The play deals with the action of a young wife who leaves her cold- hearted husband for a warm-hearted lover, ‘only to discover that she loves her husband better than she had imagined, and eventually returns to him. Musica. Messrs. Curwen & Sons have published “A Federal Song ” for unaccompanied chorus, written by Mr. Reginald R. Buckley and composed by Mr. Edgar L. Bainton. ‘Men of Ulster ” is the name of a new song, of which both the words and the music are by Mr. Rowland R. Gibson. —————01— > o__—_ PARIS NOTES. ras a A REVOLTE des Anges ”’ is the title of the book just published by Anatole France. its thirty-third edition. “‘Chyistianisme et Culture Féminine,” by Lucie Félix-Faure Goyau, is a volume pub- lished since the death of this author. It contains a series of chapters on various subjects and, as we are told in the preface by her husband, had Madame Goyau been spared, we should probably have had another chapter forming a general study of the subjects treated in this volume. The first five chapters are devoted to the history of Radegonde, the romantic story of the young girl who was married against her wish to Clotaire, and who, after the murder of her brother by her husband, took refuge in a convent. Madame Goyau shows us, in these chapters, the culture of convent women in the sixth century, and we see in Radegonde the earliest of the women poets of France. ‘The next ten chapters treat of the culture of women of the Middle Ages. The first French authoress was Dhuoda, Duchess of Aquitaine, who wrote a book for her sons, inspired as she was by great grief, after having her second son taken away from her by her husband and not being allowed to know by what name the child was to be called. Dhuoda died in 1843. Madame Goyau gives us many examples, showing the remarkable culture of women in the Middle Ages and during the Renaissance. The second part of this volume is devoted to the mysticism of women and, in the last chapters, we have a remarkable study of Juliane of Norwich, an English recluse of the It is already in THE AUTHOR. fourteenth century. The whole volume is written with that scholarly precision and conscientiousness which were always such marked features of this author’s works. Thanks to her knowledge of foreign languages, Madame Goyau was able to draw her examples from many sources. She was a great optimist and a gifted psychologist. On closing the book, one can only regret the ‘“ unwritten chapter,” which was to have united all these separate studies. a After ‘‘ Napoléonette,”’ Gyp gives us another of her historical novels: ‘‘ La Dame de Saint- Leu.” Her documentation is as fictitious as her fiction, but Gyp’s dialogue is always amusing. English readers will recognise in the Baronne de Feuchéres, the famous Sophie Dawes, that English adventuress about whom so much has been written. Napoléonette reappears in this novel, but she is now the mother of four boys. Gyp’s story begins in 1824, and her chief personage is the last of the Condés, the Duc Louis-Henri-Joseph de Bourbon, who is found dead in his room at Saint-Leu a few weeks after the July revolu- tion of 1830. It will be as well for foreign readers to remember that the book is fiction and not history. ‘““ Nous, les méres,”’ the new novel by Paul Margueritte, is a story very true to life. It is the eternal history of a devoted mother who sacrifices her whole existence to her husband and children. When, as a widow, she might expect some return from her children for her devotion to them, her daughter is with her husband in Russia, and her son and daughter - in-law expect from her the last sacrifice possible. ‘To save their honour, she sells her home and retires to a little house in the country to live out the rest of her lonely life. With all the delicacy of a clever psychologist, Paul Margueritte tells this story simply and shows us all the pathos and reality of it. “Le Monde des Aveugles,” par Pierre Villey, is a valuable addition to the Bibliotheque de Philosophie Scientifique. It is written by a man who is blind and who, in spite of this terrible affliction, pursues his studies, is extremely intellectual, and has given to the world the result of his valuable historical researches. M. Villey writes on the subject of the intelligence and the psychology of the blind man. He shows us how the other senses should be educated and rendered capable to compensate, in a certain measure, for the lack of the visual sense. The author shows us how it is possible for blind men to be interested in travel, in nature, and in all the arts except :  THE AUTHOR. painting, so that it is quite possible for them to earn their living and to take their place in “the world. The book is extremely interesting and should be widely read. “‘Le Bourgeois aux champs,” by M. Bricux, is being played at the Odéon. A retired barrister, who is a Socialist, buys an estate and endeavours to introduce new ideas in the country. The villagers have very little faith in his innovations. Disappointed on every side, the would-be Socialist decides to enter Parliament. M. Brieux expresses, by his various personages, his opinions on the political and social problems of our times. The ‘‘ Little English Theatre ’’ is mecting with great appreciation here, and Mr. Philip Carr may be congratulated on his venture. Two of Synge’s plays and one_ of Bernard Shaw’s drew a large public. M. Poincaré requested that a box might be reserved for him, the American Ambassador and his family occupied another one, and the Dowager Duchess d’Uzés a third. Among those present were Monsicur and Madame Boutroux, the Marquise de Ségur and many notabilities of the French literary world. Axrys HAaiarp. “La Révolte des Anges”? (Calmann-Levy). “ Christianisme et Culture Féminine” (Perrin). “ Napoléonette” (Calmann-Levy). “ Nous, les méres” (Plon). “Le Monde des Aveugles” (Flammarion). —__—_+—_>_+____—__- PUBLISHERS’ METHODS. DEFERRED ROYALTIES. N the early days of the Society it was by no means an uncommon practice for publishers to purchase authors’ works outright for a lump sum. Indeed, the practice, though less prevalent than it once was, still obtains, especially in con- nection with a certain class of book—notably children’s. It is not a method of publication to which any author should assent, first, because it is almost impossible for him to estimate the value of his work beforehand; and, secondly, because under it he loses practically all control over his work, which the purchaser may hold up or publish according to his own convenience, and in many cases to the great: inconvenience of the author. Old books, with the copyright of which their authors have parted, have, before now, been known to re-appear on the market in time to damage the sale of the writer’s more mature work. But it is rather with financial considerations 193 that we would deal in this article. Given a° royalty agreement, the author is able, if he seeks the advice of the Society, to insure getting a share in the success of his work, if such success, in the form of large sales, awaits it. Unfortunately there are both good and bad royalty agreements, and those latter royalty agreements are often deferred royalty agreements. Under a deferred royalty | agreement the author may—in practice, very often does—get nothing. ‘This method of pub- lishing is not uncommon. ‘Though a suit- able arrangement can be come to on the deferred royalty basis, still,,in nine cases out of ten, the contract is to the disadvantage of the author. The publisher, eloquent on the subject cf the risk incidental to the publication, persuades the author to let him have the first 500, 750, or even 1,000 copies of his book “free of royalty.” To make the agreement fair, after these sales the author ought to have a proportionately higher royalty and the publisher less profit, because he has recovered his outlay, and there is no further risk to be run. After that number has been sold, the author receives 10 per cent., 124 per cent., or even 15 per cent. Somehow or other the book seldom sells beyond the number on which no royalty is payable, and the larger the number free of royalty the less likelihood is there of an increasing sale; indeed, one publisher who had the free sale of 1,000 copies, printed that number and then broke up the type. But even if he had printed more than the number free of royalty, it does not then follow that the author will receive anything. For example, assuming 750 is the number on whicn the publisher pays no royalty, he will print an edition of 1,000 copies. After the 750 copies have been sold, he will discover that the sale is beginning to drop. Deducting the review copies (say 100) the publisher is left with 150 copies on hand. If he is to sell these at the full published price, he may have to incur additional advertisement expendi- ture