John Davis Batchelder Collection (Library of Congr.

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out-put of the London publishing house of that
name, the Pall Mall Gazette gives some striking
statistics. In 1887, for instance, 5,590 copies of
**The Bigelow Papers" were sold in the Pocket
Library, and 6,560 copies of Bret Harte's poems
were sold in the same year; of Irving's "Sketch
Book," Bret Harte's "Luck of Roaring Camp,"
and Poe*s poems, 5,100, 6,210, and 5,440 copies,
respectively, were sold. In 1883, 3,150 copies of
Artemus Ward's writings were disposed of, 10,000
of Josh Billings*, 21,000 of Buffalo Bill's, 3,010 of
" The Leavenworth Case," 29,000 of " Poe's Tales,"
39,130 of " The Mill Mystery," 9,620 of " Mr. Barnes,
of New York," 2,650 of "The Scarlet Letter,"
4,950 of " Uncle Tom's Cabin," 580 of " The Pro-
fessor at the Breakfast Table," and 17,943 of
Cooper's romances.

The first number of the Library^ organ of the
Library Association of the United Kingdom, is
published by Elliot Stock, 62 Paternoster row,
London.

Edgar S. Werner, publisher of the musical and
vocal journal known as The Voice ^ has changed its
name to Werner's Voice Magazine^ to avoid con-
fusion with a prohibition paper called The Voice.

Charles WeUs Moulton, of Buffalo, N. V., has
issued the first number of his long-contemplated
quarterly, the Magazine of Poetry. The first issue
of the magazine comprises 128 pages, and gives
biographies of twenty-three poets, each sketch being
followed by a few pages of extracts from the poet's
writings. After these are collections of juvenile
poems, single poems, and the announcement of a
prize-quotation project. The writers treated of
biographically are Richard Watson Gilder, George
Houghton, Walt Whitman, Anna Katharine Green,
"Carmen Sylva," Harriet Maxwell Converse,
WUliam W. Martin, Robert Gilfillan, John Boyle
O'Reilly, O. C. Auringer, Jean Ingelow, Eliza Allen
Starr, Francis Howard Williams, Henry Abbey,
Rosa Vertner Jeffrey, Mary Morgan, William H.
Bushnell, Alice W. Brotherton, Sarah Knowles
Bolton, Richard Crashaw, Clinton Scollard, and
Charles G. D. Roberts. There are portraits of
most of the writers named.

K magazine of which Western people are proud
is The Great Wcst^ edited and published in Kansas
City.

" A very remarkable copy of Forster's * Life of
Charles Dickens' is exhibited by Brentano," says
the New York Star. " It was the work of an Eng-
lish gentleman, who was a great admirer of the



Sage of Gadshill. Forster's 'Life' was in two
volumes, — octavo. Each leaf has been inlaid in a
large octavo leaf of heavy paper. From twelve to
fifteen hundred illustrations wfere collected and
similarly inlaid, and the whole collection was bound
in eight large folio volumes. Upon the death of
the gentleman who perfected this labor of love, the
work was sold by his heirs. It eventually passed
into the hands of Brentano, by whom it is valued
at $800."

The Christian Union for January 31 says: "We
are authorized to deny the rumors which have been
going about the newspapers as to Mrs. Stowe's
health. We are assured by her friends that she is
in good health for one of her years, though enjoying
a well-earned repose from labor of pen and study.
This testimony of her friends is abundantly con-
firmed by a personal letter from her to Mrs. Henry
Ward Beecher, which the latter has very recently
received. Her writing is as clear and as firm as it
ever was, and affords ocular demonstration, both
by its expression and its chirography, that neither
her brain nor her hand has lost its cunning."

Walter N. Hinman, author of "Under the
Maples," published by Belfo|^d, Clarke, & Co., is the
son of George E. Hinman, and was born in Stitt-
ville, N. Y., in 1854. He was educated in the
public schools of Holland Patent and Syracuse,
with a term or two at Whitestown Seminary. He
lived for some years in Cleveland, Chicago, and New
York, being employed as a telegraph operator, and
doing some newspaper work. His health failed in
the West, and he returned some eighteen months
ago to Holland Patent, where he now lives.

