Chapter V: Introduction: By JEROME K. JEROME (5)

In conclusion, I will tell a moving tale, that it may be a warning to young authors for ever. After my publishers declined to issue 'The Witch's Head' in a six-shilling edition, I tried many others without success, and at length in my folly signed an agreement with a firm since deceased. Under this document the firm in question agreed to bring out 'Dawn' and 'The Witch's Head' in a two-shilling edition, and generously to remunerate me with a third share in the profits realised, if any. In return for this concession, I on my part undertook to allow the said firm to republish any novel that I might write, for a period of five years from the date of the agreement, in a two-shilling form, and on the same third-profit terms. Of course, so soon as the success of 'King Solomon's Mines' was established, I received a polite letter from the publishers in question, asking when they might expect to republish that romance at two shillings. Then the matter came under the consideration of lawyers and other skilled persons, with the result that it appeared that, if the Courts took a strict view of the agreement, ruin stared me in the face, so far as my literary affairs were concerned. To begin with, either by accident or design, this artful document was so worded that, _primâ facie_, the contracting publisher had a right to place his cheap edition on the market whenever it might please him to do so, subject only to the payment of a third of the profit, to be assessed by himself, which practically might have meant nothing at all. How could I expect to dispose of work subject to such a legal 'servitude'? For five long years I was a slave to the framer of the 'hanging' clause of the agreement. Things looked black indeed, when, thanks to the diplomacy of my agent, and to a fortunate change in the _personnel_ of the firm to which I was bound, I avoided disaster. The fatal agreement was cancelled, and in consideration of my release I undertook to write two books upon a moderate royalty. Thus, then, did I escape out of bondage. To be just, it was my own fault that I should ever have been sold into it, but authors are proverbially guileless when they are anxious to publish their books, and a piece of printed paper with a few additions written in a neat hand looks innocent enough. Now no such misfortunes need happen, for the Authors' Society is ready and anxious to protect them from themselves and others, but in those days it did not exist.

This is the history of how I drifted into the writing of books. If it saves one beginner so inexperienced and unfriended as I was in those days from putting his hand to a 'hanging' agreement under any circumstances whatsoever, it will not have been set out in vain.

The advice that I give to would-be authors, if I may presume to offer it, is to think for a long while before they enter at all upon a career so hard and hazardous, but having entered on it, not to be easily cast down. There are great virtues in perseverance, even though critics sneer and publishers prove unkind.

'_HUDSON'S BAY_'

BY R. M. BALLANTYNE

Having been asked to give some account of the commencement of my literary career, I begin by remarking that my first book was not a tale or 'story-book,' but a free-and-easy record of personal adventure and every-day life in those wild regions of North America which are known, variously, as Rupert's Land--The Hudson's Bay Territory--The Nor' West, and 'The Great Lone Land.'

(_A Sketch by the Author_)]

The record was never meant to see the light in the form of a book. It was written solely for the eye of my mother, but, as it may be said that it was the means of leading me ultimately into the path of my life-work, and was penned under somewhat peculiar circumstances, it may not be out of place to refer to it particularly here.

The circumstances were as follows:--

After having spent about six years in the wild Nor' West, as a servant of the Hudson's Bay Fur Company, I found myself, one summer--at the advanced age of twenty-two--in charge of an outpost on the uninhabited northern shores of the Gulf of St. Lawrence named Seven Islands. It was a dreary, desolate spot; at that time far beyond the bounds of civilisation. The gulf, just opposite the establishment, was about fifty miles broad. The ships which passed up and down it were invisible, not only on account of distance, but because of seven islands at the mouth of the bay coming between them and the outpost. My next neighbour, in command of a similar post up the gulf, was about seventy miles distant. The nearest house down the gulf was about eighty miles off, and behind us lay the virgin forests, with swamps, lakes, prairies, and mountains, stretching away without break right across the continent to the Pacific Ocean.

The outpost--which, in virtue of a ship's carronade and a flagstaff, was occasionally styled a 'fort'--consisted of four wooden buildings. One of these--the largest, with a verandah--was the Residency. There was an offshoot in rear which served as a kitchen. The other houses were a store for goods wherewith to carry on trade with the Indians, a stable, and a workshop. The whole population of the establishment--indeed of the surrounding district--consisted of myself and one man--also a horse! The horse occupied the stable, I dwelt in the Residency, the rest of the population lived in the kitchen.

There were, indeed, five other men belonging to the establishment, but these did not affect its desolation, for they were away netting salmon at a river about twenty miles distant at the time I write of.

signed: R. M. Ballantyne]

My 'Friday'--who was a French-Canadian--being cook, as well as man-of-all-works, found a little occupation in attending to the duties of his office, but the unfortunate Governor had nothing whatever to do except await the arrival of Indians, who were not due at that time. The horse was a bad one, without a saddle, and in possession of a pronounced backbone. My 'Friday' was not sociable. I had no books, no newspapers, no magazines or literature of any kind, no game to shoot, no boat wherewith to prosecute fishing in the bay, and no prospect of seeing anyone to speak to for weeks, if not months, to come. But I had pen and ink, and, by great good fortune, was in possession of a blank paper book fully an inch thick.

