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dramatize it if it be a non-dramatic work; to convert it into a novel or other nondramatic work if it be a drama; to arrange or adapt it if it be a musical work; to deliver, perform, or represent the copyrighted work in public for profit; and to make records or other instruments for reproducing it mechanically. The publisher of a book must make affidavit that the mechanical work of making the book was done in the United States. Entry of printed title before publication will no longer be required. To secure a copyright for any work in the United States two copies bearing the copyright notice must be deposited with the Librarian of Congress not later than the day of publication here or abroad. The fee for copyright will be $1 in each case, and fifty-cent fees for entry without certificate will no longer be accepted. The new law will be printed in full in the May WRITER.

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ing a mining man by profession, and actively engaged in developing mining property, he has had exceptional opportunities for studying the characters of the hills and learning of incidents which work up well in fiction, and "A Counterfeit Presentment" is but one of a number of Western stories of his which have been appearing in various periodicals within the last two years. Mr. Anderson has been roaming about the West extensively for the last three years, visiting many out-of-the-way corners, and he is now writing a Western book which he hopes to have finished in six months or so. His time for writing is somewhat limited, but he says he knows of no other calling so fascinating, provided one does not depend on it for a living. Incidentally, he boasts of being the owner of a self-made collection of nearly 2,500 rejection slips.

Charles R. Barnes, whose story, "Mrs. Sweeney's Vengeance," in McClure's for March, is the forerunner of a series to appear in the Popular Magazine, and also of a novelette which he intends to bring out, is a Cleveland man now living in New York. His work has been writing topical verse for the newspapers, most of it being used by the New York World and the Sun. He was also at one time an editorial writer and paragrapher on the World. Occasionally he would contribute verses and stories to various periodicals, but he did not take that part of his work seriously until the appearance of this Sweeney story, when editors began writing him letters and asking for stories. Since then he has sold much matter that had been widely refused before. Puck and Judge have published a good deal of his humorous verse.

D. C. Lawless, whose initial story, "The Nerve of Joe," was printed in the March Lippincott's, is a clerk in one of the city departments of Toledo under the Independent administration of Mayor Brand Whitlock, the author of "The Turn of the Balance."

Percival Sheldon Ridsdale, whose story, "The Wedding in the Patch," appeared in Short Stories for March, is a newspaper man

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THE WRITER is published the first day of every month. It will be sent, postpaid, ONE YEAR for ONE DOLLAR.

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expression," That's another story." Sterne used it, he says, in the seventeenth chapter of "Tristram Shandy," and other people knew it before Kipling was born. It was Kipling, however, who made the phrase a household word, and people will continue to say: "But that's another story, as Kipling says," with never a thought of Sterne.

Keats wrote to Haydon in a letter lately sold in London: "I have come to this resolution never to write for the sake of writing or making a poem, but from running over with my little knowledge or experience which many years of reflection may perhaps give me." If all books were written in accordance with this principle, there would be fewer of them and more would be worth reading.

The new copyright law enacted by Congress in the closing hours of the recent session, and approved March 4, will go into effect July 1, 1909. Its most important provision is the extension of the period of renewal of a copyright from fourteen to twentyeight years, thus making the whole life of a copyright fifty-six years, if it is renewed when the first period of twenty-eight years expires. This provision applies to existing copyrights. Application for renewal must be made within a year before the expiration of the copyright. Under the new law, copyright may be secured for all the "writings" of an author, using the word in its most comprehensive meaning, including lectures, sermons and addresses, compilations, abridgments, adaptations, arrangements, dramatizations, translations and works republished with new matter, and also including dramatic-musical compositions, reproductions of works of art, prints, and pictorial illustrations. The foreign author is given a period of sixty days in which to make his publishing arrangements in America without endangering his copyright. The holder of a copyright has the exclusive right to translate the copyrighted work into other languages or dialects, or make any version thereof, if it be a literary work; to

dramatize it if it be a non-dramatic work; to convert it into a novel or other nondramatic work if it be a drama; to arrange or adapt it if it be a musical work; to deliver, perform, or represent the copyrighted work in public for profit; and to make records or other instruments for reproducing it mechanically. The publisher of a book must make affidavit that the mechanical work of making the book was done in the United States. Entry of printed title before publication will no longer be required. To secure a copyright for any work in the United States two copies bearing the copyright notice must be deposited with the Librarian of Congress not later than the day of publication here or abroad. The fee for copyright will be $1 in each case, and fifty-cent fees for entry without certificate will no longer be accepted. The new law will be printed in full in the May WRITER.

