Chapter VII: A Plunge into Wall Street (3)

That evening Bok got at the papers in the case, and found out that, technically, Doctor Storrs was right: he had not written or signed such a statement. The compiler of the symposium, the editor of one of New York's leading evening papers whom Bok had employed, had found Doctor Storrs's declaration in favor of a clergyman's use of tobacco in an address made some time before, had extracted it and incorporated it into the symposium. It was, therefore, Doctor Storrs's opinion on the subject, but not written for the occasion for which it was used. Bok felt that his editor had led him into an indiscretion. Yet the sentiments were those of the writer whose name was attached to them, so that the act was not one of forgery. The editor explained that he had sent the extract to Doctor Storrs, who had not returned it, and he had taken silence to mean consent to the use of the material.

Bok decided to say nothing until he heard from Doctor Storrs personally, and so told the newspapers. But the clergyman did not stop his attack. Of course, the newspapers egged him on and extracted from him the further accusation that Bok's silence proved his guilt. Bok now took the case to Mr. Beecher, and asked his advice.

"Well, Edward, you are right and you are wrong," said Mr. Beecher. "And so is Storrs, of course. It is beneath him to do what he has done. Storrs and I are not good friends, as you know, and so I cannot go to him and ask him the reason of his disclaimer. Otherwise I would. Of course, he may have forgotten his remarks: that is always possible in a busy man's life. He may not have received the letter enclosing them. That is likewise possible. But I have a feeling that Storrs has some reason for wishing to repudiate his views on this subject just at this time. What it is I do not, of course, know, but his vehemence makes me think so. I think I should let him have his rein. Keep you quiet. It may damage you a little here and there, but in the end it won't harm you. In the main point, you are right. You are not a forger. The sentiments are his and he uttered them, and he should stand by them. He threatens to bring you into court, I see from to-day's paper. Wait until he does so."

Bok, chancing to meet Doctor Talmage, told him Mr. Beecher's advice, and he endorsed it. "Remember, boy," said Doctor Talmage, "silence is never so golden as when you are under fire. I know, for I have been there, as you know, more than once. Keep quiet; and always believe this: that there is a great deal of common sense abroad in the world, and a man is always safe in trusting it to do him justice."

They were not pleasant and easy days for Bok, for Doctor Storrs kept up the din for several days. Bok waited for the word to appear in court. But this never came, and the matter soon died down and out. And, although Bok met the clergyman several times afterward in the years that followed, no reference was ever made by him to the incident.

But Edward Bok had learned a valuable lesson of silence under fire--an experience that was to stand him in good stead when he was again publicly attacked not long afterward.

This occurred in connection with a notable anniversary celebration in honor of Henry Ward Beecher, in which the entire city of Brooklyn was to participate. It was to mark a mile-stone in Mr. Beecher's ministry and in his pastorate of Plymouth Church. Bok planned a worldwide tribute to the famed clergyman: he would get the most distinguished men and women of this and other countries to express their esteem for the Plymouth pastor in written congratulations, and he would bind these into a volume for presentation to Mr. Beecher on the occasion. He consulted members of the Beecher family, and, with their acquiescence, began to assemble the material. He was in the midst of the work when Henry Ward Beecher passed away. Bok felt that the tributes already received were too wonderful to be lost to the world, and, after again consulting Mrs. Beecher and her children, he determined to finish the collection and publish it as a memorial for private distribution. After a prodigious correspondence, the work was at last completed; and in June, 1887, the volume was published, in a limited edition of five hundred copies. Bok distributed copies of the volume to the members of Mr. Beecher's family, he had orders from Mr. Beecher's friends, one hundred copies were offered to the American public and one hundred copies were issued in an English edition.

With such a figure to whom to do honor, the contributors, of course, included the foremost men and women of the time. Grover Cleveland was then President of the United States, and his tribute was a notable one. Mr. Gladstone, the Duke of Argyll, Pasteur, Canon Farrar, Bartholdi, Salvini, and a score of others represented English and European opinion. Oliver Wendell Holmes, John Greenleaf Whittier, T. De Witt Talmage, Robert G. Ingersoll, Charles Dudley Warner, General Sherman, Julia Ward Howe, Andrew Carnegie, Edwin Booth, Rutherford B. Hayes--there was scarcely a leader of thought and of action of that day unrepresented. The edition was, of course, quickly exhausted; and when to-day a copy occasionally appears at an auction sale, it is sold at a high price.

The newspapers gave very large space to the distinguished memorial, and this fact angered a journalist, Joseph Howard, Junior, a man at one time close to Mr. Beecher, who had befriended him. Howard had planned to be the first in the field with a hastily prepared biography of the great preacher, and he felt that Bok had forestalled him. Forthwith, he launched a vicious attack on the compiler of the memorial, accusing him of "making money out of Henry Ward Beecher's dead body" and of "seriously offending the family of Mr. Beecher, who had had no say in the memorial, which was therefore without authority, and hence extremely distasteful to all."