from his point of view quite incommensurate with the returns from the sales. Rather than do this, he sells the book as a “ remainder,” interpreting the term ‘ remainder sale” to cover any sale at less than what he calls “the usual trade terms,” and by a clause he has been careful to insert in the agreement, pays the author 5 per cent. on the nett proceeds. It may often pay the publisher to sell the book thus cheaply, rather than to sell it at “the usual trade terms,” with the obligation to pay the author the royalty mentioned in the agree- ment. But if the publisher has put the author's royalty after the free sales as high as 20 per cent. or 25 per cent., the temptation to remainder the book is obvious. In short, what the publisher loses by selling the book as a “remainder” he 194 may easily recover at the expense of the author's royalty. This does not necessarily happen; much must depend upon the publisher, and the aphorism <* business is business,’ undergoes different inter- pretation at different hands. However, an agreement has been brought to the Society providing for a royalty even more deferred than has been indicated by the figures above. The clause runs :— ‘All copies sold of the said work within twelve months of the date of publication shall carry no royalty to the author, but on all copies sold after the expiration of the first twelve months after publication the publisher agrees to pay to the author and the author agrees to accept a royalty of . . . of the nominal published price on sales of the 6s. edition. and a royalty of 7% per cent. of the nominal published price on the sales of any cheaper edition or editions.” Now all publishers assert that the largest sales of a novel occur either on subscription before publication, or within the first four months after publication. Most publishers will inform an author that a book is dead at the end of six months, and all publishers will inform an author that the ordinary novel is dead at the end of twelve months, unless for some special reason the vitality of a book carries it forward for two or three years, or, perhaps, even longer. Therefore, when a publisher puts a clause of this kind into an author’s agreement, he must know that to all intents and purposes he is asking the author to give him the book for nothing, and most publishers, if they were asked to answer on oath in the witness-box, would corroborate this statement. It is quite true that if the author desires to give the publisher his work for nothing, there is nothing to prevent him from doing so, but it is a question as to how far, when a pub- lisher inserts such a clause in his agreement, he is bound to explain the effect of it to the author —to the author who is most probably ignorant of the fact that the ordinary novel is dead in six months. But there is this further difficulty, that the authors’ and the publishers’ interests are not in common ; that there is no stimulus whatever for the publisher to push the book beyond the first twelve months if it has had anything like an ordinary sale. In fact there is every reason why he should not do so. A publisher’s object is naturally to turn over his capital, and to make a percentage on it; when this object has been obtained, it may often be good tactics to take the book off the market, to make way for new books that are constantly coming forward. It is often more remunerative for the publisher to act thus than to expend labour in pushing the author's work into another edition of 1,000 or 2,000 copies. THE AUTHOR. THE U.S.A. AND CUSTOM DUTIES. Boarp oF APPRAISERS HOLDS THAT THE Royatty ON Booxs ImportTeD IN SHEETS 1s Not Part oF THE ForEIGN MARKET VALUE. Tr an important test case standing in the name of E. B. Dutton & Co., the Board of United States General Appraisers rendered a decision favourable to the Dutton Company. The precise question before the Board was whether a royalty of 10 per cent. of the retail price of a bound book was to be included as a part of the foreign market value of the printed unbound sheets of such book. It appeared from the testimony that Dutton & Co. ordered the unbound sheets with the intention of binding the books in the States. The firm also agreed to pay Methuen & Co., the owners of the English copyright, a royalty of 10 per cent. on each book sold, the American selling price of which was fixed at $1.35 per volume. The appraising officers at New York included the 10 per cent. royalty in the foreign market price, and exacted duty accordingly. Dutton & Co. appealed to the reappraisement division of the Board of General Appraisers, where arguments in sup~ port of the importers were made by James F. Curtis, until recently Assistant Secretary of the Treasury Department, in charge of cus- toms, William L. Wemple, Assistant Attorney- General of the Department of Justice appearing for the Government. It was contended by the importers that the royalty being fixed upon the retail price of the finished book, which is more than eight times the price paid for the unbound sheets, is not a part of the foreign market value. Three reasons were adduced in support of the con- tention. The first was that the royalty was not properly payable on the value of the sheets, but upon the value of the retail price of the finished book. The second point was that the royalty did not attach to the sheets and would never become due and payable if the sheets remained unbound after importa- tion; and, thirdly, that the royalty attached only to the finished book, and even then became due and payable only upon the actual sale of the volume by the importers. The decision continues : Appellants further contend, and it is not here disputed, that such sheets are not sold in wholesale quantities in the British Empire, and that therefore there is no wholesale foreign market value in the country from whence  Bey THE AUTHOR. imported. They also contend, and neither is this disputed, that such sheets are not sold in wholesale quantities in the United States, and that therefore there is no basis for determining their foreign market value under the last pro- vision in sub-section 11 of section 28 of the Tariff Act of 1909. It is unquestioned that both of these con- tentions are well-founded, and such being the case, there remains only as the basis upon which foreign market value may be deter- mined, the cost of production as provided in the first part of sub-section 11, supra, but then the query presents itself whether there must be added to the cost of production thus ascer- tained the royalty to be paid as hereinbefore set forth. In thus determining the cost of production there is to be included the cost of material, cost of fabrication, all general ex- penses, and expense of preparing and putting up the merchandise ready for shipment, and an addition of not less than eight nor more than fifty per centum of the total cost as thus ascertained. Assuming the cost of the completed sheets to be correctly stated at 34d., it is at once apparent that the entered value was more than sufficient to include all the elements of cost of production as contemplated by the first pro- vision of sub-section 11, swpra, and more than ample to make foreign market value as thus ascertained, unless the royalty to be paid upon the actual sale by the publisher of the bound book is to be included as a part thereof. Our attention is brought to certain cases wherein it has been held by the Board and the Courts that royalties paid by purchasers were properly included in the dutiable value of the merchandise for the reason that the amounts paid as such royalties were parts of the cost. In the case at bar it may hardly be said, we think, that royalty agreed to be paid upon the sale in the United States of the bound book was a part of the purchase price of the unbound sheets; but even though it were we think it does not exactly follow in determining the foreign market value of the sheets that the full amount or even part of such royalty must be included. It is not at all unusual for appraising officers to find the foreign market value of merchandise to be less than the invoice and entered value, and even less than the price actually paid for the merchandise. Such, in fact, may be necessary to a compliance with the law under certain circumstances. Sub-section 10 of the Act of 1909, swpra, imposes upon all appraisers of the United States, and every person who shall act 195 as such, the duty of appraising (any invoice or affidavit thereto or statement of cost, or of cost of production to the contrary notwithstanding) the actual market value and wholesale price of merchandise at the time of exportation to the United States. As has already been stated, unbound sheets similar to those here involved are not sold in wholesale quantities in the country of production and from