Dr. Oliver Wendell Holmes has given his medi-
cal library entire, consisting of 968 volumes of
choice works, to the Boston Medical Association.
He has been over half a century in collecting these
works, and the gift is not only the rarest, but the
largest, ever given to the association by any one
person. Dr. Holmes had provision made for them
'at his own expense, and had them in their place
before he notified the association of his purpose.
The earliest book bears the date 1490, and the
latest, 1887, covering a period of four centuries. In
making the gift, Dr. Holme's said, among other
things: "These books are dear to me; a twig
from some one of my nerves runs to every one of
them, and they mark the progress of my study and
the stepping-stones of my professional life. If any
of them can be to others as they have been to me,
I am willing to part with them, even if they are
such old and beloved companions."



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The National Colored Press Association will
hold a convention in Washington March 5, 6,
and 7.

•* False Modesty in Readers " is the title of a
pithy paper by George Parsons Lathrop in the
North American Sevirw. Mr. Lathrop is a de-
fender of Amelie Rives, though Ouida and George
Moore are too much for him.

A new series of books, to be called the " Green
Paper Series," is announced to appear from the
house of Cupples & Hurd, of Boston. The vol-
umes will be issued semi-monthly, and will be made
up largely of works of fiction.

The authorized life of the late Miss Alcott will
be published in about a month ; the biography of
Mrs. Stowe is to be brought out at almost the same
time.

Miss Mary F. Seymour has started in New York
a woman's paper, called The Business Woman^s
Journal. Miss Seymour is both the editor and
publisher of the paper. Her office is at 38 Park row.

The following English authors who died during
the past year were possessed of personal estates of
the sums named: Bonamy Price, $58»500; Leone
Levi, $44,000; J. Cotter Morison, $36,000; Matthew
Arnold, $5,200.

A collective edition of the works of James Rus-
sell Lowell will be published by Houghton, Mifflin,
& Co., in style similar to their recent fine editions
of Longfellow and Whittier. Matter which has
not before appeared in book form will be included
in this edition.

The volume to be brought out this month in Miss
Wormeley's series of translations of Balzac's novels
will be " Les Employes."

Richard Henry Stoddard, who has been blind
for three or four months from cataract, has had an
operation performed, which promises to be success-
ful.

G. P. Putnam's Sons continue their Story of the
Nations Series by the publication of " The Story of ,
Mexico." Susan Hale is the author.

The Cosmopolitan has secured Edward Everett
Hale to conduct a department entitled " Social
Problems."

William Evarts Benjamin, the New York book-
seller, exhibits the first edition of Walt Whitman's
"Leaves of Grass," published in 1855. ^^^ ^yP^
was set by the poet himself, as he could find no one
else to print it at that time. The volume, which is
a thin octavo, contains six portraits of the author,
taken at various times during the past forty years.



Literary men will be glad to know that the new
Atlantic Index is rapidly approaching completion.

Mrs. Amelie Rives-Chanler is writing the last
chapters of her new novel in her Virginia home-
The title of this new story will be " The Witness of
the Sun," and its scenes are laid among the people
of Italy and Russia. The story will be printed
complete in the April issue of Lippincott^s Maga-
zincy of which a first edition of 1 50,000 copies will
be issued.

The first number of the Shorthand Review^ pub-
lished in Chicago and New York, contains much
that will be found of special interest to the fra-
ternity. A fac-simile of the stenographic notes of
the Haymarket Anarchist speeches, by G. P. English,,
a Chicago reporter, is an important feature of this
issue.

Charles Dudley Warner begins a new serial in.
Harper^s Magazine for March. The title is " A
Little Journey in the World."

Andrew I^ang, " as a matter of interest to book-
makers," confesses that his "Perrault's Popular
Tales," recently published, cost him £1 5s lod.

John Bartlett, the compiler of the famous " Fa-
miliar Quotations " and " Shakespeare Quotations,"
has just retired from the firm of Little, Brown, &
Co., of Boston, of which he was the senior mem-
ber.

Mrs. Humphry Ward's new book will certainly
not be ready for publication for nearly a year. It
is another religious novel, written on the same gen-
eral lines as " Robert Elsmere." In a letter to the
London correspondent of the New York Worlds
Mrs. Ward protests vigorously against the dramatiz-
ation of " Robert Elsmere " by Mr. Gillette. She
says : " ' Robert Elsmere ' was never written with
any view to the stage. It is entirely unsuited for
theatrical presentation, and I have refused steadily
to allow it to be dramatized in this country. It
can only be adapted for the stage by destroying the
proportions of the story, by emphasizing what is
subordinate, and leaving out what is essential. For
I cannot believe that an American, or, in fact, any
other public, would bear to hear the most intimate
and sacred speculative problems discussed behind
the footlights. I am aware that your law gives me
no protection, but if, as I am told, the book has
made me friends in America, I appeal to their sym-
pathy and to their sense of justice to discourage in
every way they can a proceeding which injures the
book and outrages the author." Since Mrs. Ward's
letter was published. Manager Palmer has decided
not to produce Mr. Gillette's play.