Howard had convinced a number of editors of the justice of his position, and so he secured a wide publication for his attack. For the second time, Edward Bok was under fire, and remembering his action on the previous occasion, he again remained silent, and again the argument was put forth that his silence implied guilt. But Mrs. Beecher and members of the Beecher family did not observe silence, and quickly proved that not only had Bok compiled the memorial as a labor of love and had lost money on it, but that he had the full consent of the family in its preparation.

When, shortly afterward, Howard's hastily compiled "biography" of Mr. Beecher appeared, a reporter asked Mrs. Beecher whether she and her family had found it accurate.

"Accurate, my child," said Mrs. Beecher. "Why, it is so accurate in its absolute falsity that neither I nor the boys can find one fact or date given correctly, although we have studied it for two days. Even the year of Mr. Beecher's birth is wrong, and that is the smallest error!"

Edward Bok little dreamed that these two experiences with public criticism were to serve him as a foretaste of future attacks when he would get the benefit of hundreds of pencils especially sharpened for him.

XIII. Publishing Incidents and Anecdotes

One evening some literary men were dining together previous to going to a private house where a number of authors were to give readings from their books. At the table the talk turned on the carelessness with which the public reads books. Richard Harding Davis, one of the party, contended that the public read more carefully than the others believed. It was just at the time when Du Maurier's Trilby was in every one's hands.

"Don't you believe it," said one of the diners. "I'll warrant you could take a portion of some well-known story to-night and palm it off on most of your listeners as new stuff."

"Done," said Davis. "Come along, and I'll prove you wrong."

The reading was to be at the house of John Kendrick Bangs at Yonkers. When Davis's "turn" in the programme came, he announced that he would read a portion from an unpublished story written by himself. Immediately there was a flutter in the audience, particularly among the younger element.

Pulling a roll of manuscript out of his pocket, Davis began:

"It was a fine, sunny, showery day in April. The big studio window--"

He got no farther. Almost the entire audience broke into a shout of laughter and applause. Davis had read thirteen of the opening words of Trilby.

All publishing houses employ "readers" outside of those in their own offices for the reading of manuscripts on special subjects. One of these "outside readers" was given a manuscript for criticism. He took it home and began its reading. He had finished only a hundred pages or so when, by a curious coincidence, the card of the author of the manuscript was brought to the "reader." The men were close friends.

Hastily gathering up the manuscript, the critic shoved the work into a drawer of his desk, and asked that his friend be shown in.

The evening was passed in conversation; as the visitor rose to leave, his host, rising also and seating himself on his desk, asked:

"What have you been doing lately? Haven't seen much of you."

"No," said the friend. "It may interest you to know that I have been turning to literary work, and have just completed what I consider to be an important book."

"Really?" commented the "reader."

"Yes," went on his friend. "I submitted it a few days ago to one of the big publishing houses. But, great Scott, you can never tell what these publishers will do with a thing of that sort. They give their manuscripts to all kinds of fools to read. I suppose, by this time, some idiot, who doesn't know a thing of the subject about which I have written, is sitting on my manuscript."

Mechanically, the "reader" looked at the desk upon which he was sitting, thought of the manuscript lying in the drawer directly under him, and said:

"Yes, that may be. Quite likely, in fact."

Of no novel was the secret of the authorship ever so well kept as was that of The Breadwinners, which, published anonymously in 1883, was the talk of literary circles for a long time, and speculation as to its authorship was renewed in the newspapers for years afterward. Bok wanted very much to find out the author's name so that he could announce it in his literary letter. He had his suspicions, but they were not well founded until an amusing little incident occurred which curiously revealed the secret to him.

Bok was waiting to see one of the members of a publishing firm when a well-known English publisher, visiting in America, was being escorted out of the office, the conversation continuing as the two gentlemen walked through the outer rooms. "My chief reason," said the English publisher, as he stopped at the end of the outer office where Bok was sitting, "for hesitating at all about taking an English set of plates of the novel you speak of is because it is of anonymous authorship, a custom of writing which has grown out of all decent proportions in your country since the issue of that stupid book, The Breadwinners."

As these last words were spoken, a man seated at a desk directly behind the speaker looked up, smiled, and resumed reading a document which he had dropped in to sign. A smile also spread over the countenance of the American publisher as he furtively glanced over the shoulder of the English visitor and caught the eye of the smiling man at the desk.

Bok saw the little comedy, realized at once that he had discovered the author of The Breadwinners, and stated to the publisher that he intended to use the incident in his literary letter. But it proved to be one of those heart-rending instances of a delicious morsel of news that must be withheld from the journalist's use. The publisher acknowledged that Bok had happened upon the true authorship, but placed him upon his honor to make no use of the incident. And Bok learned again the vital journalistic lesson that there are a great many things in the world that the journalist knows and yet cannot write about. He would have been years in advance of the announcement finally made that John Hay wrote the novel.

