Literature and Life (Complete). William Dean Howells

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СКАЧАТЬ been quite good enough from him in the first instance is not good enough in the second, because he has himself fixed his standard so high. His only hope is to surpass himself, and not begin resting on his laurels too soon; perhaps it is never well, soon or late, to rest upon one’s laurels. It is well for one to make one’s self scarce, and the best way to do this is to be more and more jealous of perfection in one’s work.

      The editor’s conditions are that having found a good thing he must get as much of it as he can, and the chances are that he will be less exacting than the contributor imagines. It is for the contributor to be exacting, and to let nothing go to the editor as long as there is the possibility of making it better. He need not be afraid of being forgotten because he does not keep sending; the editor’s memory is simply relentless; he could not forget the writer who has pleased him if he would, for such writers are few.

      I do not believe that in my editorial service on the Atlantic Monthly, which lasted fifteen years in all, I forgot the name or the characteristic quality, or even the handwriting, of a contributor who had pleased me, and I forgot thousands who did not. I never lost faith in a contributor who had done a good thing; to the end I expected another good thing from him. I think I was always at least as patient with him as he was with me, though he may not have known it.

      At the time I was connected with that periodical it had almost a monopoly of the work of Longfellow, Emerson, Holmes, Lowell, Whittier, Mrs. Stowe, Parkman, Higginson, Aldrich, Stedman, and many others not so well known, but still well known. These distinguished writers were frequent contributors, and they could be counted upon to respond to almost any appeal of the magazine; yet the constant effort of the editors was to discover new talent, and their wish was to welcome it.

      I know that, so far as I was concerned, the success of a young contributor was as precious as if I had myself written his paper or poem, and I doubt if it gave him more pleasure. The editor is, in fact, a sort of second self for the contributor, equally eager that he should stand well with the public, and able to promote his triumphs without egotism and share them without vanity.

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      In fact, my curious experience was that if the public seemed not to feel my delight in a contribution I thought good, my vexation and disappointment were as great as if the work hod been my own. It was even greater, for if I had really written it I might have had my misgivings of its merit, but in the case of another I could not console myself with this doubt. The sentiment was at the same time one which I could not cherish for the work of an old contributor; such a one stood more upon his own feet; and the young contributor may be sure that the editor’s pride, self-interest, and sense of editorial infallibility will all prompt him to stand by the author whom he has introduced to the public, and whom he has vouched for.

      I hope I am not giving the young contributor too high an estimate of his value to the editor. After all, he must remember that he is but one of a great many others, and that the editor’s affections, if constant, are necessarily divided. It is good for the literary aspirant to realize very early that he is but one of many; for the 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.

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      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.

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      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 СКАЧАТЬ