These, then, were the circumstances in which I began my first book.

When that book was finished, and, not long afterwards, submitted to the--I need hardly say favourable--criticism of my mother, I had not the most distant idea of taking to authorship as a profession. Even when a printer-cousin, seeing the MS., offered to print it, and the well-known Blackwood of Edinburgh, seeing the book, offered to publish it--and did publish it--my ambition was still so absolutely asleep that I did not again put pen to paper in _that_ way for eight years thereafter, although I might have been encouraged thereto by the fact that this first book--named 'Hudson's Bay'--besides being a commercial success, received favourable notice from the Press.

It was not until the year 1854 that my literary path was opened up. At that time I was a partner in the late publishing firm of Constable & Co., of Edinburgh. Happening one day to meet with the late William Nelson, publisher, I was asked by him how I should like the idea of taking to literature as a profession. My answer I forget. It must have been vague, for I had never thought of the subject before.

'Well,' said he, 'what would you think of trying to write a story?'

Somewhat amused, I replied that I did not know what to think, but I would try if he wished me to do so.

'Do so,' said he, 'and go to work at once'--or words to that effect.

I went to work at once, and wrote my first story or work of fiction. It was published in 1855 under the name of 'Snowflakes and Sunbeams; or, The Young Fur-traders.' Afterwards the first part of the title was dropped, and the book is now known as 'The Young Fur-traders.' From that day to this I have lived by making story-books for young folk.

]

From what I have said it will be seen that I have never aimed at the achieving of this position, and I hope that it is not presumptuous in me to think--and to derive much comfort from the thought--that God led me into the particular path along which I have walked for so many years.

The scene of my first story was naturally laid in those backwoods with which I was familiar, and the story itself was founded on the adventures and experiences of myself and my companions. When a second book was required of me, I stuck to the same regions, but changed the locality. When casting about in my mind for a suitable subject, I happened to meet with an old retired 'Nor'wester' who had spent an adventurous life in Rupert's Land. Among other duties he had been sent to establish an outpost of the Hudson's Bay Company at Ungava Bay, one of the most dreary parts of a desolate region. On hearing what I wanted he sat down and wrote a long narrative of his proceedings there, which he placed at my disposal, and thus furnished me with the foundation of 'Ungava.'

But now I had reached the end of my tether, and when a third story was wanted I was compelled to seek new fields of adventure in the books of travellers. Regarding the Southern seas as a most romantic part of the world--after the backwoods!--I mentally and spiritually plunged into those warm waters, and the dive resulted in the 'Coral Island.'

It now began to be borne in upon me that there was something not quite satisfactory in describing, expatiating on, and energising in, regions which one has never seen. For one thing, it was needful to be always carefully on the watch to avoid falling into mistakes--geographical, topographical, natural-historical, and otherwise.

For instance, despite the utmost care of which I was capable while studying up for the 'Coral Island,' I fell into a blunder through ignorance in regard to a familiar fruit. I was under the impression that cocoanuts grew on their trees in the same form as that in which they are usually presented to us in grocers' windows--namely, about the size of a large fist, with three spots at one end. Learning from trustworthy books that at a certain stage of development the nut contains a delicious beverage like lemonade, I sent one of my heroes up a tree for a nut, through the shell of which he bored a hole with a penknife. It was not till long after the story was published that my own brother--who had voyaged in Southern seas--wrote to draw my attention to the fact that the cocoanut is nearly as large as a man's head, and its outer husk is over an inch thick, so that no ordinary penknife could bore to its interior! Of course I should have known this, and, perhaps, should be ashamed of my ignorance, but, somehow I'm not!

I admit that this was a slip, but such, and other slips, hardly justify the remark that some people have not hesitated to make--namely, that I have a tendency to draw the long bow. I feel almost sensitive on this point, for I have always laboured to be true to nature and to fact even in my wildest flights of fancy.

This reminds me of the remark made to myself once by a lady in reference to this same 'Coral Island.' 'There is one thing, Mr. Ballantyne,' she said, 'which I really find it hard to believe. You make one of your three boys dive into a clear pool, go to the bottom, and then, turning on his back, look up and wink and laugh at the other two.'

'No, no, not "_laugh_,"' said I, remonstratively.

'Well, then, you make him smile.'

'Ah! that is true, but there is a vast difference between laughing and smiling under water. But is it not singular that you should doubt the only incident in the story which I personally verify? I happened to be in lodgings at the seaside while writing that story, and, after penning the passage you refer to, I went down to the shore, pulled off my clothes, dived to the bottom, turned on my back, and, looking up, I smiled and winked.'

The lady laughed, but I have never been quite sure, from the tone of that laugh, whether it was a laugh of conviction or of unbelief. It is not improbable that my fair friend's mental constitution may have been somewhat similar to that of the old woman who declined to believe her sailor-grandson when he told her he had seen flying-fish, but at once recognised his veracity when he said he had seen the remains of Pharaoh's chariot wheels on the shores of the Red Sea.

