LITMIR.BIZ

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      I come now to a question only less delicate than that of the conflict of sexes in journalism—the question of reviewing, which, however, I shall treat with more freedom. If I have an aptitude for anything at all in letters, it is for criticism. Whenever I read a work of imagination, I am instantly filled with ideas concerning it; I form definite views about its merit or demerit, and having formed them, I hold those views with strong conviction. Denial of them rouses me; I must thump the table in support of them; I must compel people to believe that what I say is true; I cannot argue without getting serious in spite of myself. In literature, but in nothing else, I am a propagandist; I am not content to keep my opinion and let others keep theirs. To have a worthless book in my house (save in the way of business), to know that any friend of mine is enjoying it, actually distresses me. That book must go, the pretensions of that book must be exposed, if I am to enjoy peace of mind. Some may suspect that I am guilty here of the affectation of a pose. Really it is not so. I often say to myself, after the heat of an argument, a denunciation, or a defence: “What does it matter, fool? The great mundane movement will continue, the terrestrial ball will roll on.” But will it? Something must matter, after all, or the mundane movement emphatically would not continue. And the triumph of a good book, and the ignominy of a bad book, matter to me.

      The criticism of imaginative prose literature, which is my speciality, is an overcrowded and not very remunerative field of activity. Every intelligent mediocrity in Fleet Street thinks he can appraise a novel, and most of them, judging from the papers, seem to make the attempt. And so quite naturally the pay is as a rule contemptible. To enter this field, therefore, with the intention of tilling it to a profitable fiscal harvest is an enterprise in the nature of a forlorn hope. I undertook it in innocence and high spirits, from a profound instinct. I had something to say. Of late years I have come to the conclusion that the chief characteristic of all bad reviewing is the absence of genuine conviction, of a message, of a clear doctrine; the incompetent reviewer has to invent his opinions.

I succeeded at first by dint of ignoring one of the elementary laws of journalism, to wit, that editors do not accept reviews from casual outsiders. I wrote a short review of a French work and sent it to The Illustrated London News, always distinguished for its sound literary criticism. Any expert would have told me that I was wasting labour and postage. Nevertheless, the review was accepted, printed, and handsomely paid for. I then sent a review of a new edition of Edward Carpenter’s Towards Democracy to an evening paper, and this, too, achieved publicity. After that, for some months, I made no progress. And then I had the chance of a literary causerie in a weekly paper: eight hundred words a week, thirty pounds a year. I wrote a sample article—and I well remember the incredible pains I took to show that Mrs. Lynn Linton’s In Haste and at Leisure was thoroughly bad— but my article was too “literary.” The editor with thirty pounds a year to spend on literary criticism went in search of a confection less austere than mine. But I was not baulked for long. The literary column of my own paper (of which I was then only assistant-editor) was presented to me on my assurance that I could liven it up: seven hundred words a week, at twelve and sixpence. The stuff that I wrote was entirely unsuited to the taste of our public; but it attracted attention from the seats of the mighty, and it also attracted—final triumph of the despised reviewer!—publishers’ advertisements. I wrote this column every week for some years. And I got another one to do, by asking for it. Then I selected some of my best and wittiest reviews, and sent them to the editor of a well-known organ of culture with a note suggesting that my pen ought to add to the charms of his paper. An editor of sagacity and perspicacity, he admitted the soundness of my suggestion without cavil, and the result was mutually satisfactory. At the present time1 I am continually refusing critical work. I reckon that on an average I review a book and a fraction of a book every day of my life, Sundays included.

      “Then,” says the man in the street inevitably, “you must spend a very large part of each day in reading new books.” Not so. I fit my reviewing into the odd unoccupied corners of my time, the main portions of which are given to the manufacture of novels, plays, short stories, and longer literary essays. I am an author of several sorts. I have various strings to my bow. And I know my business. I write half a million words a year. That is not excessive; but it is passable industry, and nowadays I make a point of not working too hard. The half-million words contain one or two books, one or two plays, and numerous trifles not connected with literary criticism; only about a hundred and fifty thousand words are left for reviewing.

      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 straightforwardly 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. I am merely an expert.”

      The performances of the expert in any craft will surprise and amaze the inexpert. Come with me into my study and I will surprise and amaze you. Have I been handling novels for bread and cheese all these years and not learnt to judge them by any process quicker than that employed by you who merely pick up a novel for relaxation after dinner? Assuming that your taste is fairly sound, let us be confronted with the same new novel, and I will show you, though you are a quick reader, that I can anticipate your judgment of that novel by a minimum of fifty-five minutes. 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 narrative everywhere discloses to me the merits and defects of the writer; no author ever lived who could write a page without giving himself away. The whole book, open it where I will, is murmurous with indications for me. In the case of nine books of ten, to read them through would be not a work of supererogation—it would be a sinful waste of time on the part of a professional reviewer. The majority of novels—and all these remarks apply only to novels—hold no surprise for the professional reviewer. He can foretell them as the nautical almanac foretells astronomical phenomena. The customary established popular author seldom or never deviates from his appointed track, and it is the customary established popular author upon whom chiefly the reviewer is a parasite. New authors occasionally cause the reviewer to hesitate in his swift verdicts, especially when the verdict is inclined to be favourable. Certain publishers (that is to say, their “readers”) have a knack of acquiring new authors who can imitate real excellence in an astonishing manner. In some cases the reviewer must needs deliberately “get into” the book, in order not to be deceived by appearances, in order to decide positively whether the author has genuine imaginative power, and if so, whether that power is capable of a sustained effort. But these difficult instances are rare. 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.

      Brief reflection will convince any one that it would be economically impossible for the reviewer to fulfil this extraordinary behest of the man of the street to read every book through. Take your London morning paper, and observe the column devoted to fiction of the day. It comprises some fifteen hundred words, and the reviewer receives, if he is well paid, three guineas for it. Five novels are discussed. Those novels will amount to sixteen hundred pages of printed matter. Reading at the rate of eight words a second, the reviewer would accomplish two pages a minute, and sixteen hundred pages in thirteen hours and twenty minutes. Add an hour and forty minutes for the composition, and we have fifteen hours, or two days’ work. Do you imagine that the reviewer of a London morning paper is going to hire out his immortal soul, his experience, his mere skill, at the rate of thirty-one and sixpence per day on irregular jobs? Scarcely. He will earn his three guineas inside three hours, and it will be well and truly earned. As a journeyman author, with the ability and inclination to turn my pen in any direction at request, I long ago established a rule never to work for less than ten shillings an hour on piecework. If 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 ten shillings apiece. But each

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