whence imported, hence resort in determining foreign market value thereof must be had in the pro- cedure laid down in sub-section 10, supra. Although it does not appear in the stenographic report of the proceedings before the Board, it was announced on the hearing that the appraiser in fixing the foreign market value of these sheets was guided and controlled by the directions promulgated by Assistant Secretary of the Treasury Curtis, contained in a depart- ment Circular dated June 7, 1918, which, so far as applicable were as follows : ‘“©(2) That when such books, which are only sold at retail abroad, are imported in sheets, the actual price paid by the pur- chaser, not including the royalty charge, if any, should be taken as the market value for appraisal purposes, provided that in no. instance shall the appraised value be less than 124 per cent. of the foreign published price.” The rule of guidance thus promulgated, and followed, was an arbitrary one, and was of course wholly without warrant in law. It was repugnant to the very plain provisions of the statute, and a foreign value fixed there- under might only by the merest chance be a lawful one. We do not overlook the fact that in some instances the Board has heretofore held that royalties were properly included in the foreign market value, and it may be readily appre- ciated that conditions attending sales in whole- sale quantities of merchandise for consumption in the country of production might be such as to make the royalty part of the selling price, in which ease it should, of course, be included in the appraised value of like merchandise imported into the United States; and it is therefore not our purpose here to overrule any decision of the Board which may be in apparent conflict with the views here imposed. In the case at bar, however, we are satisfied from the detailed facts of the purchase that the royalty to be paid on the bound book after sale in the United States is no part of the foreign value of the sheets, and that the invoice values represent the full foreign value thereof; and for these reasons we sustain the entered value of each of the items. 196 HOW TO USE THE SOCIETY. — 9 1. 7\ VERY member has a right toask for and to receive HK advice upon his agreements, his choice of a pub- lisher, or any dispute arising in the conduct of his business or the administration of his property. The Secretary of the Society is a solicitor; but if there is any special reason the Secretary will refer the case to the Solicitors of the Society. Further, the Committee, if they deem it desirable, will obtain counsel’s opinion without any cost to the member. Moreover, where counsel’s opinion is favourable, and the sanction of the Committee is obtained, action will be taken on behalf of the aggrieved member, and all costs borne by the Society. 2. Remember that questions connected with copyright and publishers’ agreements do not fall within the experi- ence of ordinarysolicitors. Therefore, do not scruple to use the Society. 3. Before signing any agreement whatever, sen 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. This The 7. Many agents neglect to stamp agreements, must be done within fourteen days of first execution. Secretary will undertake it on behalf of members. 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. ee gg WARNINGS TO THE PRODUCERS OF BOOKS. —t——+ — 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, ¢f a proper price can be THER 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: (1.) Not to sign any agreement in which the cost of pro- duction forms a part without the strictest investigation. (2.) Not to give the publisher the power of putting the profits into his own pocket by charging for advertisements in his own organs, or by charging exchange advertise- ments. Therefore keep control of the advertisements, (3.) Not to allow a special charge for “office expenses,” unless the same allowance is made to the author. : (4.) Not to give up American, Colonial, or Continental tights. (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 isnow possible for an author to ascertain approximately the truth. From time to time very important figures connected with royalties are published in Zhe 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 :— : C1.) 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. eg =e WARNINGS TO DRAMATIC AUTHORS. 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, ,  id |. play are distinct from literary copyright. Bis « (b.) Sale of performing right or of a licence to perform on the basis of percentages on gross receipts. Percentages vary between 5 and 15 per cent. An author should obtain a percentage on the sliding scale of gross receipts in preference to the American system. Should obtain a sum inadvance of percentages. A fixed date on or before which the play should be performed. (c.) Sale of performing right or of a licence to perform on the basis of royalties (‘.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 is -| better to obtain a small nightly fee if possible, and a sum paid in advance of such fees in anyevent. It is extremely important that the amateur rights of one-act plays should sd 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 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. —— oe REGISTRATION OF SCENARIOS AND ORIGINAL PLAYS. 1+ CENARIOS, typewritten in duplicate on foolscap paper S forwarded to the offices of the Society, together with : a registration fee of two shillings and sixpence, will be carefully compared by the Secretary or a qualified assis- tant. One copy will be stamped and returned to theauthor and the other filed in the register of the Society. Copies of the scenario thus filed may be obtained at any time by the author only at a small charge to cover cost of typing. Original Plays may also be filed subject to the same rules, with the exception that a play will be charged for at the price of 2s. 6d. per act. THE AUTHOR. 197 DRAMATIC AUTHORS AND AGENTS. —_-—<—+ —_ RAMATIC authors should seek the advice of the Society before putting plays into the hands of agents. As the law stands at present, an agent who has once had a play in his hands may acquire a perpetual claim to a percentage on the author’s fees from it. As far as the placing of plays is concerned, it may be taken as a general rule that there are only very few agents who can do anything for an author that he cannot, under the guidance of the Society, do equally well or better for himself. The collection of fees is also a matter in which in many cases no intermediary is required. For certain purposes, such as the collection of fees on amateur performances, and in general the trans- action of frequent petty authorisations with different individuals, and also for the collection of fees in foreign countries, almost all dramatic authors employ agents; and in these ways the services of agents are real and valuable. But the Society warns authors against agents who profess to have influence with managers in the placing of plays, or who propose to act as principals by offering to purchase the author's rights. In any case, in the present state of the law, an agent should not be employed under any circumstances without an agreement approved of by the Society. —_——\!_+-—>—_-—__ WARNINGS TO MUSICAL COMPOSERS. ITTLE can be added to the warnings given for the assistance of producers of books and dramatic authors. It must, however, be pointed out that, as a rule, the musical publisher demands from the musical composer a transfer of fuller rights and less liberal finan- cial terms than those obtained for literary and dramatic property. The musical composer has very often the two rights to deal with—performing right and copyright. He should be especially careful therefore when entering into an agreement, and should take into particular consideration the warnings stated above. ———__—~—_______ STAMPING MUSIC. —— + The Society undertakes to stamp copies of music on behalf of its members for the fee of 6d. per 100 or part of 100. The members’ stamps are kept in the Society’s safe. The musical publishers communicate direct with the Secretary, and the voucher is then forwarded to the members, who are thus saved much unnecessary trouble, ——-— ____ THE READING BRANCH. —— + : EMBERS will greatly assist the Society in this M 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, —_-—>—_- REMITTANCES. ed 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,  COLLECTION BUREAU. a HE Society undertakes to collect accounts and money due to authors, composers and dramatists. 1. Under contracts for the publication of their works. 2. Under contracts for the performance of their works and amateur fees. 3. Under the Compulsory Licence Clauses of the Copy- right Act, i.e., Clause 3, governing compulsory licences for books, and Clause 19, referring to mechanical instrument records. The Bureau is divided into three departments :— 1. Literary. 