Recognising, then, the difficulties of my position, I formed the resolution to visit--when possible--the scenes in which my stories were laid; converse with the people who, under modification, were to form the _dramatis personæ_ of the tales, and, generally, to obtain information in each case, as far as lay in my power, from the fountain-head.

Thus, when about to begin 'The Lifeboat,' I went to Ramsgate, and, for some time, was hand and glove with Jarman, the heroic coxswain of the Ramsgate boat, a lion-like as well as a lion-hearted man, who rescued hundreds of lives from the fatal Goodwin Sands during his career. In like manner, when getting up information for 'The Lighthouse,' I obtained permission from the Commissioners of Northern Lights to visit the Bell Rock Lighthouse, where I hobnobbed with the three keepers of that celebrated pillar-in-the-sea for three weeks, and read Stevenson's graphic account of the building of the structure in the library, or visitors' room, just under the lantern. I was absolutely a prisoner there during those three weeks, for no boats ever came near us, and it need scarcely be said that ships kept well out of our way. By good fortune there came on a pretty stiff gale at the time, and Stevenson's thrilling narrative was read to the tune of whistling winds and roaring seas, many of which latter sent the spray right up to the lantern and caused the building, more than once, to quiver to its foundation.

In order to do justice to 'Fighting the Flames' I careered through the streets of London on fire-engines, clad in a pea-jacket and a black leather helmet of the Salvage Corps. This to enable me to pass the cordon of police without question--though not without recognition, as was made apparent to me on one occasion at a fire by a fireman whispering confidentially, 'I know what _you_ are, sir, you're a hamitoor!'

'Right you are,' said I, and moved away in order to change the subject.

It was a glorious experience, by the way, this galloping on fire-engines through the crowded streets. It had in it much of the excitement of the chase--possibly that of war--with the noble end in view of saving instead of destroying life! Such tearing along at headlong speed; such wild roaring of the firemen to clear the way; such frantic dashing aside of cabs, carts, 'buses, and pedestrians; such reckless courage on the part of the men, and volcanic spoutings on the part of the fires! But I must not linger. The memory of it is too enticing. 'Deep Down' took me to Cornwall, where, over two hundred fathoms beneath the green turf, and more than half a mile out under the bed of the sea, I saw the sturdy miners at work winning copper and tin from the solid rock, and acquired some knowledge of their life, sufferings, and toils.

In the land of the Vikings I shot ptarmigan, caught salmon, and gathered material for 'Erling the Bold.' A winter in Algiers made me familiar with the 'Pirate City.' I enjoyed a fortnight with the hearty inhabitants of the Gull Lightship off the Goodwin Sands; and went to the Cape of Good Hope and up into the interior of the Colony, to spy out the land and hold intercourse with 'The Settler and the Savage'--although I am bound to confess that, with regard to the latter, I talked to him only with mine eyes. I also went afloat for a short time with the fishermen of the North Sea in order to be able to do justice to 'The Young Trawler.'

To arrive still closer at the truth, and to avoid errors, I have always endeavoured to submit my proof sheets, when possible, to experts and men who knew the subjects well. Thus, Captain Shaw, late chief of the London Fire Brigade, kindly read the proofs of 'Fighting the Flames,' and prevented my getting off the rails in matters of detail, and Sir Arthur Blackwood, financial secretary to the General Post Office, obligingly did me the same favour in regard to 'Post Haste.'

One other word in conclusion. Always, while writing--whatever might be the subject of my story--I have been influenced by an undercurrent of effort and desire to direct the minds and affections of my readers towards the higher life.

'_THE PREMIER AND THE PAINTER_'

BY I. ZANGWILL

As it is scarcely two years since my name (which, I hear, is a _nom de plume_) appeared in print on the cover of a book, I may be suspected of professional humour when I say I do not really know which was my first book. Yet such is the fact. My literary career has been so queer that I find it not easy to write my autobibliography.

'What is a pound?' asked Sir Robert Peel in an interrogative mood futile as Pilate's. 'What is a book?' I ask, and the dictionary answers with its usual dogmatic air, 'A collection of sheets of paper, or similar material, blank, written, or printed, bound together.' At this rate my first book would be that romance of school life in two volumes, which, written in a couple of exercise books, circulated gratuitously in the schoolroom, and pleased our youthful imaginations with teacher-baiting tricks we had not the pluck to carry out in the actual. I shall always remember this story because, after making the tour of the class, it was returned to me with thanks and a new first page from which all my graces of style had evaporated. Indignant inquiry discovered the criminal--he admitted he had lost the page, and had rewritten it from memory. He pleaded that it was better written (which in one sense was true), and that none of the facts had been omitted.

This ill-treated tale was 'published' when I was ten, but an old schoolfellow recently wrote to me reminding me of an earlier novel written in an old account-book. Of this I have no recollection, but, as he says he wrote it day by day at my dictation, I suppose he ought to know. I am glad to find I had so early achieved the distinction of keeping an amanuensis.