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The Author:

A MONTHLY MAGAZINE TO INTEREST AND HELP ALL LITERARY WORKERS.



Vol. I.



BOSTON, MARCH 15, 1889.



No. 3.



Entemo at the Boston Porr-OFFicE as seoond-^iam mail matter.
CONTENTS :

PAGS

A SUCCBS6PUL Woman Writer. F. E. H. Raymond. 33

Mbthoos op Writing Pobtrv. EUa WlutUr WUcox. 34

How Illustrations Arb Madb. Frank H. H9wt.\ 35
Charub Dudlby Warnbr at Homb. David W§ch»-

Ur. 37

Thb Business op Authorship. T. W. Higgmsw, , 38

Authors and Press Reviews. William J. Boh. 39

StMPUcmr. Charlgs DmUty Wamtr 39

George W. Cable. Rev, CharUt M. Mttdtn. ... 40

Mary Hartwell Cathbrwood. Nora Marks. . . 41

Editorial. 4^

Notes. 43

The Use op Stamped Envelopes. /. B. Clapp. . . 43

Conscience in Literary Work. *'F A.T.*' . . . 43

Queries 43

Personal Gossip About Writers. 44

Henry Harlandp 44 — Jean Ingelow, 44 — Joseph
KirUand, 44 — B. P. ShUUber, 44 — Herbert Spencer,
45 — Lucy B. Wslford, 45 — Katharine Preacott

Wormeky 45

Literary News and Notes. 46



A SUCCESSFUL WOMAN NOVELIST.



" Remember the Alamo," the latest of Mrs.
Amelia E. Barr's novels, by some critics is con-
sidered her best work, although others still
maintain that honor for " The Bow of Orange
Ribbon," written two or three years ago. All of
the volumes Mrs. Ban* has published show an
amount of research which would frighten the
" geniuses " who just now " dash off " immoral-
ity 80 swiftly, and with such disregard of literary
rules. For many years before she presumed to
step into sight of the public and demand recog-
nition as a novelist, Mrs. Barr was a conscien-
tious, studious, and daily toiler in the bard
school of newspaper and periodical work. Fully
conscious of her own powers, she had no intent
to exhibit them until she had gained by every
means at her command the addition of grace,
finish, and artistic beauty.



One of the most sunshiny women possible,
enjoying gayety and mirthfulness with a keen
zest, her work, — in other words, her real life, —
receives the most profound consideration and
serious care. It is first : to it all other things
subserve; and the genial hospitality of her
house is none the less appreciated because her
guests are expected to recognize this fact, and
to adjust themselves in accordance with it.

Until very recently, Mrs. Barr has been
accustomed to enter her study very early in the
morning, — usually by seven o'clock, — and to
write or "read up," with slight interruption,
until four or five in the afternoon; but lately, at
the advice of her physician, she has regretfully
given up the hours after midday to rest and
recreation. When she has decided upon a sub-
ject, she devotes herself to its consideration
in every possible aspect; thoroughly imbuing
herself with its spirit, training herself to think
as her characters are to do, and to live their
lives. Having thus mastered her theme, her
work is, practically, done ; the putting a story
on paper has become almost mechanical. She
is a very rapid writer, and from the time she
really takes up her pen till her typewritten
copies are in the hands of her publishers only
a few weeks elapse. She makes first rough
drafts of her stories in a hand-writing nearly
as legible as print, and from these is made the
perfect " copy."

Mrs. Barr*s advice to others entering upon a
literary career is to be systematic and thorough.
In genius she undoubtedly believes, but genius
untrained and unrestricted is to her like an
unbroken colt, — very beautiful and very use-
less. In speaking not long ago of her earlier
efforts, Mrs. Barr recalled the continual " boiling
down" to which she subjected them, believ-
ing that most women writers are too diffuse.



Copyright, 1889, by Wiluam H. Hills. AU rights reserved.



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34



THE AUTHOR.



Sometimes, she said, she would write and re-
write paragraphs as often as ten or twelve
times, herself being so difficult a reader to
please ; and it is safe to say she lost nothing by
this care-taking; her delightfully "easy-reading"
pages are the sure result of such " hard writing."