2. Dramatic. 3. Musical. The Society does not desire to make a profit from the collection of fees, but will charge a commission to cover expenses. If, owing to the amount passing through the office, the expenses are more than covered, the Committee of Management will discuss the possibility of reducing the commission. For full particulars of the terms of collection, application must be made to the Collection Bureau of the Society. AGENTS. Holland . . ; A. REYDING. United Statesand Canada. WALTER C. JORDAN. Germany . Mrs PoGson. The Bureau is in no sense a literary or dramatic agency for the placing of books or plays. ———_—_+- > ___—___ GENERAL NOTES. — Tur ANNUAL GENERAL MEETING. Tyr Annual General Meeting of the Incor- porated Society of Authors will be held on Friday, April 17, at 1, Central Buildings, at 4.30. Notice of the meeting will be sent to all the members in the course of a few days. Music PuBLISHERS AND PERFORMING RicHTs. WE are pleased to see from the Publishers’ Weekly of the U.S.A. that there has been a meeting of the American authors, composers and publishers in New York City, in order to start a society to control the performing rights in music. This is a very important advance and we think the composers of our Society ought to make every effort to meet the pub- lishers with a view to establishing the same control over the performing rights. The real question, however, is, will the publishers meet the composers? The last time the composers wrote to the Music Publishers’ Association the secretary had to write three times before he received the courtesy of a reply. The associa- tion then regretted they were unable to THE AUTHOR. discuss the matter the composers put before them. We do not wish to criticise the non-possumus attitude of the music publishers, but merely would remark that this kind of attitude has been adopted in years gone by both by pub- lishers and theatrical managers ; but these have after mature consideration thought better of the matter. We hope, therefore, that the Music Publishers’ Association will give the matter their mature consideration, and that such mature consideration will place them in a better frame of mind to consider, not only what are the composers’, but what are also their own interests. With regard to performing rights, un- fortunately the music publishers have so long thrown these away that it may be difficult to come to any satisfactory arrangement, but this is no reason why a matter of such vital importance should not be discussed between the parties interested. ——__—. <> —____ AUSTRALIAN COPYRIGHT REGISTRATION. N the January number of The Author there appeared a General Note emphasising the importance of registration by authors, especially dramatic authors, of their copyright under the new Australian Act. In accordance with that note, the secretary of the Society was instructed to write to the Registrar of Copyrights in Australia on the subject, in order that. the members of the Society might have the fullest information. As a supplement to this month’s Author, the regulations, together with the forms which should be filled up, are printed. A number of these forms are lying at the offices of the Society and can be handed to those members who, because they have plays running in Australia, or because they have plays likely to run in Australia, desire to avail themselves of this opportunity for regis- tration. It was pointed out in The Author that the great advantage of registration lies in the fact that if a book or play is registered, then, in case of infringement, the author can avail himself of the summary proceedings granted by the Act. The Registrar of Copy- rights, in his courteous and detailed letter, points out that although no actual case has yet been carried through the courts, most robably no author will be entitled to the enefits under the Summary Proceedings clauses against any infringer if the infringe-  ‘ment occurred before registration. In other Wwords, that he will only be entitled to take advantage of the clauses referred to in the em case of those infringements which occur after registration. It will be safer, therefore, for fi those who are likely to have or have already dramatic or literary property in Australia to «@register at the earliest opportunity. He sug- -% gests in his letter the following :— 7 “I think it would be advisable for authors who contem- ,|ia plate registering under the Australian law to register the _,9@ copyright paper of their respective works so that they "* #@ would be in a position, at any time, to assign any of the rights comprised in the copyright. My reason for making om the suggestion is this: representatives of dramatic com- panies who have consulted me from time to time complain @ of the difficulty they experience in reaching and punishing pirates under the ordinary remedies provided by the Statute. The agreements entered into between these companies and authors abroad usually provide for the payment of a royalty covering a specified period, but do not vest ownership, or partial ownership, of the copyright or performing rights in the companies; the result being “that an unauthorised reproduction of a dramatic or musical work is given, and before the licensees of the copy- right or performing right have had time to obtain the # necessary authority to put the machinery of the law in motion, the pirate, like a will o’ the wisp, has vanished. If the course suggested by me were followed, agreements made between British authors and Australian citizens eould be swiftly enforced. In this connection it would also be advisable for the author or his representative to give the licensee, during the currency of the licence, authority to take proceedings as attorney for the owner of @ the copyright.” It is doubtful however, whether the members of the Society would care to adopt the course. Indeed, many dramatic authors have refused to grant such power of attorney. However, if it is possible to carry out the arrangement which the Society is at present organising for lacing powers of attorney in the hands of the Society’s lawyers in Australia, there will be no necessity for making the assignment referred to. If members, therefore, desire to register, they had better apply to the Society’s office for the forms, and, after having filled them up properly, return them with the fees referred toin the regulations. The Society will see that the matter is duly carried through in accord- ance with the members’ instructions. It is tated that there may be one or two little ifficulties with the first few registrations, but after a little time the matter will run perfectly “smoothly and members will gain great ad- #@ vantage from the Society’s organisation and from the Society’s knowledge of the details. It is necessary to point out that under the New Zealand law similar provisions to those under the Australian law have been provided. The secretary has also written to the Registrar of Copyrights in New Zealand for the forms THE AUTHOR. 199 and regulations. When these come to hand, the Society will be able to carry out for its members the necessary details and the author will be able to obtain the benefits under the New Zealand Act. A COMPOSER’S TROUBLES WITH MESSRS. BOOSEY & CO. —_—+——+ a December, 1911, a composer forwarded (through a well-known vocalist) a song to Messrs. Boosey & Co. for publication, and obtained in reply a letter offering to publish the song subject to the payment of a certain royalty. These terms were accepted by letter. In April, 1912, the same composer forwarded another song, specially composed for another artist, to the same publisher, and, after a friendly interview with Mr. Boosey and a request that the firm would make a formal offer, received a letter offering similar terms to the letter he had received in December, and he accepted the terms. Immediately after the acceptance, Messrs. Boosey & Co. forwarded him a document, which they sub- sequently stated was in use by all their com- posers, being an assignment of all the com- poser’s rights and interest, present, future and contingent, in consideration of the agreed royalty on copies sold and 50 per cent. of all mechanical instrument fees received by the publisher. Nothing had been said in_ his correspondence as to assignment of copyright or mechanical rights. The composer, in reply, pointed out that the letters which had been exchanged consti- tuted a binding contract and that, therefore, there seemed no necessity for his signature to such a document. Messrs. Boosey replied that this was the form of contract invariably used. The composer then pointed out that, if an agreement was actually necessary, he pre- ferred that it should be drawn up upon a business-like basis, and contain adequate pro- vision both for his own rights and those of the publishers. Messrs. Boosey & Co. there- upon refused to discuss the matter in any respect whatever, returned the various MSS. and declared the business was atanend. The dispute was then brought to the Society, and the committee decided to take the case up. Accordingly the matter was placed in the hands of the Society’s solicitors. Proceedings were instituted and the publishers, through  200 their solicitors, then agreed to publish the songs on the terms set out in their original letters and to pay the costs, these terms, for the satisfaction of both parties, to be embodied in a formal legal document. This document was signed in due course, but through all the nego- tiations, not only the Society, but the solicitors of the Society, had to complain of the offhand way in which the business was treated and the delay which took place. In the settlement ‘twas understood—the sclicitors of the Society making special mention of the fact to the solici- tors of Messrs. Boosey & Co.