At another time, while waiting, Bok had an experience which, while interesting, was saddening instead of amusing. He was sitting in Mark Twain's sitting-room in his home in Hartford waiting for the humorist to return from a walk. Suddenly sounds of devotional singing came in through the open window from the direction of the outer conservatory. The singing was low, yet the sad tremor in the voice seemed to give it special carrying power.

"You have quite a devotional servant," Bok said to a maid who was dusting the room.

"Oh, that is not a servant who is singing, sir," was the answer. "You can step to this window and see for yourself."

Bok did so, and there, sitting alone on one of the rustic benches in the flower-house, was a small, elderly woman. Keeping time with the first finger of her right hand, as if with a baton, she was slightly swaying her frail body as she sang, softly yet sweetly, Charles Wesley's hymn, "Jesus, Lover of My Soul," and Sarah Flower Adams's "Nearer, My God, to Thee."

But the singer was not a servant. It was Harriet Beecher Stowe!

On another visit to Hartford, shortly afterward, Bok was just turning into Forrest Street when a little old woman came shambling along toward him, unconscious, apparently, of people or surroundings. In her hand she carried a small tree-switch. Bok did not notice her until just as he had passed her he heard her calling to him: "Young man, young man." Bok retraced his steps, and then the old lady said: "Young man, you have been leaning against something white," and taking her tree-switch she whipped some wall dust from the sleeve of Bok's coat. It was not until that moment that Bok recognized in his self-appointed "brush" no less a personage than Harriet Beecher Stowe.

"This is Mrs. Stowe, is it not?" he asked, after tendering his thanks to her.

Those blue eyes looked strangely into his as she answered:

"That is my name, young man. I live on this street. Are you going to have me arrested for stopping you?" with which she gathered up her skirts and quickly ran away, looking furtively over her shoulder at the amazed young man, sorrowfully watching the running figure!

Speaking of Mrs. Stowe brings to mind an unscrupulous and yet ingenious trick just about this time played by a young man attached to one of the New York publishing houses. One evening at dinner this chap happened to be in a bookish company when the talk turned to the enthusiasm of the Southern negro for an illustrated Bible. The young publishing clerk listened intently, and next day he went to a Bible publishing house in New York which issued a Bible gorgeous with pictures and entered into an arrangement with the proprietors whereby he should have the Southern territory. He resigned his position, and within a week he was in the South. He made arrangements with an artist friend to make a change in each copy of the Bible which he contracted for. The angels pictured therein were white in color. He had these made black, so he could show that there were black angels as well as white ones. The Bibles cost him just eighty cents apiece. He went about the South and offered the Bibles to the astonished and open-mouthed negroes for eight dollars each, two dollars and a half down and the rest in monthly payments. His sales were enormous. Then he went his rounds all over again and offered to close out the remaining five dollars and a half due him by a final payment of two dollars and a half each. In nearly every case the bait was swallowed, and on each Bible he thus cleared four dollars and twenty cents net!

Running the elevator in the building where a prominent publishing firm had its office was a negro of more than ordinary intelligence. The firm had just published a subscription book on mechanical engineering, a chapter of which was devoted to the construction and operation of passenger elevators. One of the agents selling the book thought he might find a customer in Washington.

"Wash," said the book-agent, "you ought to buy a copy of this book, do you know it?"

"No, boss, don't want no books. Don't git no time fo' readin' books," drawled Wash. "It teks all mah time to run dis elevator."

"But this book will help you to run your elevator. See here: there's a whole chapter here on elevators," persisted the canvasser.

"Don't want no help to run dis elevator," said the darky. "Dis elevator runs all right now."

"But," said the canvasser, "this will help you to run it better. You will know twice as much when you get through."

"No, boss, no, dat's just it," returned Wash. "Don't want to learn nothing, boss," he said. "Why, boss, I know more now than I git paid for."

There was one New York newspaper that prided itself on its huge circulation, and its advertising canvassers were particularly insistent in securing the advertisements of publishers. Of course, the real purpose of the paper was to secure a certain standing for itself, which it lacked, rather than to be of any service to the publishers.

By dint of perseverance, its agents finally secured from one of the ten-cent magazines, then so numerous, a large advertisement of a special number, and in order to test the drawing power of the newspaper as a medium, there was inserted a line in large black type:

"SEND TEN CENTS FOR A NUMBER."

But the compositor felt that magazine literature should be even cheaper than it was, and to that thought in his mind his fingers responded, so that when the advertisement appeared, this particular bold-type line read:

"SEND TEN CENTS FOR A YEAR."

This wonderful offer appealed with singular force to the class of readers of this particular paper, and they decided to take advantage of it. The advertisement appeared on Sunday, and Monday's first mail brought the magazine over eight hundred letters with ten cents enclosed "for a year's subscription as per your advertisement in yesterday's --." The magazine management consulted its lawyer, who advised the publisher to make the newspaper pay the extra ninety cents on each subscription, and, although this demand was at first refused, the proprietors of the daily finally yielded. At the end of the first week eight thousand and fifty-five letters with ten cents enclosed had reached the magazine, and finally the total was a few over twelve thousand!