The question whether so conscientious an
author has made literature "pay" is easily
answered in the affirmative. It is probable that
ever since she began her work she has earned
from it a fair support ; and now, as should be,
she reaps far richer gains. Her books are
brought out in London, as well as in New York,
and even run in serial form through some
magazine, making three or four sales for one
story. " Remember the Alamo " has been her
most successful book financially, "^and its pro-
ceeds already equal those of all her other
novels combined; but the fact that she no
longer needs to write does ly^t in the least
affect this energetic woman^s industry. "If I
were worth millions," she says, in her own en-
thusiastic way, " I should write just as much as
I do now."

The facts gained from this brief glance at
one successful author are all encouraging to
young writers. Literary work must be as
thorough, as regular, as painstaking as carpen-
try. Though one can wield a pen or swing a
hammer better when in the mood than when
not, that fact must be accessory, not leading.
One must learn to be thankful for " rejections,"
by which he is impelled to graver, braver effort ;
to be, of all his judges, himself the most severe.
He is to remember that the mind which would
feed others must itself be fed, and to give more
hours to study than to expression ; and, lastly,
that to succeed one must be indomitable in
purpose, caring first to produce good work, and
sure that in these days of rich literary rewards
such work will always " pay."

F. E. H. Raymond.



METHODS OF WRITING POETRY.



Quite a well-known author has recently declared
his opinion that by the careful study of the mech-
anism of verse, and the rules governing it, any
person of ordinary intellectual capacity could be-
come a poet.

I differ from the learned gentleman. Very good



verse may be written in this way, if one has the
patience to grind it out, but not poetry. We might
as well say that any person can become a musical
composer who learns the rules governing its con-
struction.

Correct rhythm, and proper accent, and an ear for
rh)rming sounds must be bom with the poet, or
" else he is no poet, — just as true time and a correct
ear must be bom with the true musician. Without
these natural gifts, only second or third-class work
can be achieved.

I had published three books of verse, and had
maintained a livelihood by writing what my editors
chose to call poetry for ten years before I under-
stood what constituted a sonnet, or knew the mean-
ing of the word "hexameter." Although I wrote
verses at eight years of age, and was passionately
fond of poetry, I found no interest in that part of
my grammar dedicated to scanning lines and de-
scriptive of different forms of meter. So I was
absolutely without knowledge of any rules, save
those my ear taught me, until about ten years ago,
when I became desirous of understanding the
mechanism of a sonnet. I read some of Mrs.
Browning's, some of Shakespeare's, some of Rosetti's,
and others, and found sufficient variety in their
forms to puzzle and confuse me as to the proper
construction. Finally, I was told to purchase a
little book entitled "The Rhymester," by Tom
Hood, and therein I found samples of the most
perfect sonnets, ballads, triolets, rondels, etc, in
existence, with all the rules governing them. The
book contains general information regarding all
kinds of verse ; but while it would be invaluable to
a mere verse builder, it would be of no assistance to
a natural poet, save in its specimens of sonnets and
other arbitrary forms.

The natural poet is always vastly amused at the
idea of a rhyming dictionary. I think most poets
find their only difficulty in that respect the choice
from the number that occur. Rhymes fly in flocks
to me, — seldom singly. I think of a dozen ways
I might rhyme a couplet, and to decide which b
the better is often a nice point.

I am almost daily asked how my poems come to
me, — whether I "think them up," find them in
books, or am " inspired." The universe seems to
me to be filled with thought germs, and unwritten
p6ems people space. In walking dov^n the street,
wholly intent upon some worldly matter, the pur-
chase of a new gown, or something equally material,
the soul germ of a poem, on an entirely different
subject, has pierced heart and brain like a needle
of light. I have had the same thing occur in con-
versing with people, or while reading a book.



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35



Frequently, in such cases, I can trace its source to
some remark that has been made, or to something
I have read. But quite as frequently it comes un-
heralded and mjrsteriously. From the moment this
mental conception takes place I consider the poem
practically written. It may be a day, a week, or a
month before I give it form and expression, but I
know during all this time that whenever I choose
to invoke them, both form and expression will
come.

There is a peculiar exhilaration in this state of
mental pregnancy. To carry about, unknown to
those nearest you, an unuttered and beautiful
thought which you believe will, when delivered and
clothed with speech, bring pleasure to the world,
is a happiness understood only by authors or
willing and happy mothers.