—that Messrs. Boosey & Co. would frankly accept the posi- tion and use their best endeavours to push the work to the same extent as they would have done if no question had arisen. The solicitors of the publishers at once gave their assurance to this effect; but what has been the result? In January, 1913, a year after one of the songs had been accepted under the original letter, the Society was asked to stamp, on the composer's behalf, 153 copies of one song and 155 of the other. The composer then wrote to inquire whether this was the extent of the editions which it was proposed to publish, and in reply received intimation that the number of copies mentioned represented the full print of the first edition. The publishers added: ““We shall, of course, reprint as required according to the demand for the songs,” and, on February 16, 1913, in answer to that letter, the composer wiote as follows :— February 16, 1913. Dear Strs,—!I thank you for your letter of February 14, with reference to the two songs of mine which you have recently published. I have not the time at present to go carefully into the matter, but, on the face of it, there is obviously something wrong in respect to the number of copies printed. Under the contract there are to be 200 copies of each song “free for novelty purposes.” In other words, no royalty is payable to me (at least so I read it) from any of the copies which you have already printed. Dealing more particularly with the Irish song, we may take fifty copies as the very lowest number you require for professional copies and for review purposes. This leaves no more than 100 copies as a preliminary supply to the trade throughout the country, eliminating the U.S.A. altogether, also the Colonies. Incidentally I may add that I know for a fact that inquiries have been made for the song in various parts of the country already, but that the music dealers have been unable to trace it. It appears to me a waste of time for me to seek the good offices of my musical and professional acquaintances in singing the song under such conditions. Apart from the business aspect of the case, I would venture to remind you of the very definite assurance given by your legal repre- sentative to my solicitors that “it was clearly under- stood that you frankly accepted the position and would use your best endeavours to push the work in just the same way as you would have done had no question arisen.’’ It is, indeed, most distasteful to me to have to reopen THE AUTHOR. the question, but there appears to me some little evidence that the work is not being pushed forward as it should be, If you can give me your assurance to the contrary, I shall be only too pleased to accept it. ge As regards professional copies, I infer from your letter under reply that you propose to forward copies only to those artists whom I may specify to you. I will forward — you a short list in a day or two, but, while I shall be happy to do anything I can within reason to help forward sales, I would point out that the real work of propagation must necessarily devolve upon you, and that I can hardly be expected to act as “ traveller in my own goods, even had I the time and inclination. Very faithfully yours, | He received a reply stating that the 200 (>; copies mentioned are not deducted until the °°" song has gone out as a novelty to the trade, that it would be useless to send either of the songs out at present as they were ** not suffi- ciently known”? (sie), but that they had sent out presentation copies to singers. It remains to add that although Messrs. Boosey issued a catalogue in March, 1913, these two songs were not included in it (they were stamped in the preceding January); and that inquiry has been made for the songs at six of the largest #1 FeO T jaw Hae We peg pe wt % retail houses in London, and at over a dozen — of the largest provincial centres, without sucecss; at none of these places had the songs been heard of, nor so far as could be ascer- tained offered by the travellers, nor could they be found in any lists. The whole case is very interesting from every AF point of view. It is impossible to think, after ti the assurance given by Messrs. Boosey’s solici- tors, and after consideration of the standing of Messrs. Boosey & Co. and the position they hold in the trade, that they would not do everything that could be done by way of putting the songs before the public ; indeed under the rather peculiar circumstances of the case, it might have been thought that a firm of Messrs. Boosey’s standing would have put themselves out of the way to do more with this composer’s songs than they do in the ordinary course of business, in order that they might show clearly that after the little dispute they meant to deal fairly with the composer. We assume they have done so. It would then appear that Messrs. Boosey & Co. consider they have done everything they. can and should do in the course of their business, to push two songs which they intend to put on the market by printing 158 copies of one song and 155 copies of another, and sending out presentation copies to singers. It would also seem to follow that this is the course adopted upon the publication of othcr similar songs published by the firm. It would be very  THE AUTHOR. 201 woi/interesting to know the opinions of other com- seoposers on the present position and of other amusic publishers on the correspondence that has passed between the parties. —_———__+—_>—__e—____—__- FICTION. a T came about in this way. I had been busy in the garden cleaning up, hurrying to get some new trees in before the frost isceame. But the frost caught me and I had oto give up. SoI retired to my desk. ‘But the ideas I had felt materialising, -or nebulous and vague, in the back of my mind, ,oy would not develop. Yet I felt in the humour ‘0 for writing. - ‘** Then why not write ? ’’ something seemed _9 to inquire in my ear, with a faintly sarcastic ‘a inflection. ‘Surely it is not necessary to st have any concrete idea! An author can generally manage to turn out some drivel— 7 even about nothing in particular.” Z I admit I felt a little hurt, and I tried not 9 to listen. But the insidious voice went on: ‘7* “Tf you can’t think of anything else you might write about writing—anyway. You i authors can generally manage to find some- 4) thing nasty to say about one another, about “dj the public and its detestable taste, about the sweet reasonableness of editors, and, above all, about the incredible and unmentionable wickedness of—the publisher!” “© Yes,’ I thought. “I can do all that. I'll take you at your word.” It is quite true that one can generally be nasty if one gives one’s mind to it. “Let us start with fiction,’ I thought. “Yet, what is there to be said about 1t— beyond the barefaced abomination of its too evident existence ? ” It must seem, one would think, not only to the critic, but even to the indefectible and omnivorous gorger of fiction, in this day, that some great and not altogether whole- some change has gradually overtaken the work of the writer. The day of leisure is gone and the age of scurry is upon us; we have, it is true, nowa- days, no time for the languid perusal of long discursive prefaces, of long talky essays all about nothing of any earthly importance ; of pleasant, harmless, long-winded intro- ductions and descriptions. ' One is tempted to wonder what would happen to Scott and to Thackeray to-day ? Would “ Waverley ” finda publisher ? Would anyone be found with the necessary patience and time to wade through——but there! There are doubts as to whether that is a subject one should pursue ! None the less, it must be borne home to the most undiscerning reader that though we