LITMIR.BIZ

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vice of our comparatively virtuous craft is that it tends to make each of us imagine himself central, if not sole.

      As a matter of fact, however, the universe does not revolve around any one of us; we make our circuit of the sun along with the other inhabitants of the earth, a planet of inferior magnitude. The thing we strive for is recognition, but when this comes it is apt to turn our heads. I should say, then, that it was better it should not come in a great glare and aloud shout, all at once, but should steal slowly upon us, ray by ray, breath by breath.

      In the mean time, if this happens, we shall have several chances of reflection, and can ask ourselves whether we are really so great as we seem to other people, or seem to seem.

      The prime condition of good work is that we shall get ourselves out of our minds. Sympathy we need, of course, and encouragement; but I am not sure that the lack of these is not a very good thing, too. Praise enervates, flattery poisons; but a smart, brisk snub is always rather wholesome.

      I should say that it was not at all a bad thing for a young contributor to get his manuscript back, even after a first acceptance, and even a general newspaper proclamation that he is one to make the immortals tremble for their wreaths of asphodel—or is it amaranth? I am never sure which.

      Of course one must have one’s hour, or day, or week, of disabling the editor’s judgment, of calling him to one’s self fool, and rogue, and wretch; but after that, if one is worth while at all, one puts the rejected thing by, or sends it off to some other magazine, and sets about the capture of the erring editor with something better, or at least something else.

      III.

      I think it a great pity that editors ever deal other than frankly with young contributors, or put them off with smooth generalities of excuse, instead of saying they do not like this thing or that offered them. It is impossible to make a criticism of all rejected manuscripts, but in the case of those which show promise I think it is quite possible; and if I were to sin my sins over again, I think I should sin a little more on the side of candid severity. I am sure I should do more good in that way, and I am sure that when I used to dissemble my real mind I did harm to those whose feelings I wished to spare. There ought not, in fact, to be question of feeling in the editor’s mind.

      I know from much suffering of my own that it is terrible to get back a manuscript, but it is not fatal, or I should have been dead a great many times before I was thirty, when the thing mostly ceased for me. One survives it again and again, and one ought to make the reflection that it is not the first business of a periodical to print contributions of this one or of that, but that its first business is to amuse and instruct its readers.

      To do this it is necessary to print contributions, but whose they are, or how the writer will feel if they are not printed, cannot be considered. The editor can consider only what they are, and the young contributor will do well to consider that, although the editor may not be an infallible judge, or quite a good judge, it is his business to judge, and to judge without mercy. Mercy ought no more to qualify judgment in an artistic result than in a mathematical result.

      IV.

      I suppose, since I used to have it myself, that there is a superstition with most young contributors concerning their geographical position. I used to think that it was a disadvantage to send a thing from a small or unknown place, and that it doubled my insignificance to do so. I believed that if my envelope had borne the postmark of New York, or Boston, or some other city of literary distinction, it would have arrived on the editor’s table with a great deal more authority. But I am sure this was a mistake from the first, and when I came to be an editor myself I constantly verified the fact from my own dealings with contributors. A contribution from a remote and obscure place at once piqued my curiosity, and I soon learned that the fresh things, the original things, were apt to come from such places, and not from the literary centres. One of the most interesting facts concerning the arts of all kinds is that those who wish to give their lives to them do not appear where the appliances for instruction in them exist. An artistic atmosphere does not create artists a literary atmosphere does not create literators; poets and painters spring up where there was never a verse made or a picture seen.

      This suggests that God is no more idle now than He was at the beginning, but that He is still and forever shaping the human chaos into the instruments and means of beauty. It may also suggest to that scholar- pride, that vanity of technique, which is so apt to vaunt itself in the teacher, that the best he can do, after all, is to let the pupil teach himself. If he comes with divine authority to the thing he attempts, he will know how to use the appliances, of which the teacher is only the first.

      The editor, if he does not consciously perceive the truth, will instinctively feel it, and will expect the acceptable young contributor from the country, the village, the small town, and he will look eagerly at anything that promises literature from Montana or Texas, for he will know that it also promises novelty.

      If he is a wise editor, he will wish to hold his hand as much as possible; he will think twice before he asks the contributor to change this or correct that; he will leave him as much to himself as he can. The young contributor; on his part, will do well to realize this, and to receive all the editorial suggestions, which are veiled commands in most cases, as meekly and as imaginatively as possible.

      The editor cannot always give his reasons; however strongly he may feel them, but the contributor, if sufficiently docile, can always divine them. It behooves him to be docile at all times, for this is merely the willingness to learn; and whether he learns that he is wrong, or that the editor is wrong, still he gains knowledge.

      A great deal of knowledge comes simply from doing, and a great deal more from doing over, and this is what the editor generally means.

      I think that every author who is honest with himself must own that his work would be twice as good if it were done twice. I was once so fortunately circumstanced that I was able entirely to rewrite one of my novels, and I have always thought it the best written, or at least indefinitely better than it would have been with a single writing. As a matter of fact, nearly all of them have been rewritten in a certain way. They have not actually been rewritten throughout, as in the case I speak of, but they have been gone over so often in manuscript and in proof that the effect has been much the same.

      Unless you are sensible of some strong frame within your work, something vertebral, it is best to renounce it, and attempt something else in which you can feel it. If you are secure of the frame you must observe the quality and character of everything you build about it; you must touch, you must almost taste, you must certainly test, every material you employ; every bit of decoration must undergo the same scrutiny as the structure.

      It will be some vague perception of the want of this vigilance in the young contributor’s work which causes the editor to return it to him for revision, with those suggestions which he will do well to make the most of; for when the editor once finds a contributor he can trust, he rejoices in him with a fondness which the contributor will never perhaps understand.

      It will not do to write for the editor alone; the wise editor understands this, and averts his countenance from the contributor who writes at him; but if he feels that the contributor conceives the situation, and will conform to the conditions which his periodical has invented for itself, and will transgress none of its unwritten laws; if he perceives that he has put artistic conscience in every general and detail, and though he has not done the best, has done the best that he can do, he will begin to liberate him from every trammel except those he must wear himself, and will be only too glad to leave him free. He understands, if he is at all fit for his place, that a writer can do well only what he likes to do, and his wish is to leave him to himself as soon as possible.

      V.

      In my own case, I noticed that the contributors who could be best left to themselves were those who were most amenable to suggestion and even correction, who took the blue pencil with a smile, and bowed gladly to the rod of the proof-reader. Those who were on the alert for offence, who resented a marginal note as a slight, and bumptiously demanded that their

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