The amoimt of time and labor necessary to the
delivery of these ideas varies with the poet's mood,
or condition, or with the nature of the poem. A
sonnet with me requires more time than a mere
flowing form of verse. I am often asked how long
a time I occupy in writing a sonnet. I recollect
one of my best, which required some four hours of
consecutive labor. When I made this fact known
the critic reproved me, saying, " You should have
worked over it four weeks, instead, and picked and
chosen your expressions."

Yet in those four hours I had written one line
twenty-six different ways before I was satisfied with
its formation, and all the others had been rewritten
many times. I could have done no more, had I
extended the work over weeks instead of hours.

I am frequently urged to write less, and informed
that I will write better in consequence. This theory
my own experience constantly disproves. When I
write six poems in one week I do far better work
than when I write one poem in six weeks. The •
greater the pressure, the better my productions.
Every day of my life I thank God for the neediness
of my youth, which compelled me to write con-
stantly. I owe my best work to the stem mistress,
Necessity.

I have recently been asked whether it was neces-
sary to have the same number of syllables in each
rhyming line of a poem.

There is no imperative law regarding ordinary
rhythm, save that the corresponding lines in each
stanza shall be of corresponding length and similar
accent.

For instance, take the foUowmg stanza : —

Keep out of the past : it is lonely

And bleak to the view.
Its fires have grown cold, and its stories are old ;

Turn, turn to the present, — the new.



Now, the first line contains eight syllables with a
two-syllabled word, — " lonely,'* — at the end, and it
is accented on the second and seventh syllables.

The second line contains five syllables, accented
on second and fifth.

The third has a double rhyme, the fourth eight
syllables.

Now, this follows no rule or law. It is written to
please my own fancy, which any poet has a right
to do. But if I write ten stanzas more, I will be no
poet, if I do not carefully adhere to the rules I
have made for the first stanza. Each first line of
the following ten stanzas must contain eight syllables
with the same accent, and the two-syllabled ending ;
each second line five, each third line the double
rhyme. There are some kinds of fantasies in
verse, — where no rule is observed, and where all
sorts of liberties are taken; but these require a
master genius, or else they result in a mere conglom-
eration of words.

The " bom ** poet, too, can make use of certain
constructions, and extra syllables even, which do
not mar his verse, but rather add to it, like grace
notes in some music. Let the mechanical poet
beware of attempting it, for though he counts his
number, and seems to follow the same rule of " no
rule,** he will make a limping failure, and will be
unable to understand why, and no one can explain
the subtle cause satisfactorily to him; yet every
musical ear will note the difference. To sum up
this advice in a sentence, — great poets may use
poetical license, — ordinary poets must not. — Ella
Wheeler Wilcox, in the New York Star.



HOW ILLUSTRATIONS ARE MADE.



The first thing that happens when a book or
periodical is ready for illustrating is to decide upon
the number and the subjects of the pictures, and to
determine which artists shall be intrusted with the
work. This depends upon the kind of illustrations
called for by the subject. Some artists do land-
scapes, others interiors, others figures, and so on.
To some are intrusted the humorous pictures, to
others historical subjects, to others descriptive
drawings. Sometimes one artist will illustrate an
entire article ; sometimes it will be divided among
a dozen. Books are generally illustrated by one
man. The size of the picture need not be taken
into account, for reasons that will appear. The
artist follows his own fancy in this regard.

Drawings are of two kinds. Line drawings are
made with the pen. Those made with the brush
are called " wash ** drawings. Both are embraced



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under the general head of black-and-white drawings.
The great majority of drawings are of the " wash "
variety, the " line ** being called for only in particu-
lar cases and for particular subjects. Humorous
pictures are generally of the latter kind. When
the drawing is completed, and approved by the
chief of the department, the second step in the
operation is ready to be entered upon. And here
it is necessary to mention a third class of original
illustrations, the first two being " line " and " wa^h "
drawings. The third class is photographs. For
all three are employed as the basis of book and
magazine illustrations. Occasionally, also, an oil
painting is used as an original.

When the original, whether photograph, or " line,"
or " wash " drawing, is ready, the chief has to decide
another question. All originals are transferred,
either by hand engraving or by " process," a spedes
of sun engraving, commonly known as photo-
engraving. ** Line " drawings are almost always
transferred by "process" work. Photographs and
'* wash " drawings are generally handed over to the
engravers. As a rule, the public prefer engraving,



Online LibraryJohn Davis Batchelder Collection (Library of CongrThe Author → online text (page 7 of 39)