have gained much, we have lost not a little. This is not the age of literature, but of fiction (at so much per thousand words). The great mass of second and third rate stuff, the ‘* flimsy *’ of the bookstalls, that caters for the mob, has its own particular style and format in fiction, its mould through which every story must, apparently, be pressed in order that it may come out with every trace of originality, of style, of art it might contain ruthlessly eliminated. Every hero has to be cut to pattern; every incident, it would seem, must be laid in accordance with certain canons. One wonders if the readers who, according to an editor of these journals, ** will have that style,” ever get tired of wading through the same weary thing again and again, knowing, as they must know, exactly the course of every item, how it will all go and how it will end, beforehand. One of these magazines used to create some amusement in literary circles by giving in an editorial preface, every month, the most touching and fatherly advice to would-be contributors. There was, I remember, one delightful talk with hints on * style’ and its formation, with examples of the great classics one should study. ‘‘ or romance, study So-and-so;_ for action, study So-and- so’’-—along list. Yet it would seem that should anyone approach the greatness of any of these models, that very fact would surely be the first fatal step towards certain rejection in such a magazine, which appeared to disannex all those attributes that the student of litera- ture has learnt to venerate. ““The public will only have so-and-so,” wearetold. Yetitis a curious fact that when, once in a blue moon, a bold editor or publisher ventures out of the rut with a clever and original story, it is often hailed with joy and becomes a success. The fact is, the publisher can make anything go if he chooses; it 1s simply a matter of brain and boom, ability to spend his advertisement money to the right advantage. : : But what of the publisher’s reader ? One wonders what sort of a person he 1s—or Is ita she? The traditional publicational history would seem to stamp him as, of all men, the one who least knows his business, for if ever  202 a great and striking novel has come to the front there has, almost invariably, been the same history of everlasting weary rejection until some lucky accident has brought that work before the world. And yet— observe what is poured out of the publishing houses every week! Take any work, fiction or other, that has eventually made a commotion, and what has been its early history? We are told the publisher’s reader is often a distin- guished novelist. We can quite believe it. The fact is, it is not the question of what the ‘public will have,” but what the editor or publisher thinks they will or ought to have. And the result Well, one result is that a work that in any way pertains to literature has too often no earthly chance of publication. A man may write literature (some men do) as an amusement, to please himself, and, indeed, he may publish it, but that’s another subject that need not be pursued. And so authors go on making fortunes for publishers—whose groans over their heavy losses ought to dissolve a brutal and unfeeling world in tears. But of fiction. What is one to write? Must one never leave the hard-beaten, dusty track ? One must, according to the modern magazine, not write of this; one must not touch upon that; yet we want originality and some little freshness, even in our reading, now and then. One can’t subsist for ever on sugar-pap. Of course, when an author has made his name he can write pretty well whatsoever he likes, and it is eagerly published. Is that, perhaps, the reason why so many ‘“ made” authors continue to turn out such ghastly stuff—or, are they merely using up the pabulum of their prentice days ? : As for verisimilitude, realism, truth, there is little enough of it, in spite of report ; little enough that is at the same time artistic. The realism, indeed, is rather too apt to become sheer dirtiness. There is at the present time a fashion in the fiction magazines for the medical story. When this is written by the half-dozen medical writers of the day all well and good, but otherwise the results are invariably absurd to a scientific reader. For it is an unfortunate thing that people will scribble about things of which they have no earthly knowledge. Writers cannot all be expected to be scientists, but if they have no scientific knowledge they should leave science alone. In no less than four stories in the magazines THE AUTHOR. published in one month were there instances of glaring and ridiculous mistakes that are most fix irritating. In one instance a writer excels > i:i® himself in the marvellous description of a new f and utterly impossible orchid, and in the other} a zoological monstrosity is perpetrated out f» of all conformity with organic nature; and fii, these two examples are as nothing compared} with the others. One does not often come across such glaring blunders as the classie example of Boucicault in the old play “ The Octoroon’’; indeed, in these days of snapshot photography and kodaks it would be almost F .., impossible. Often it is mere thoughtlessness 3)... and even some of the greatest masters of literature have made incredible mistakes. Then one gets a little tired of that everlasting so-called ‘‘ love-story.”” Must fiction always be a variation upon the everlasting human triangle and its tireless equations ? Here we have it: x +y=2> &. We have (A* ++ AY : B*) which develops into }* (A*: AY + B*). - One gets so wearied of Mr. A.’s matrimonial 7" troubles and disputes with Mrs. A. and the i inevitable intriguing of the latter with her p>" tardily discovered soul affinity, Mr. B. Still, it is yet possible for an author of original turn to treat the subject in a moderately novel way. Authors, we are told, are a hardly-treated body, shamefully served by the publisher, Publishers, we are told, are a hardly-treated >?" body, abominably served by the public. The §# public are shamefully treated both by authors } and publishers (so they beg, borrow, or steal } books, but refrain from buying them). [ Certainly authors have much to suffer, 7% Is it any wonder that one becomes depressed > over the picture of the poor, struggling author } if labouring incessantly to pile up a huge fortune )% for the wicked publisher! (Oh, those motors » and yachts !) And, seriously, there are times when authors have other reasons for weeping. There are P editors who keep manuscripts for weeks and months knowing full well they never intend pt to use them, when there is not the least # excuse for keeping them more than a week or two. And there are editors who score marks and numbers upon the unfortunate manuscripts, so that they have to be retyped before they can, for very shame, go out on # their travels again. And there are editors who appear to use the unwanted manuscripts ® for the altogether improper purpose of cleaning the office floor. Indeed but that is also a subject we need not pursue any further. No doubt publishers and editors are a very THE AUTHOR. bag bad lot—who but a jackanapes could doubt it ? Yet who can feel angry with the kind and courteous gentlemen who send their regrets so nicely worded on such very superior paper (sometimes), and who thank one so effusively for allowing them to see the composition ? If I had my will I would sweep away all editors, publishers, and authors—and perhaps the public too—then one might have time to finish the garden; but for the life of me I ean’t get on because, forsooth! I have to turn out so many thousand words of explicit drivel every day in order that I may not put § extra work on the county court. Authors, we are told, are mean, liars and thieves, who will resort to any trick to get an extra 5 per cent. on their scrubby royalty. Publishers and editors are either hardened brutes or contemptible skunks—as yet I cannot quite decide which—who will do anything to trick the starving writer. And as for the public, that sucks the brains of the author— and often enough smacks his indelicate lips G over the process, in spite of his grumbles—well, 7) ‘twill always be much the same, I suppose, so why should one pursue that subject any further ? No doubt the editor is a good enough fellow, sometimes, even if his sense of humour is defective. But editors are not and cannot be angels, even if there were wings enough to go round, and you can no more make wings sprout than you can grow hair with any of the advertised ‘‘ restorers.” One editor of particularly angelic nature, in his monthly talk, used to give samples of the letters he received. The note of fulsome flattery was the main motif. ‘“‘T cannot say how grateful I am for your help. Since you took my last story and gave me advice