The dignity of print I achieved not much later, contributing verses and virtuous essays to various juvenile organs. But it was not till I was eighteen that I achieved a printed first book. The story of this first book is peculiar; and, to tell it in approved story form, I must request the reader to come back two years with me.

One fine day, when I was sixteen, I was wandering about the Ramsgate sands looking for Toole. I did not really expect to see him, and I had no reason to believe he was in Ramsgate, but I thought if Providence were kind to him it might throw him in my way. I wanted to do him a good turn. I had written a three-act farcical comedy at the request of an amateur dramatic club. I had written out all the parts, and I think there were rehearsals. But the play was never produced. In the light of after knowledge I suspect some of those actors must have been of quite professional calibre. You understand, therefore, why my thoughts turned to Toole. But I could not find Toole. Instead, I found on the sands a page of a paper called _Society_. It is still running merrily at a penny, but at that time it had also a Saturday edition at threepence. On this page was a great prize-competition scheme, as well as details of a regular weekly competition. The competitions in those days were always literary and intellectual, but then popular education had not made such strides as to-day.

I. Zangwill]

I sat down on the spot, and wrote something which took a prize in the weekly competition. This emboldened me to enter for the great stakes.

There were various events. I resolved to enter for two. One was a short novel, and the other a comedietta. The '5_l._ humorous story' competition I did not go in for; but when the last day of sending in MSS. for that had passed, I reproached myself with not having despatched one of my manuscripts. Modesty had prevented me sending in old work, as I felt assured it would stand no chance, but when it was too late I was annoyed with myself for having thrown away a possibility. After all I could have lost nothing. Then I discovered that I had mistaken the last date, and that there was still a day. In the joyful reaction I selected a story called 'Professor Grimmer,' and sent it in. Judge of my amazement when this got the prize (5_l._), and was published in serial form running through three numbers of _Society_. Last year, at a Press dinner, I found myself next to Mr. Arthur Goddard, who told me he had acted as Competition Editor, and that quite a number of now well-known people had taken part in these admirable competitions. My painfully laboured novel only got honourable mention, and my comedietta was lost in the post.

But I was now at the height of literary fame, and success stimulated me to fresh work. I still marvel when I think of the amount of rubbish I turned out in my seventeenth and eighteenth years, in the scanty leisure of a harassed pupil-teacher at an elementary school, working hard in the evenings for a degree at the London University to boot. There was a fellow pupil-teacher (let us call him Y.) who believed in me, and who had a little money with which to back his belief. I was for starting a comic paper. The name was to be _Grimaldi_, and I was to write it all every week.

'But don't you think your invention would give way ultimately?' asked Y. It was the only time he ever doubted me.

'By that time I shall be able to afford a staff,' I replied triumphantly.

Y. was convinced. But before the comic paper was born, Y. had another happy thought. He suggested that if I wrote a Jewish story, we might make enough to finance the comic paper. I was quite willing. If he had suggested an epic, I should have written it.

So I wrote the story in four evenings (I always write in spurts), and within ten days from the inception of the idea the booklet was on sale in a coverless pamphlet form. The printing cost ten pounds. I paid five (the five I had won), Y. paid five, and we divided the profits. He has since not become a publisher.

My first book (price one penny nett) went well. It was loudly denounced by those it described, and widely bought by them; it was hawked about the streets. One little shop in Whitechapel sold 400 copies. It was even on Smith's bookstalls. There was great curiosity among Jews to know the name of the writer. Owing to my anonymity, I was enabled to see those enjoying its perusal, who were afterwards to explain to me their horror and disgust at its illiteracy and vulgarity. By vulgarity vulgar Jews mean the reproduction of the Hebrew words with which the poor and the old-fashioned interlard their conversation. It is as if English-speaking Scotchmen and Irishmen should object to 'dialect' novels reproducing the idiom of their 'uncultured' countrymen. I do not possess a copy of my first book, but somehow or other I discovered the MS. when writing 'Children of the Ghetto.' The description of market-day in Jewry was transferred bodily from the MS. of my first book, and is now generally admired.

What the profits were I never knew, for they were invested in the second of our publications. Still jealously keeping the authorship secret, we published a long comic ballad which I had written on the model of 'Bab.' With this we determined to launch out in style, and so we had gorgeous advertisement posters printed in three colours, which were to be stuck about London to beautify that great dreary city. Y. saw the black-hair of Fortune almost within our grasp.

One morning our headmaster walked into my room with a portentously solemn air. I felt instinctively that the murder was out. But he only said, 'Where is Y.?' though the mere coupling of our names was ominous, for our publishing partnership was unknown. I replied, 'How should I know? In his room, I suppose.'

He gave me a peculiar sceptical glance.

'When did you last see Y.?' he said.

'Yesterday afternoon,' I replied wonderingly.

'And you don't know where he is now?'

'Haven't an idea--isn't he in school?'

'No,' he replied in low, awful tones.

'Where then?' I murmured.

'_In prison!_'

'In prison!' I gasped.

'In prison; I have just been to help bail him out.'