XIV. Last Years in New York

Edward Bok's lines were now to follow those of advertising for several years. He was responsible for securing the advertisements for The Book Buyer and The Presbyterian Review. While the former was, frankly, a house-organ, its editorial contents had so broadened as to make the periodical of general interest to book-lovers, and with the subscribers constituting the valuable list of Scribner book-buyers, other publishers were eager to fish in the Scribner pond.

With The Presbyterian Review, the condition was different. A magazine issued quarterly naturally lacks the continuity desired by the advertiser; the scope of the magazine was limited, and so was the circulation. It was a difficult magazine to "sell" to the advertiser, and Bok's salesmanship was taxed to the utmost. Although all that the publishers asked was that the expense of getting out the periodical be met, with its two hundred and odd pages even this was difficult. It was not an attractive proposition.

The most interesting feature of the magazine to Bok appeared to be the method of editing. It was ostensibly edited by a board, but, practically, by Professor Francis L. Patton, D.D., of Princeton Theological Seminary (afterward president of Princeton University), and Doctor Charles A. Briggs, of Union Theological Seminary. The views of these two theologians differed rather widely, and when, upon several occasions, they met in Bok's office, on bringing in their different articles to go into the magazine, lively discussions ensued. Bok did not often get the drift of these discussions, but he was intensely interested in listening to the diverse views of the two theologians.

One day the question of heresy came up between the two men, and during a pause in the discussion, Bok, looking for light, turned to Doctor Briggs and asked: "Doctor, what really is heresy?"

Doctor Briggs, taken off his guard for a moment, looked blankly at his young questioner, and repeated: "What is heresy?"

"Yes," repeated Bok, "just what is heresy, Doctor?"

"That's right," interjected Doctor Patton, with a twinkle in his eyes, "what is heresy, Briggs?"

"Would you be willing to write it down for me?" asked Bok, fearful that he should not remember Doctor Briggs's definition even if he were told.

And Doctor Briggs wrote:

"Heresy is anything in doctrine or practice that departs from the mind of the Church as officially defined.

Charles A. Briggs.

"Let me see," asked Doctor Patton, and when he read it, he muttered: "Humph, pretty broad, pretty broad."

"Well," answered the nettled Doctor Briggs, "perhaps you can give a less broad definition, Patton."

"No, no," answered the Princeton theologian, as the slightest wink came from the eye nearest Bok, "I wouldn't attempt it for a moment. Too much for me."

On another occasion, as the two were busy in their discussion of some article to be inserted in the magazine, Bok listening with all his might, Doctor Patton, suddenly turning to the young listener, asked, in the midst of the argument: "Whom are the Giants going to play this afternoon, Bok?"

Doctor Briggs's face was a study. For a moment the drift of the question was an enigma to him: then realizing that an important theological discussion had been interrupted by a trivial baseball question, he gathered up his papers and stamped violently out of the office. Doctor Patton made no comment, but, with a smile, he asked Bok: "Johnnie Ward going to play to-day, do you know? Thought I might ask Mr. Scribner if you could go up to the game this afternoon."

It is unnecessary to say to which of the two men Bok was the more attracted, and when it came, each quarter, to figuring how many articles could go into the Review without exceeding the cost limit fixed by the house, it was always a puzzle to Doctor Briggs why the majority of the articles left out were invariably those that he had brought in, while many of those which Doctor Patton handed in somehow found their place, upon the final assembling, among the contents.

"Your articles are so long," Bok would explain.

"Long?" Doctor Briggs would echo. "You don't measure theological discussions by the yardstick, young man."

"Perhaps not," the young assembler would maintain.

But we have to do some measuring here by the composition-stick, just the same."

And the Union Seminary theologian was never able successfully, to vault that hurdle!

From his boyhood days (up to the present writing) Bok was a pronounced baseball "fan," and so Doctor Patton appealed to a warm place in the young man's heart when he asked him the questions about the New York baseball team. There was, too, a baseball team among the Scribner young men of which Bok was a part. This team played, each Saturday afternoon, a team from another publishing house, and for two seasons it was unbeatable. Not only was this baseball aggregation close to the hearts of the Scribner employees, but, in an important game, the junior member of the firm played on it and the senior member was a spectator. Frank N. Doubleday played on first base; William D. Moffat, later of Moffat, Yard & Company, and now editor of The Mentor, was behind the bat; Bok pitched; Ernest Dressel North, the present authority on rare editions of books, was in the field, as were also Ray Safford, now a director in the Scribner corporation, and Owen W. Brewer, at present a prominent figure in Chicago's book world. It was a happy group, all closely banded together in their business interests and in their human relations as well.

With Scribner's Magazine now in the periodical field, Bok would be asked on his trips to the publishing houses to have an eye open for advertisements for that periodical as well. Hence his education in the solicitation of advertisements became general, and gave him a sympathetic understanding of the problems of the advertising solicitor which was to stand him in good stead when, in his later experience, he was called upon to view the business problems of a magazine from the editor's position. His knowledge of the manufacture of the two magazines in his charge was likewise educative, as was the fascinating study of typography which always had, and has today, a wonderful attraction for him.