I have sold nearly fifty stories to leading magazines at about twenty pounds (£20) each. I shall always remember you gave me a helping hand and you cannot think how I love you for it.” ‘ That,’’ was the editor’s beaming comment, “‘is the kind of letter that does a poor, hard-worked, worried editor’s heart good to read.” He did not say from which asylum his contributor wrote. “Probably you don’t just remember,” I thought ; “But, Sir, I can tell you something about the climate you will be enjoying one of these fine days, if you don’t try to live a good and truthful life, and find a more legitimate way of pushing your dolorous rag. All the inhabi- tants of this world (even such as read your magazine) are not stark and jibbering idiots ! There are some editors who use a reject form 203 carefully spaced out into reasons, and a mark is put against the division under which heading the rejection comes. A young friend of mine some time ago hit upon a startlingly original idea for a story and sent it to one of these magazines. The story was good, well written, terse and with style, and dealt with an idea that had never been used before. To our amazement it came back marked, if I remember rightly, *“ Not sufficiently novel!” which caused us no little amusement when we came to study the dead and dreary level of monotony that appeared to be the sine qua non of this particular magazine. I sometimes think the time is coming when, if literature is still to be written, some arrange- ment might surely be made whereby an author, who shows promise and produces a clever but not very marketable piece of literature, might have help in giving it to the world. And here the Society of Authors might see its way, one of these days, to do a valuable act of service both to authors and to the public, in setting up a special committee or commission to adjudicate upon real work of genius and arranging for its publication. Then I might devote myself to the creation of a work of incredible genius—and find time to finish the garden. FREDERICK GRAVES. ———————_-——_+—___——_ «THE PUBLISHER.’’* ee By AN AMERICAN CRITIC. YNAMITING butterflies is notoriously a futile sort of pastime; yet, con- ceivably, a butterfly may so_persis- tently obtrude its insignificant self as to become a bit of a pest, distracting the attention and obstructing clear comprehension of certain ponderable facts. In which event a charge of dynamite may be thought well wasted. Mr. Yard frankly holds a brief for the publisher and against the author and all his works ; and, like a loyal advocate, he doesn’t hesitate about ignoring facts that do not assort well with his argument or about modifying other facts to suit his requirements. By way of example (to select one of the multitude afforded by this little book), we may consider the figures he quotes in support of his conten- * “The Publisher,” by Robert Sterling Yard. Houghton Mifflin Co., 1913. $1 net.  204 tion that “best sellers” are hardly to be yearned after by long-headed publishers. On page 23 he endeavours to demonstrate that a book selling 100,000 copies in its first form would earn its publisher a net profit of only some $10,300. To arrive at this figure he estimates cost of manufacture at $0.221 per copy. This is a very reasonable figure to apply to an edition of 5,000 copies, including the cost of making plates and the purchase price of drawings for illustrations ; but for subsequent printings it is absurd. Mr. Yard further reckons the royalty at a flat rate of 20 per cent. ; this is not fair, although possible, for it may be questioned whether many books, especially an author’s first book to sell 100,000 copies, draws a flat royalty of 20 per cent. Again, Mr. Yard would have us believe that a pub- lisher allows ‘‘ 28 per cent. of income ”’ (what- ever that means) for the cost of doing business, and reckons this to indicate $0.224 as the cost of selling each copy of an edition of 100,000. We may take the liberty of doubting this figure, if we may not successfully dispute it without access to the publisher’s books. But leaving out the author’s royalty, and taking the other figures without question, we find that 100,000 copies cost to manufacture, at $0.221 per copy, $22,100, and to sell, at $0.224 per copy, $22,400; making the total of the investment $44,500, on which the publisher makes a net profit of $10,300, or something more than 23 per cent. Most men of business would consider this a handsome profit, but Mr. Yard would have us believe it beggarly. But in figuring the net profit, he allows for the profit of a cheap edition of only 50,000 copies ; whereas Mr. Yard knows, and every publisher knows, and every author who knows his business knows, that the cheap edition following a first publication of 100,000 copies or even fewer is far more apt to be double the first sale than half. Then, too, Mr. Yard has chosen to deduct from the gross profit on this alleged cheap edition of 50,000 copies ‘‘ 28 per cent. (again !) for cost of doing business— $1,800.”’ I fancy few publishers will have the effrontery to claim that it costs them anything at all, much less $1,800, to sit tight and permit the popular-price publishers to bid against one another for the privilege of the cheap-edition rights. Finally, Mr. Yard allows for a plate- rental of only 10 cents a copy to be paid by the popular-price man to the first publisher, and by this last divided with the author ; whereas 12 cents per copy is the ruling rate for plate- rental on books whose sales have totalled far fewer than 100,000 copies. THE AUTHOR. Mr. Yard’s figures may, therefore, be revised as follows, without bothering to dispute his estimate of profits on the first edition :— $ 8,500. * Net profit on 100,000 at average net profit of $0.085 per copy Cheap edition, 200,000 at 6 cents profits per copy, without deduc- tion for cost of doing business 12,000 °°": Total net profit (assuming that the publisher hasn’t grabbed by con- tracts and has no share in the author’s second serial, dramatic, moving-picture, English, and translation rights) 20,500 | ) Or, say, 46 per cent. on the original investment. No, not half-bad ; considering that Mr. Yard would have us believe publishing “‘ the worst | business in the world.”’’ But it is true that his efforts to prove this) — last contention are so unconvincing even to: himself that, as early in his argument as page 8,7 _ he is forced to the admission that ‘‘ the worst !-~. business in the world” becomes one of the ):* best in the world when (to paraphrase) it has ):” solid financial backing and is administered with a normal amount of common sense and a) ** little human luck. In other words, it is) amazingly like any other business you can’ ™~ name: good when it’s good, and bad when it’s) "| bad. But Mr. Yard is so alarmed at the}: ' possible effect of this admission that, through |<! the remaining twenty-seven pages of his? chapter on ‘‘ the worst business ” he fogs his #7: own and the reader’s understanding in a dense )-!" cloud of words, anecdotes, illustrations, figures, )>% and gossip, which in the end enables him to)! close to his own satisfaction with the assertion ot! that, as for a “‘ publisher who got right out of general book-publishing alone . . . “thar ain’t } ©) no sech critter.” i Nor is this all; but space lacks in which to) explode all of Mr. Yard’s fallacious arguments. ©" For all that, on page 29, Mr. Yard gravely ¥ informs us: ‘ Royalties exceeding 10 per cent. © are immoral,’’ Henry Holt is reported to have hh said. And sure we must concede that it was 3» worth while to make onesself known as the } author of an idle, if undoubtedly mischievous book in order that one might have the honour fi of embalming imperishably that deathless ”: epigram ! : cod FO Li J. Ve 8 -or--—de  MR. ARNOLD BENNETT AND THE MOYEN DE PARVENIR.* Bo fourteen years ago Mr. Arnold Bennett, acting on the suggestion of Mr. Lewis Hind, then editor of the Academy, published in the columns of that paper his literary autobiography. He did not put his name to it, “‘ partly from discretion, and partly in the hope that the London world of letters would indulge in conjectures as to its authorship.”