It transpired that Y. had suddenly been taken with a further happy thought. Contemplation of those gorgeous tricoloured posters had turned his brain, and, armed with an amateur paste-pot and a ladder, he had sallied forth at midnight to stick them about the silent streets, so as to cut down the publishing expenses. A policeman, observing him at work, had told him to get down, and Y., being legal-minded, had argued it out with the policeman _de haut en bas_ from the top of his ladder. The outraged majesty of the law thereupon haled Y. off to the cells.

Naturally the cat was now out of the bag, and the fat in the fire.

To explain away the poster was beyond the ingenuity of even a professed fiction-monger.

Straightway the committee of the school was summoned in hot haste, and held debate upon the scandal of a pupil-teacher being guilty of originality. And one dread afternoon, when all Nature seemed to hold its breath, I was called down to interview a member of the committee. In his hand were copies of the obnoxious publications.

I approached the great person with beating heart. He had been kind to me in the past, singling me out, on account of some scholastic successes, for an annual vacation at the seaside. It has only just struck me, after all these years, that, if he had not done so, I should not have found the page of _Society_, and so not have perpetrated the deplorable compositions.

In the course of a bad quarter of an hour, he told me that the ballad was tolerable, though not to be endured; he admitted the metre was perfect, and there wasn't a single false rhyme. But the prose novelette was disgusting. 'It is such stuff,' said he, 'as little boys scribble upon walls.'

I said I could not see anything objectionable in it.

'Come now, confess you are ashamed of it,' he urged. 'You only wrote it to make money.'

'If you mean that I deliberately wrote low stuff to make money,' I replied calmly, 'it is untrue. There is nothing I am ashamed of. What you object to is simply realism.' I pointed out that Bret Harte had been as realistic; but they did not understand literature on that committee.

'Confess you are ashamed of yourself,' he reiterated, 'and we will look over it.'

'I am not,' I persisted, though I foresaw only too clearly that my summer's vacation was doomed if I told the truth. 'What is the use of saying I am?'

The headmaster uplifted his hands in horror. 'How, after all your kindness to him, he can contradict you--!' he cried.

'When I come to be your age,' I conceded to the member of the committee, 'it is possible I may look back on it with shame. At present I feel none.'

In the end I was given the alternative of expulsion or of publishing nothing which had not passed the censorship of the committee. After considerable hesitation I chose the latter.

This was a blessing in disguise; for, as I have never been able to endure the slightest arbitrary interference with my work, I simply abstained from publishing. Thus, although I still wrote--mainly sentimental verses--my nocturnal studies were less interrupted. Not till I had graduated, and was of age, did I return to my inky vomit. Then came my next first book--a real book at last.

In this also I had the collaboration of a fellow-teacher, Louis Cowen by name. This time my colleague was part-author. It was only gradually that I had been admitted to the privilege of communion with him, for he was my senior by five or six years, and a man of brilliant parts who had already won his spurs in journalism, and who enjoyed deservedly the reputation of an Admirable Crichton. What drew me to him was his mordant wit (to-day, alas! wasted on anonymous journalism! If he would only reconsider his indetermination, the reading public would be the richer!) Together we planned plays, novels, treatises on political economy, and contributions to philosophy. Those were the days of dreams.

One afternoon he came to me with quivering sides, and told me that an idea for a little shilling book had occurred to him. It was that a Radical Prime Minister and a Conservative working man should change into each other by supernatural means, and the working man be confronted with the problem of governing, while the Prime Minister should be as comically out of place in the East End environment. He thought it would make a funny 'Arabian Nights' sort of burlesque. And so it would have done; but, unfortunately, I saw subtler possibilities of political satire in it, nothing less than a _reductio ad absurdum_ of the whole system of Party Government. I insisted the story must be real, not supernatural, the Prime Minister must be a Tory, weary of office, and it must be an ultra-Radical atheistic artisan bearing a marvellous resemblance to him who directs (and with complete success) the Conservative Administration. To add to the mischief, owing to my collaborator's evenings being largely taken up by other work, seven-eighths of the book came to be written by me, though the leading ideas were, of course, threshed out and the whole revised in common, and thus it became a vent-hole for all the ferment of a youth of twenty-one, whose literary faculty had furthermore been pent up for years by the potential censorship of a committee. The book, instead of being a shilling skit, grew to a ten-and-sixpenny (for that was the unfortunate price of publication) political treatise of over sixty long chapters and 500 closely printed pages. I drew all the characters as seriously and complexly as if the fundamental conception were a matter of history; the outgoing Premier became an elaborate study of a nineteenth-century Hamlet; the Bethnal Green life amid which he came to live was presented with photographic fulness and my old trick of realism; the governmental manoeuvres were described with infinite detail; numerous real personages were introduced under nominal disguises; and subsequent history was curiously anticipated in some of the Female Franchise and Home Rule episodes. Worst of all, so super-subtle was the satire, that it was never actually stated straight out that the Premier had changed places with the Radical working man, so that the door might be left open for satirically suggested alternative explanations of the metamorphosis in their characters; and as, moreover, the two men re-assumed their original _rôles_ for one night only with infinitely complex effects, many readers, otherwise unimpeachable, reached the end without any suspicion of the actual plot--and yet (on their own confession) enjoyed the book!