It was, however, in connection with the advertising of the general books of the house, and in his relations with their authors, that Bok found his greatest interest. It was for him to find the best manner in which to introduce to the public the books issued by the house, and the general study of the psychology of publicity which this called for attracted Bok greatly.

Bok was now asked to advertise a novel published by the Scribners which, when it was issued, and for years afterward, was pointed to as a proof of the notion that a famous name was all that was necessary to ensure the acceptance of a manuscript by even a leading publishing house. The facts in the case were that this manuscript was handed in one morning by a friend of the house with the remark that he submitted it at the suggestion of the author, who did not desire that his identity should be known until after the manuscript had been read and passed upon by the house. It was explained that the writer was not a famous author; in fact, he had never written anything before; this was his first book of any sort; he merely wanted to "try his wings." The manuscript was read in due time by the Scribner readers, and the mutual friend was advised that the house would be glad to publish the novel, and was ready to execute and send a contract to the author if the firm knew in whose name the agreement should be made. Then came the first intimation of the identity of the author: the friend wrote that if the publishers would look in the right-hand corner of the first page of the manuscript they would find there the author's name. Search finally revealed an asterisk. The author of the novel (Valentino) was William Waldorf Astor.

Although the Scribners did not publish Mark Twain's books, the humorist was a frequent visitor to the retail store, and occasionally he would wander back to the publishing department located at the rear of the store, which was then at 743 Broadway.

Smoking was not permitted in the Scribner offices, and, of course, Mark Twain was always smoking. He generally smoked a granulated tobacco which he kept in a long check bag made of silk and rubber. When he sauntered to the back of the Scribner store, he would generally knock the residue from the bowl of the pipe, take out the stem, place it in his vest pocket, like a pencil, and drop the bowl into the bag containing the granulated tobacco. When he wanted to smoke again (which was usually five minutes later) he would fish out the bowl, now automatically filled with tobacco, insert the stem, and strike a light. One afternoon as he wandered into Bok's office, he was just putting his pipe away. The pipe, of the corncob variety, was very aged and black. Bok asked him whether it was the only pipe he had.

"Oh, no," Mark answered, "I have several. But they're all like this. I never smoke a new corncob pipe. A new pipe irritates the throat. No corncob pipe is fit for anything until it has been used at least a fortnight."

"How do you break in a pipe, then?" asked Bok.

"That's the trick," answered Mark Twain. "I get a cheap man--a man who doesn't amount to much, anyhow: who would be as well, or better, dead--and pay him a dollar to break in the pipe for me. I get him to smoke the pipe for a couple of weeks, then put in a new stem, and continue operations as long as the pipe holds together."

Bok's newspaper syndicate work had brought him into contact with Fanny Davenport, then at the zenith of her career as an actress. Miss Davenport, or Mrs. Melbourne McDowell as she was in private life, had never written for print; but Bok, seeing that she had something to say about her art and the ability to say it, induced her to write for the newspapers through his syndicate. The actress was overjoyed to have revealed to her a hitherto unsuspected gift; Bok published her articles successfully, and gave her a publicity that her press agent had never dreamed of. Miss Davenport became interested in the young publisher, and after watching the methods which he employed in successfully publishing her writings, decided to try to obtain his services as her assistant manager. She broached the subject, offered him a five years' contract for forty weeks' service, with a minimum of fifteen weeks each year to spend in or near New York, at a salary, for the first year, of three thousand dollars, increasing annually until the fifth year, when he was to receive sixty-four hundred dollars.

Bok was attracted to the work: he had never seen the United States, was anxious to do so, and looked upon the chance as a good opportunity. Miss Davenport had the contract made out, executed it, and then, in high glee, Bok took it home to show it to his mother. He had reckoned without question upon her approval, only to meet with an immediate and decided negative to the proposition as a whole, general and specific. She argued that the theatrical business was not for him; and she saw ahead and pointed out so strongly the mistake he was making that he sought Miss Davenport the next day and told her of his mother's stand. The actress suggested that she see the mother; she did, that day, and she came away from the interview a wiser if a sadder woman. Miss Davenport frankly told Bok that with such an instinctive objection as his mother seemed to have, he was right to follow her advice and the contract was not to be thought of.

It is difficult to say whether this was or was not for Bok the turning-point which comes in the life of every young man. Where the venture into theatrical life would have led him no one can, of course, say. One thing is certain: Bok's instinct and reason both failed him in this instance. He believes now that had his venture into the theatrical field been temporary or permanent, the experiment, either way, would have been disastrous.

Looking back and viewing the theatrical profession even as it was in that day (of a much higher order than now), he is convinced he would never have been happy in it. He might have found this out in a year or more, after the novelty of travelling had worn off, and asked release from his contract; in that case he would have broken his line of progress in the publishing business. From whatever viewpoint he has looked back upon this, which he now believes to have been the crisis in his life, he is convinced that his mother's instinct saved him from a grievous mistake.

