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Again Bertie is trying to avoid both marriage and having his spine broken in an increasing number of places, again having to purloin a valuable object to help out his only likable aunt, again depending on Jeeves first, middle, and last to extricate himself from dilemmas of his own doing and (at least in this book) those of others.Of the four actors assigned to read these novels and short stories on Audio Partners tapes, I think Jonathan Cecil is the best. He gives Wooster just that goofy intonation and all the other characters their due, making this set of four audio tapes a real humdinger. I have grown to realize that it is not so much that Wodehouse says funny things as that he says ordinary things in a funny way. That is why almost all of the Jeeves adventures are narrated first person by Wooster himself.
Just the ticket to cheer one up after a hard day or during a long boring drive.
As a PS, there is a very good life of Wodehouse by David A. Jasen put out by Schirmer Trade Books, "P.G. Wodehouse: A Portrait of a Master." It makes an easy read and brings you closer to the creator of the dreamworld in which lives the Woosters and the rest.
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Jonathan Edwards is a moving depiction of a great man of devotion.
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I'm somewhat at a loss to try and describe how important I think this book is. I rarely comment on books I've ordered, but I feel that EVERY educated person should read this book and understand the reasons why an open, critical, unfettered exchange of ideas is of central importance to civilization and to the progress of human knowledge.
Read this book. You'll be glad you did.
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Please understand, though, that this is an incredibly detailed, expert look at every clause in a publishing contract, which an agent negotiates on an author's behalf. If the nuances of legal language aren't of interest and you would rather just get an overview of key contract issues, I'd recommend Michael Larsen's "Literary Agents: What They Do, How They Do It, and How to Find and Work with the Right One for You" instead, or one of the other books on the business of publishing.
"The contract you receive from your publisher may be in two colors and printed on fancy paper but it is not chiseled in stone. Only new authors sign and return a publisher's first offer. You may make changes to the contract and return it-that is a "counter offer". The contract may go back and forth until someone "accepts it."
"I took a distressing telephone call from an author who had just received a contract from a large New York publisher. There were a total of 21 items in the contract she didn't like or didn't understand. After discussing some of them, I suggested she call her editor and have a discussion. Better communication was certainly required here.
She called back two days later, both astonished and delighted. When she asked about the first paragraph in question, the editor said, "that's okay; you can have it." She got what she wanted on the next paragraph in question too. On one other paragraph that concerned her, the editor said something like, "Well, that sounds like this but in the book trade it really means that; so it isn't a big issue."
The result: she got 19 out of the 21 things she asked for. So contract discussions do not mean pulling the wool over the eyes of your publisher. This was a win-win negotiation.
"Take the contract to a book attorney (not just any attorney, not a contract attorney and not a media attorney). When it comes to literary properties and money, you need professional help. And make a counter offer." Kirsch's book will help you understand the publisher's contract.
Jonathan Kirsch is a well-known book critic and book attorney in Los Angeles.
As the author of 113 books (including revisions and foreign-language editions) and over 500 magazine articles, I highly recommend this book to writers and publishers everywhere. DanPoynter@ParaPublishing.com.
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