In contrast to all this elephantine waggery the half-dozen chapters near the commencement, in which my collaborator sketched the first adventures of the Radical working man in Downing Street, were light and sparkling, and I feel sure the shilling skit he originally meditated would have been a great success. We christened the book. 'The Premier and the Painter,' ourselves J. Freeman Bell, had it type-written, and sent it round to the publishers in two enormous quarto volumes. I had been working at it for more than a year every evening after the hellish torture of the day's teaching, and all day every holiday, but now I had a good rest while it was playing its boomerang prank of returning to me once a month. The only gleam of hope came from Bentleys, who wrote to say that they could not make up their minds to reject it; but they prevailed upon themselves to part with it at last, though not without asking to see Mr. Bell's next book. At last it was accepted by Spencer Blackett, and, though it had been refused by all the best houses, it failed. Failed in a material sense, that is; for there was plenty of praise in the papers, though at too long intervals to do us any good. The _Athenæum_ has never spoken so well of anything I have done since. The late James Runciman (I learnt after his death that it was he) raved about it in various uninfluential organs. It even called forth a leader in the _Family Herald_(!), and there are odd people here and there, who know the secret of J. Freeman Bell, who declare that I. Zangwill will never do anything so good. There was a cheaper edition, but it did not sell much then, though now it is in its third edition, issued uniformly with my other books by Heinemann, and absolutely unrevised. But not only did 'The Premier and the Painter fail with the great public at first, it did not even help either of us one step up the ladder; never got us a letter of encouragement nor a stroke of work. I had to begin journalism at the very bottom and entirely unassisted, narrowly escaping canvassing for advertisements, for I had by this time thrown up my scholastic position, and had gone forth into the world penniless and without even a 'character,' branded as an Atheist (because I did not worship the Lord who presided over our committee) and a Revolutionary (because I refused to break the law of the land).

I should stop here if I were certain I had written the required article. But as 'The Premier and the Painter' was not entirely _my_ first book, I may perhaps be expected to say something of my third first book, and the first to which I put my name--'The Bachelors' Club.' Years of literary apathy succeeded the failure of 'The Premier and the Painter.' All I did was to publish a few serious poems (which, I hope, will survive _Time_), a couple of pseudonymous stories signed 'The Baroness Von S.' (!), and a long philosophical essay upon religion, and to lend a hand in the writing of a few playlets. Becoming convinced of the irresponsible mendacity of the dramatic profession, I gave up the stage, too, vowing never to write except on commission (I kept my vow and yet was played ultimately), and sank entirely into the slough of journalism (glad enough to get there), _inter alia_ editing a comic paper (not _Grimaldi_, but _Ariel_) with a heavy heart. At last the long apathy wore off, and I resolved to cultivate literature again in my scraps of time. It is a mere accident that I wrote a pair of 'funny' books, or put serious criticism of contemporary manners into a shape not understood in a country where only the dull are profound and only the ponderous are earnest. 'The Bachelors' Club' was the result of a whimsical remark made by my dear friend, Eder of Bartholomew's, with whom I was then sharing rooms in Bernard Street, and who helped me greatly with it, and its publication was equally accidental. One spring day, in the year of grace 1891, having lived unsuccessfully for a score of years and seven upon this absurd planet, I crossed Fleet Street and stepped into what is called 'success.' It was like this. Mr. J. T. Grein, now of the Independent Theatre, meditated a little monthly called _The Playgoers' Review_, and he asked me to do an article for the first number, on the strength of some speeches I had made at the Playgoers' Club.

When I got the proof it was marked, 'Please return at once to 6 Bouverie Street.' My office boy being out, and Bouverie Street being only a few steps away, I took it over myself, and found myself, somewhat to my surprise, in the office of Henry & Co., publishers, and in the presence of Mr. J. Hannaford Bennett, an active partner in the firm. He greeted me by name, also to my surprise, and told me he had heard me speak at the Playgoers' Club. A little conversation ensued, and he mentioned that his firm was going to bring out a Library of Wit and Humour. I told him I had begun a book, avowedly humorous, and had written two chapters of it, and he straightway came over to my office, heard me read them, and immediately secured the book. (The then editor ultimately refused to have it in the 'Whitefriars' Library of Wit and Humour,' and so it was brought out separately.) Within three months, working in odds and ends of time, I finished it, correcting the proofs of the first chapters while I was writing the last; indeed, ever since the day I read those two chapters to Mr. Hannaford Bennett I have never written a line anywhere that has not been purchased before it was written. For, to my undying astonishment, two average editions of my real 'first book' were disposed of on the day of publication, to say nothing of the sale in New York. Unless I had acquired a reputation of which I was totally unconscious, it must have been the title that 'fetched' the trade. Or, perhaps, it was the illustrations by my friend, Mr. George Hutchinson, whom I am proud to have discovered as a cartoonist for _Ariel_.