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ing a mining man by profession, and actively engaged in developing mining property, he has had exceptional opportunities for studying the characters of the hills and learning of incidents which work up well in fiction, and "A Counterfeit Presentment" is but one of a number of Western stories of his which have been appearing in various periodicals within the last two years. Mr. Anderson has been roaming about the West extensively for the last three years, visiting many out-of-the-way corners, and he is now writing a Western book which he hopes to have finished in six months or so. His time for writing is somewhat limited, but he says he knows of no other calling so fascinating, provided one does not depend on it for a living. Incidentally, he boasts of being the owner of a self-made collection of nearly 2,500 rejection slips.

Charles R. Barnes, whose story, "Mrs. Sweeney's Vengeance," in McClure's for March, is the forerunner of a series to appear in the Popular Magazine, and also of a novelette which he intends to bring out, is a Cleveland man now living in New York. His work has been writing topical verse for the newspapers, most of it being used by the New York World and the Sun. He was also at one time an editorial writer and paragrapher on the World. Occasionally he would contribute verses and stories to various periodicals, but he did not take that part of his work seriously until the appearance of this Sweeney story, when editors began writing him letters and asking for stories. Since then he has sold much matter that had been widely refused before. Puck and Judge have published a good deal of his humorous verse.

D. C. Lawless, whose initial story, "The Nerve of Joe," was printed in the March Lippincott's, is a clerk in one of the city departments of Toledo under the Independent administration of Mayor Brand Whitlock, the author of "The Turn of the Balance."

Percival Sheldon Ridsdale, whose story, "The Wedding in the Patch," appeared in Short Stories for March, is a newspaper man

of Wilkes Barre, Penn. He has been for many years a correspondent for a number of metropolitan newspapers, Wilkes Barre, in the heart of the anthracite coal fields, being an important news centre, especially regarding coal matters. Mr. Ridsdale has made a special study of the mining industry, and his story in Short Stories is a description of life in a mining village. He has written a number of mining stories, and while Harper's Young People was in existence he contributed to it a number of Revolutionary War stories, some of which have been published in book form. Owing to his time being taken up by newspaper work, Mr. Ridsdale has not written much for the magazines in late years. He wrote a number of Irish fairy stories for the New York Sun some years ago, and last December the National Magazine published one, called "The Disbelavin' of It." He has also written a number of stories for newspaper syndicates, and some special articles on railroad wrecks and mining accidents for the New York Evening Post, and for Leslie's Monthly while it was published.

Roscoe Gilmore Stott, whose poem, "Winds o' March," appeared in Putnam's Magazine for March, is the son of one of the most widely-known educators in the Middle West, his father having been for thirty-six years at the head of Franklin College in Indiana. Mr. Stott showed an aptness for things literary while yet in college, and had some verse accepted then. At his graduation in 1904 his class gave his own college comedy, "The Wizard of Zu Zu." The same year he won first place in the Metropolitan Magazine's contest for short verse. After a year's graduate work at Chicago University, he taught English in Drury College, Missouri, for a while. He is now giving his entire time to magazine work, and has had both verse and prose accepted by Putnam's Magazine, Lippincott's, the World To-Day, the Pacific Monthly, the Ladies' World, and lesser magazines, and he has done additional work for the Chicago Tribune. His first recognition of any prominence was the wide copying given his sonnet,

"The Child with the Violin," which was originally printed in the Reader Magazine. Mr. Stott is now living in Knightstown, Ind., where he is a close student of both nature and human nature. He is at present at work upon two longer efforts for book publication.

Eleanor Stuart, author of the story, "Bibi Steinfeld's Hunting," which was printed in McClure's for March, is now Mrs. Farris Robbins Childs Eleanor Stuart Childs and before her marriage, which took her to the East, especially to Africa, as her husband's firm of Childs & Co. is an importing and exporting concern, she had always lived in New York, where she had written for the magazines since she was sixteen years old. "Three Blind Mice," published last July in Scribner's Magazine, was immediately translated into French and German, and her novel, "The Postscript," published at the beginning of this year by McClure, was well received. She hopes to finish a long novel for early autumn publication, and she has several short stories coming out in the summer magazines. Mrs. Childs says that "Bibi Steinfeld's Hunting called forth many letters, and that the incident of poor Steinfeld's being devoured by a lion who returned to drink his bath water is a perfectly true happening, and one well known to East Africans.