The Scribner house, in its foreign-book department, had imported some copies of Bourrienne's Life of Napoleon, and a set had found its way to Bok's desk for advertising purposes. He took the books home to glance them over, found himself interested, and sat up half the night to read them. Then he took the set to the editor of the New York Star, and suggested that such a book warranted a special review, and offered to leave the work for the literary editor.

"You have read the books?" asked the editor.

"Every word," returned Bok.

"Then, why don't you write the review?" suggested the editor.

This was a new thought to Bok. "Never wrote a review," he said.

"Try it," answered the editor. "Write a column."

"A column wouldn't scratch the surface of this book," suggested the embryo reviewer.

"Well, give it what it is worth," returned the editor.

Bok did. He wrote a page of the paper.

"Too much, too much," said the editor. "Heavens, man, we've got to get some news into this paper."

"Very well," returned the reviewer. "Read it, and cut it where you like. That's the way I see the book."

And next Sunday the review appeared, word for word, as Bok had written it. His first review had successfully passed!

But Bok was really happiest in that part of his work which concerned itself with the writing of advertisements. The science of advertisement writing, which meant to him the capacity to say much in little space, appealed strongly. He found himself more honestly attracted to this than to the writing of his literary letter, his editorials, or his book reviewing, of which he was now doing a good deal. He determined to follow where his bent led; he studied the mechanics of unusual advertisements wherever he saw them; he eagerly sought a knowledge of typography and its best handling in an advertisement, and of the value and relation of illustrations to text. He perceived that his work along these lines seemed to give satisfaction to his employers, since they placed more of it in his hands to do; and he sought in every way to become proficient in the art.

To publishers whose advertisements he secured for the periodicals in his charge, he made suggestions for the improvement of their announcements, and found his suggestions accepted. He early saw the value of white space as one of the most effective factors in advertising; but this was a difficult argument, he soon found, to convey successfully to others. A white space in an advertisement was to the average publisher something to fill up; Bok saw in it something to cherish for its effectiveness. But he never got very far with his idea: he could not convince (perhaps because he failed to express his ideas convincingly) his advertisers of what he felt and believed so strongly.

An occasion came in which he was permitted to prove his contention. The Scribners had published Andrew Carnegie's volume, Triumphant Democracy, and the author desired that some special advertising should be done in addition to that allowed by the appropriation made by the house. To Bok's grateful ears came the injunction from the steel magnate: "Use plenty of white space." In conjunction with Mr. Doubleday, Bok prepared and issued this extra advertising, and for once, at least, the wisdom of using white space was demonstrated. But it was only a flash in the pan. Publishers were unwilling to pay for "unused space," as they termed it. Each book was a separate unit, others argued: it was not like advertising one article continuously in which money could be invested; and only a limited amount could be spent on a book which ran its course, even at its best, in a very short time.

And, rightly or wrongly, book advertising has continued much along the same lines until the present day. In fact, in no department of manufacturing or selling activity has there been so little progress during the past fifty years as in bringing books to the notice of the public. In all other lines, the producer has brought his wares to the public, making it easier and still easier for it to obtain his goods, while the public, if it wants a book, must still seek the book instead of being sought by it.

That there is a tremendous unsupplied book demand in this country there is no doubt: the wider distribution and easier access given to periodicals prove this point. Now and then there has been tried an unsupported or not well-thought-out plan for bringing books to a public not now reading them, but there seems little or no understanding of the fact that there lies an uncultivated field of tremendous promise to the publisher who will strike out on a new line and market his books, so that the public will not have to ferret out a book-store or wind through the maze of a department store. The American reading public is not the book-reading public that it should be or could be made to be; but the habit must be made easy for it to acquire. Books must be placed where the public can readily get at them. It will not, of its own volition, seek them. It did not do so with magazines; it will not do so with books.

In the meanwhile, Bok's literary letter had prospered until it was now published in some forty-five newspapers. One of these was the Philadelphia Times. In that paper, each week, the letter had been read by Mr. Cyrus H. K. Curtis, the owner and publisher of The Ladies' Home Journal. Mr. Curtis had decided that he needed an editor for his magazine, in order to relieve his wife, who was then editing it, and he fixed upon the writer of Literary Leaves as his man. He came to New York, consulted Will Carleton, the poet, and found that while the letter was signed by William J. Bok, it was actually written by his brother who was with the Scribners. So he sought Bok out there.

The publishing house had been advertising in the Philadelphia magazine, so that the visit of Mr. Curtis was not an occasion for surprise. Mr. Curtis told Bok he had read his literary letter in the Philadelphia Times, and suggested that perhaps he might write a similar department for The Ladies' Home Journal. Bok saw no reason why he should not, and told Mr. Curtis so, and promised to send over a trial installment. The Philadelphia publisher then deftly went on, explained editorial conditions in his magazine, and, recognizing the ethics of the occasion by not offering Bok another position while he was already occupying one, asked him if he knew the man for the place.