So here the story comes to a nice sensational climax. Re-reading it, I feel dimly that there ought to be a moral in it somewhere for the benefit of struggling fellow-scribblers. But the best I can find is this: That if you are blessed with some talent, a great deal of industry, and an amount of conceit mighty enough to enable you to disregard superiors, equals and critics, as well as the fancied demands of the public, it is possible, without friends, or introductions, or bothering celebrities to read your manuscripts, or cultivating the camp of the log-rollers, to attain, by dint of slaving day and night for years during the flower of your youth, to a fame infinitely less widespread than a prizefighter's, and a pecuniary position which you might with far less trouble have been born to.

Morley Roberts]

'_THE WESTERN AVERNUS_'

BY MORLEY ROBERTS

Certainly no one was more surprised than myself when I discovered that I could write decent prose, and even make money out of it, for during many years my youthful aspirations had been to rival Rossetti, or get on a level with Browning, rather than to make a living out of literature as a profession. But when I did start a book, I went through three years of American experience like fire through flax, and wrote 'The Western Avernus,' a volume containing ninety-three thousand words, in less than a lunar month.

I had been in Australia years before, coming home before the mast as an A.B. in a Blackwall liner, but my occasional efforts to turn that experience into form always failed. Once or twice, I read some of my prose to friends, who told me that it was worse even than my poetry. Such criticism naturally confirmed me in the belief that I must be a poet or nothing, and I soon got into a fair way to become nothing, for my health broke down. At last, finding my choice lay between two kinds of tragedies, I chose the least, and went off to Texas. On February 27, 1884, I was working in a Government office as a writer; on March 27, I was sheep-herding in Scurry County, North-west Texas, in the south of the Panhandle. This experience was the opening of 'The Western Avernus.'

But I should never have written the book if it had not been for two friends of mine. One was George Gissing, and the other W. H. Hudson, the Argentine naturalist. When I returned from the West, and yarned to them of starvation and toil and strife in that new world, they urged me to put it down instead of talking it. I suppose they looked on it as good material running to verbal conversational waste, being both writers of many years' standing. Now I understand their point of view, and carry a note-book, or an odd piece of paper, to jot down motives that crop up in occasional talk, but then I was ignorant, and astonished at the wild notion of writing anything saleable. However, in desperation, for I had no money, I began to write, and went ahead in the same way that I have so far kept to. I wrote it without notes, without care, without thought, save that each night the past was resurgent and alive before and within me, just as it was when I worked and starved between Texas and the great North-west. Each Sunday I read what I had done to George Gissing; at first with terror, but afterwards with more confidence when he nodded approval, and as the end approached I began to believe in it myself.

It is only six years since the book was finished and sent to Messrs. Smith, Elder, & Co., but it seems half a century ago, so much has happened since then; and when it was accepted and published and paid for, and actually reviewed favourably, I almost determined to take to literature as a profession. I remembered that when I was a boy of eleven I wrote a romance with twenty people, men and women, in it. I married them all off at the end, being then in the childish mind of the most usual novelist who believes, or pretends to believe, or at any rate by implication teaches, that the interesting part of life finishes then instead of beginning. I recalled the fact that I wrote doggerel verse at the age of thirteen when I was at Bedford Grammar School, and that an ardent, ignorant Conservatism drove me, when I was at Owens College, Manchester, to lampoon the Liberal candidates in rhymes, and paste them up in the big lavatory; and under the influence of these memories I began to think that perhaps scribbling was my natural trade. I had tried some forty different callings, including 'sailorising,' saw-mill work, bullock-driving, tramping, and the selling of books in San Francisco, with indifferent financial success, so perhaps my _métier_ was the making of books instead. So I went on trying, and had a very bad time for two years.

Having written 'The Western Avernus' in a kind of intuitive, instructive way, it came easy enough to me, but very soon I began to think of the technique of writing, and wrote badly. I had to look back at the best part of that book to be assured I could write at all. For a long time it was a consolation and a distress to me, for I had to find out that knowledge must get into one's fingers before it can be used. Only those who know nothing, or who know a great deal very well, can write decently, and the intermediate state is exceedingly painful. Both the public and private laudation of my American book made me unhappy then. I thought I had only that one book in me.

Some of the letters I received from America, and, more particularly, British Columbia, were anything but cheerful reading. One man, of whom I had spoken rather freely, said I should be hanged on a cottonwood tree if I ever set foot in the Colony again. I do not believe there are any cottonwoods there, but he used a phrase common in American literature. Another whilom friend of mine, who had read some favourable criticisms, wrote me to say he was sure Messrs. Smith & Elder had paid for them. He had understood it was always done, and now he knew the truth of it, because the book was so bad. I almost feared to return to British Columbia: the critics there might use worse weapons than a sneering paragraph. In England the worst one need fear is an action for criminal libel, or a rough and tumble fight. There it might end in an inquest. I wrote back to my critics that if I ever came out again, I would come armed, and endeavour to reply effectually.