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PERSONAL GOSSIP ABOUT AUTHORS.

Collins. In his recollections of Wilkie Collins, published in the Saturday Evening Post, William Winter quotes the novelist's account of the grievous conditions under which his story, "The Moonstone," was written. He had for some years suffered excruciating pain, caused by rheumatic gout in the eyes. "My suffering was so great," he said to his friend, “when I was writing 'The Moonstone,' that I could not control myself and keep quiet. My cries and groans so deeply distressed my amanuensis, to whom I was dictating, that he could not continue his work and had to leave me. After that I em

ployed several men, with the same result; no one of them could endure the strain. At last I engaged a young woman, stipulating that she must utterly disregard my sufferings and attend solely to my words. This she declared that she could do and would do, and this, to my amazement (because the most afflicting of my attacks came upon me after her arrival), she indubitably and exactly did. I was blind with pain, and I lay on the couch writhing and groaning. In that condition and under those circumstances I dictated the greater part of 'The Moonstone.'"

Flaubert. He was a Viking, a full-blooded man, who scorned sensible hygiene; he took no exercise beyond a walk in the morning, a walk in the evening on his terrace, and in summer an occasional swim in the Seine. He ate copiously, was moderate in drinking, but smoked fifteen or twenty pipes a day, abused black coffee, and for months at a stretch worked fifteen hours out of the twenty-four at his desk and such work! He warned his disciple, Guy de Maupassant, against too much boating as being destructive of mental productivity. In 1870 another crisis was brought on by protracted labors over the revision of the definitive version of the "St. Antony." His travels in Normandy, in the East, his visits to London (1851) and to Righi-Kaltbad in the Swiss, together with sojourns in Paris- where he had a little apartment- make up the itinerary of his fifty-eight years. Is it any wonder that he died of apoplexy, stricken at his desk, he of violently sanguine temperament, bull-necked, blood always in his face? . . . "Bouvard et Pécuchet" was never finished. Its increasing demands killed Flaubert. In his desk were found many cahiers of notes taken to illustrate the fatuity of mankind, its stupidity, its bêtise. He was as pitiless as Swift or Schopenhauer in his contempt for low ideals and vulgar pretensions, for the very bourgeois, from whom he

came....

After the scandal caused by the prosecution of "Madame Bovary," that austere, moral book, Flaubert was afraid to publish

his 1856, second version of "St. Antony." He had been advised by the sapient Du Camp to cast the manuscript into the fire, after a reading before Bouilhet and Du Camp lasting thirty-three hours. But he had refused. This was in September, 1849. Du Camp declares that he asked him to essay the "Delaunay affair," meaning the Delamarre story. This Flaubert did, and the result was the priceless history of Charles and Emma Bovary. D'Aurevilly attacked the book; Baudelaire defended it. Later Turgenieff wrote to Flaubert: "After all, you are Flaubert!" George Sand was a motherly consoler. Their letters are delightful. She did not understand the bluff, naïf Gustavshe who composed so flowingly and could turn on or off her prose like the tap of a kitchen hydrant (the simile is her own). How could she fathom the tormented desire of her friend for perfection, for the blending of idea and image, for the eternal pursuit of the right word, the shapely' sentence, the cadenced coda of a paragraph? And of the larger demands of style of the tone of a page, a chapter, a book, why should this fluent and graceful writer, called George Sand, concern herself with such superfluities? It was always an O altitudo with Flaubert the most copious, careless of correspondents. He had set for himself an impossible standard of perfection and an ideal of impersonality in art neither of which he realized. But there is no outward sign of his conflicts in his work; all trace of the labor bestowed upon his paragraphs is absent. His style is simple, direct, large; above all, clear the clarity of classic prose.

--

His declaiming aloud his sentences has been adduced to prove his absence of sanity. Beethoven, too, was pronounced crazy by his various landladies because he sang and howled in his voice of a composer compositions in the making. Flaubert was the possessor of an accurate musical ear. Not without justice did Coppée call him "the Beethoven of French prose." His sense of rhythm was acute; he carried it so far that he would sacrifice grammar to rhythmic flow. He tested his sentences aloud. Once in his apartment, Rue Murillo, overlooking Parc

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