"Are you talking at me or through me?" asked Bok.

"Both," replied Mr. Curtis.

This was in April of 1889.

Bok promised Mr. Curtis he would look over the field, and meanwhile he sent over to Philadelphia the promised trial "literary gossip" installment. It pleased Mr. Curtis, who suggested a monthly department, to which Bok consented. He also turned over in his mind the wisdom of interrupting his line of progress with the Scribners, and in New York, and began to contemplate the possibilities in Philadelphia and the work there.

He gathered a collection of domestic magazines then published, and looked them over to see what was already in the field. Then he began to study himself, his capacity for the work, and the possibility of finding it congenial. He realized that it was absolutely foreign to his Scribner work: that it meant a radical departure. But his work with his newspaper syndicate naturally occurred to him, and he studied it with a view of its adaptation to the field of the Philadelphia magazine.

His next step was to take into his confidence two or three friends whose judgment he trusted and discuss the possible change. Without an exception, they advised against it. The periodical had no standing, they argued; Bok would be out of sympathy with its general atmosphere after his Scribner environment; he was now in the direct line of progress in New York publishing houses; and, to cap the climax, they each argued in turn, he would be buried in Philadelphia: New York was the centre, etc., etc.

More than any other single argument, this last point destroyed Bok's faith in the judgment of his friends. He had had experience enough to realize that a man could not be buried in any city, provided he had the ability to stand out from his fellow-men. He knew from his biographical reading that cream will rise to the surface anywhere, in Philadelphia as well as in New York: it all depended on whether the cream was there: it was up to the man. Had he within him that peculiar, subtle something that, for the want of a better phrase, we call the editorial instinct? That was all there was to it, and that decision had to be his and his alone!

A business trip for the Scribners now calling him West, Bok decided to stop at Philadelphia, have a talk with Mr. Curtis, and look over his business plant. He did this, and found Mr. Curtis even more desirous than before to have him consider the position. Bok's instinct was strongly in favor of an acceptance. A natural impulse moved him, without reasoning, to action. Reasoning led only to a cautious mental state, and caution is a strong factor in the Dutch character. The longer he pursued a conscious process of reasoning, the farther he got from the position. But the instinct remained strong.

On his way back from the West, he stopped in Philadelphia again to consult his friend, George W. Childs; and here he found the only person who was ready to encourage him to make the change.

Bok now laid the matter before his mother, in whose feminine instinct he had supreme confidence. With her, he met with instant discouragement. But in subsequent talks he found that her opposition was based not upon the possibilities inherent in the position, but on a mother's natural disinclination to be separated from one of her sons. In the case of Fanny Davenport's offer the mother's instinct was strong against the proposition itself. But in the present instance it was the mother's love that was speaking; not her instinct or judgment.

Bok now consulted his business associates, and, to a man, they discouraged the step, but almost invariably upon the argument that it was suicidal to leave New York. He had now a glimpse of the truth that there is no man so provincially narrow as the untravelled New Yorker who believes in his heart that the sun rises in the East River and sets in the North River.

He realized more keenly than ever before that the decision rested with him alone. On September 1, 1889, Bok wrote to Mr. Curtis, accepting the position in Philadelphia; and on October 13 following he left the Scribners, where he had been so fortunate and so happy, and, after a week's vacation, followed where his instinct so strongly led, but where his reason wavered.

On October 20, 1889, Edward Bok became the editor of The Ladies' Home Journal.

XV. Successful Editorship

There is a popular notion that the editor of a woman's magazine should be a woman. At first thought, perhaps, this sounds logical. But it is a curious fact that by far the larger number of periodicals for women, the world over, are edited by men; and where, as in some cases, a woman is the proclaimed editor, the direction of the editorial policy is generally in the hands of a man, or group of men, in the background. Why this is so has never been explained, any more than why the majority of women's dressmakers are men; why music, with its larger appeal to women, has been and is still being composed, largely, by men, and why its greatest instrumental performers are likewise men; and why the church, with its larger membership of women, still has, as it always has had, men for its greatest preachers.

In fact, we may well ponder whether the full editorial authority and direction of a modern magazine, either essentially feminine in its appeal or not, can safely be entrusted to a woman when one considers how largely executive is the nature of such a position, and how thoroughly sensitive the modern editor must be to the hundred and one practical business matters which today enter into and form so large a part of the editorial duties. We may question whether women have as yet had sufficient experience in the world of business to cope successfully with the material questions of a pivotal editorial position. Then, again, it is absolutely essential in the conduct of a magazine with a feminine or home appeal to have on the editorial staff women who are experts in their line; and the truth is that women will work infinitely better under the direction of a man than of a woman.