? In 1908 he secured—not with- out difficulty—a publisher for the work in volume form, still keeping up anonymity ; though it was an anonymity which only existed for the general public, literary London having soon penetrated the secret. Now in 1914 Mr. Bennett brings out a new edition, through a different publishing firm, and this time puts his name to the book. As a ‘“‘remaindered’’ work, Mr. Bennett tells us in his Preface, the first edition had quite a vogue; but only as a remainder, price 6d. Otherwise it sold ill. The reason is obvious. The general public cares remark- ably little, perhaps in most cases much less than 6d., for the truth about an author. Yet it was a good idea to republish the book in cheap form now. As a household word in vast districts of Britain and a best-seller in the United States, Mr. Bennett is scarcely any longer a mere author. A super-author may fairly ask a shilling for the truth about himself. For other authors, if they have not already read it, the book is decidedly one to be read. They will be able to appreciate, as the general reader probably will not, the ‘‘ ingenuous self- complacency ”’ (Mr. Bennett’s own words) of the record. And to them the experiences, the views, the advice will have a meaning which is not for the general reader. Quotation alone can show the value of Mr. Bennett’s instruc- tions to his fellow-writers. The space at our command is limited, but we must touch upon three points. First, with regard to ‘“ free- lancing,”’ a subject which has been discussed of late in the columns of The Author. Mr. Bennett is healthily vigorous in his denuncia- tion of this ‘‘ humiliating ’’ employment. “A false aureole of romance,”’ he says, “‘ encircles the head of that miserable opportunist, the free-lance. ... The free-lance is a tramp touting for odd jobs; a pedlar crying stuff which is bought usually in default of better ; * “The Truth about an Author,” by Arnold Bennett London: Methuen & Co. THE AUTHOR. “work. 205 a producer endeavouring to supply a market of whose conditions he is in ignorance, more or less complete; a commercial traveller liable constantly to the insolence of an elegant West End draper’s ‘buyer.’ His attitude is in essence a fawning attitude; it must be so; he is the poor relation, the doff-hat, the ready- for-anything. He picks up the crumbs that fall from the table of the ‘staff.’ ... He never goes to bed; he dares not; if he did a crumb would fall.” And now with regard to the reviewing of books: ‘‘ The sense of justice of the man in the street is revolted. ‘You do not read through all the books that you pretend to criticize ?’ he hints. I have never known a reviewer to answer this insinuation straight- forwardly in print, but I will answer it: No, I do not. And the man in the street says, shocked: * You are unjust.’ And I reply: “Not at all. 1 am merely an expert. ~ =. The title-page—that conjunction of the title, the name of the author, and the name of the publisher—speaks to me, telling me all sorts of things. The very chapter-headings deliver a message of style. . . . The whole book, open it where I will, is murmurous with indications forme. In the case of nine books [out] of ten, to read them through would not be a work of supererogation—-it would be a sinful waste of time on the part of a professional reviewer. .. . There remains the work of the true artist, the work that the reviewer himself admires and enjoys: say one book in fifty, or one in a hundred. The reviewer reads that through.” Working out the number of words which a reviewer would have to read to satisfy the man in the street before writing a column of reviews worth at the most three guineas, and reckoning the time taken over the whole job, Mr. Bennett asks: ‘‘Do you imagine that the reviewer 1s going to hire out his immortal soul, his ex- perience, his mere skill, at the rate of 31s. 6d. per day on irregular jobs ?__ Scarcely. He will earn his three guineas inside three hours, and it will be well and truly earned.” Mr. Bennett himself early established a rule —lucky man to be able to observe it !—never | to work for less than 10s, an hour upon. plece- “Tf an editor commissioned an article, he received from me as much fundamental brain-power and as much time as the article demanded—up to the limit of his pay in terms of hours at 10s. apiece. But each year I raise my price per hour.” This was written In 1900. We fancy the ordinary poor author would like a footnote to say what height has now been reached. i  206 Our last quotation is not made for the pur- ose of the moral edification of our readers. Mr. Bennett is speaking of the first serial story written by himself. ‘I had entered into a compact with myself,” he says, ‘that I would never ‘write down’ to the public in a long fiction. I was almost bound to pander to the vulgar taste, or at any rate, to a taste not refined, in my editing, in my articles, and in my short stories, but I had sworn solemnly that I would keep the novel-form unsullied for the pure exercise of the artist in me. What became of this high compact? I merely ignored it. I tore it up and it was forgotten. —_—__—_—<—_+—___ ——_ CORRESPONDENCE. _— “ Reat EDITIONS.” Dear Sir,—In view of the recent announce ment by a prominent publisher that his editions are “real editions ’—the inference being that too many such are nothing of the sort—it really seems high time for authors to make some attempt at asserting themselves on a subject that concerns them quite as nearly as it concerns the publishers, who are rapidly reducing the whole vexed question of “ edi- tions ” to a preposterous farce. Between “real editions ’—so-called—and bogus editions—not so-called !—we are fast approaching the American method of merely _ shouting a book into popularity. Over there it would seem that the book itself matters little, the author less. Success depends mainly on how much money the publisher is prepared to spend on shouting—there is no other word for the process ; and over here it is unhappily an open secret that, of late, certain question- able novels have, by means of inflated announce- ments and ‘‘ huge editions ”’ been practically forced down the throat of a public that would otherwise probably have let them alone. But, shouting apart, there remains the puzzle, “What is an edition?” To that plain, straightforward question—constantly asked by the Bewildered Uninitiated—it would take a clever man to give a plain, straight- forward answer. Roughly, he might hazard the comprehensive reply: “Oh, anything between a thousand and fifteen thousand copies.” But even so he would still have underrated the elasticity of that conveniently elastic word. I have it on good authority that a third “‘ edition”? of a book has been THE AUTHOR. announced when little more than a hundred copies have been sold. This sort of thing suggests a new version of the old riddle: ‘“‘ When is an edition not an edition?” It would take a really “ up-to- date ” publisher to supply the answer to that ! Whether or no some authors derive benefit from these tactics is a question well worth separate consideration. My present concern is simply to get at the rights of this obvious juggling with figures ; and the Shorter Catechism of the Uninitiated is not yet at an end. Why is it, for instance, that, if some of us are announced in thousands, this plain and simple method cannot be extended to all? The publisher addicted to shouting could still juggle with his thousands, of course. But those firms who respect themselves and their authors would lose nothing by more lucid statements; while both the public and_ the authors would know better, so to speak, ‘‘ where they are.” Another remedy—if there is any thing against plain thousands—would be to decide, once for all, on the “ unit ” of an edition; giving that “ unit ” some elasticity if need be. An edition might be fixed at any- thing from 3,000 to 5,000, or from 500 to 3,000 ; and thereby much confusion and mis- conception would at once be done away with. But of the two alternatives set forth there can be little doubt that a plain statement in thousands is the consummation most devoutly to be wished. The present arrangement is utterly mis- leading, not only as between novelist and novelist, but as between the earlier and later books of the same writer. Take my own case. Judged by the tale of mere editions my sale would appear to have been steadily decreasing for the last six years, for my first novel achieved nine editions in about the same time that it has taken my two later ones to achieve two. The reason is simple enough. With a new writer, orders were tentative and editions followed suit. Large advance orders produce a larger immediate output, with the natural result that while my earlier nine editions barely reached 12,000 copies, my last novel — started with a first edition of 15,000. This sort of thing must be the case with scores of novelists. It would be interesting to hear what they think about it and whether there is any hope, between us all, of inaugurating a reform on the lines I have suggested. I am, dear Sir, Yours truly, ° ** A NOVELIST.” ~ 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. 24 Issue 07 (April 1914) Subject The topic of the resource <em>The Author</em>, Vol. 24 Issue 07 (April 1914) Type The nature or genre of the resource Publication Identifier An unambiguous reference to the resource within a given context 1914-04-01-The-Author-24-7 publications The Author