For that wild life, far away from the ancient set and hardened bonds of social law which crush a man and make him just like his fellows, or so nearly like that only intimacy can distinguish individual differences, had allowed me to grow in another way, and become more myself; more independent, more like a savage, better able to fight and endure. That is the use of going abroad, and going abroad to places that are not civilised. They allow a man to revert and be himself. It may make his return hard, his endurance of social bonds bitterer, but it may help him to refuse to endure. He may attain to some natural sight.

Not many weeks ago I was talking to a well-known American publisher, and our conversation ran on the trans-oceanic view of Europe. He was amused and delighted to come across an Englishman who was so Americanised in one way as to look on our standing camps and armed kingdoms as citizens of the States do, especially those who live in the West. To the American, Europe seems like a small collection of walled yards, each with a crowing fighting-cock defying the universe on the top of his own dunghill, with an occasional scream from the wall. The whole of our international politics gets to look small and petty, and a bitter waste of power. Perhaps the American view is right. At any rate, it seemed so when I sat far aloof upon the lofty mountains to the west of the great plains. The isolation from the politics of the moment allowed me to see nature and natural law.

And as it was with nations, so it was with men. Out yonder, in the West, most of us were brutal at times, and ready to kill, or be killed, but my American-bred acquaintances looked like men, strikingly like men, independent, free, equal to the need of the ensuing day or the call of some sudden hour. It is a liberal education to the law-abiding Englishman to see a good specimen of a Texan cowboy walk down a Western street; for he looks like a law unto himself, calm and greatly assured of the validity of his own enactments. We live in a crowd here, and it takes a rebel to be himself; and in the struggle for freedom he is likely to go under.

While I was gaining the experience that went solid and crystallised into 'The Western Avernus,' I was discovering much that had never been discovered before, not in a geographical sense--for I have been in few places where men have not been--but in myself. Each new task teaches us something new, and something more than the mere way to do it. To drive horses or milk a cow or make bread, or kill a sheep, sets us level with facts and face to face with some reality. We are called on to be real, and not the shadow of others. This is the worth that is in all real workers, whatever they do, under whatever conditions. Every truth so learnt strips away ancient falsehood from us; it is real education, not the taught instruction which makes us alike, and thus shams, merely arming us with weapons to fight our fellows in the crowded, unwholesome life of falsely civilised cities.

And in America there is the sharp contrast between the city life and the life of the mountain and the plain. It is seen more clearly than in England, which is all more or less city. There are no clear stellar interspaces in our life here. But out yonder, a long day's train ride across the high barren cactus plateaus of Arizona teaches us as much as a clear and open depth in the sky. For, of a sudden, we run into the very midst of a big town, and shams are made gods for our worship. It is difficult to be oneself when all others refuse to be themselves.

This was for me the lesson of the West and the life there. When I wrote this book I did not know it; I wrote almost unconsciously, without taking thought, without weighing words, without conscious knowledge. But I see now what I learnt in a hard and bitter school.

For I acknowledge that the experience was at times bitterly painful. It is not pleasant to toil sixteen hours a day; it is not good to starve overmuch; it is not well to feel bitter for long months. And yet it is well and good and pleasant in the end to learn realities and live without lies. It is better to be a truthful animal than a civilised man, as things go. I learnt much from horses and cattle and sheep; the very prairie dogs taught me; the ospreys and the salmon they preyed on expressed truths. They didn't attempt to live on words, or the dust and ashes of dead things. They were themselves and no one else, and were not diseased with theories or a morbid altruism that is based on dependence.

This, I think, is the lesson I learnt from my own book. I did not know it when I wrote it. I never thought of writing it; I never meant to write anything; I only went to America because England and the life of London made me ill. If I could have lived my own life here I would have stayed, but the crushing combination of social forces drove me out. For fear of cutting my own throat I left, and took my chance with natural forces. To fight with nature makes men, to fight with society makes devils, or criminals, or martyrs, and sometimes a man may be all three. I preferred to revert to mere natural conditions for a time.

To lead such a life for a long time is to give up creeds, and to go to the universal storehouse whence all creeds come. It is giving up dogmas and becoming religious. In true opposition to instructive nature, we find our own natural religion, which cannot be wholly like any other. So a life of this kind does not make men good, in the common sense of the word. But it makes a man good for something. It may make him an ethical outcast, as facts faced always will. He prefers induction to deduction, especially the sanctioned unverified deductions of social order. For nature affords the only verification for the logical process of deduction. 'We fear nature too much, to say the least.' For most of us hold to other men's theories instead of making our own.

When Mill said, 'Solitude, in the sense of being frequently alone, is necessary to the formation of any depth of character,' he spoke almost absolute truth. But here we can never be alone; the very air is full of the dead breath of others. I learnt more in a four days' walk over the California coast range, living on parched Indian corn, than I could have done in a lifetime of the solitude of a lonely house. The Selkirks and the Rocky Mountains are books of ancient learning: the long plains of grey grass, the burnt plateaus of the hot South, speak eternal truths to all who listen. They need not listen, for there men do not learn by the ear. They breathe the knowledge in.