It would seem from the present outlook that, for some time, at least, the so-called woman's magazine of large purpose and wide vision is very likely to be edited by a man. It is a question, however, whether the day of the woman's magazine, as we have known it, is not passing. Already the day has gone for the woman's magazine built on the old lines which now seem so grotesque and feeble in the light of modern growth. The interests of women and of men are being brought closer with the years, and it will not be long before they will entirely merge. This means a constantly diminishing necessity for the distinctly feminine magazine.

Naturally, there will always be a field in the essentially feminine pursuits which have no place in the life of a man, but these are rapidly being cared for by books, gratuitously distributed, issued by the manufacturers of distinctly feminine and domestic wares; for such publications the best talent is being employed, and the results are placed within easy access of women, by means of newspaper advertisement, the store-counter, or the mails. These will sooner or later--and much sooner than later--supplant the practical portions of the woman's magazine, leaving only the general contents, which are equally interesting to men and to women. Hence the field for the magazine with the essentially feminine appeal is contracting rather than broadening, and it is likely to contract much more rapidly in the future.

The field was altogether different when Edward Bok entered it in 1889. It was not only wide open, but fairly crying out to be filled. The day of Godey's Lady's Book had passed; Peterson's Magazine was breathing its last; and the home or women's magazines that had attempted to take their place were sorry affairs. It was this consciousness of a void ready to be filled that made the Philadelphia experiment so attractive to the embryo editor. He looked over the field and reasoned that if such magazines as did exist could be fairly successful, if women were ready to buy such, how much greater response would there be to a magazine of higher standards, of larger initiative--a magazine that would be an authoritative clearing-house for all the problems confronting women in the home, that brought itself closely into contact with those problems and tried to solve them in an entertaining and efficient way; and yet a magazine of uplift and inspiration: a magazine, in other words, that would give light and leading in the woman's world.

The method of editorial expression in the magazines of 1889 was also distinctly vague and prohibitively impersonal. The public knew the name of scarcely a single editor of a magazine: there was no personality that stood out in the mind: the accepted editorial expression was the indefinite "we"; no one ventured to use the first person singular and talk intimately to the reader. Edward Bok's biographical reading had taught him that the American public loved a personality: that it was always ready to recognize and follow a leader, provided, of course, that the qualities of leadership were demonstrated. He felt the time had come--the reference here and elsewhere is always to the realm of popular magazine literature appealing to a very wide audience--for the editor of some magazine to project his personality through the printed page and to convince the public that he was not an oracle removed from the people, but a real human being who could talk and not merely write on paper.

He saw, too, that the average popular magazine of 1889 failed of large success because it wrote down to the public--a grievous mistake that so many editors have made and still make. No one wants to be told, either directly or indirectly, that he knows less than he does, or even that he knows as little as he does: every one is benefited by the opposite implication, and the public will always follow the leader who comprehends this bit of psychology. There is always a happy medium between shooting over the public's head and shooting too far under it. And it is because of the latter aim that we find the modern popular magazine the worthless thing that, in so many instances, it is to-day.

It is the rare editor who rightly gauges his public psychology. Perhaps that is why, in the enormous growth of the modern magazine, there have been produced so few successful editors. The average editor is obsessed with the idea of "giving the public what it wants," whereas, in fact, the public, while it knows what it wants when it sees it, cannot clearly express its wants, and never wants the thing that it does ask for, although it thinks it does at the time. But woe to the editor and his periodical if he heeds that siren voice!

The editor has, therefore, no means of finding it out aforehand by putting his ear to the ground. Only by the simplest rules of psychology can he edit rightly so that he may lead, and to the average editor of to-day, it is to be feared, psychology is a closed book. His mind is all too often focussed on the circulation and advertising, and all too little on the intangibles that will bring to his periodical the results essential in these respects.

The editor is the pivot of a magazine. On him everything turns. If his gauge of the public is correct, readers will come: they cannot help coming to the man who has something to say himself, or who presents writers who have. And if the reader comes, the advertiser must come. He must go where his largest market is: where the buyers are. The advertiser, instead of being the most difficult factor in a magazine proposition, as is so often mistakenly thought, is, in reality, the simplest. He has no choice but to advertise in the successful periodical. He must come along. The editor need never worry about him. If the advertiser shuns the periodical's pages, the fault is rarely that of the advertiser: the editor can generally look for the reason nearer home.

One of Edward Bok's first acts as editor was to offer a series of prizes for the best answers to three questions he put to his readers: what in the magazine did they like least and why; what did they like best and why; and what omitted feature or department would they like to see installed? Thousands of answers came, and these the editor personally read carefully and classified. Then he gave his readers' suggestions back to them in articles and departments, but never on the level suggested by them. He gave them the subjects they asked for, but invariably on a slightly higher plane; and each year he raised the standard a notch. He always kept "a huckleberry or two" ahead of his readers. His psychology was simple: come down to the level which the public sets and it will leave you at the moment you do it. It always expects of its leaders that they shall keep a notch above or a step ahead. The American public always wants something a little better than it asks for, and the successful man, in catering to it, is he who follows this golden rule.

XVI. First Years as a Woman's Editor