Literature and Life

W >> William Dean Howells >> Literature and Life


I would not have the young author, from this imaginary case; believe that
it is well either to court or to defy the good opinion of the press. In
fact, it will not only be better taste, but it will be better business,
for him to keep it altogether out of his mind. There is only one whom he
can safely try to please, and that is himself. If he does this he will
very probably please other people; but if he does not please himself he
may be sure that he will not please them; the book which he has not
enjoyed writing no one will enjoy reading. Still, I would not have him
attach too little consequence to the influence of the press. I should
say, let him take the celebrity it gives him gratefully but not too
seriously; let him reflect that he is often the necessity rather than the
ideal of the paragrapher, and that the notoriety the journalists bestow
upon him is not the measure of their acquaintance with his work, far less
his meaning. They are good fellows, those hard-pushed, poor fellows of
the press, but the very conditions of their censure, friendly or
unfriendly, forbid it thoroughness, and it must often have more zeal than
knowledge in it.




IX.

There are some sorts of light literature once greatly in demand, but now
apparently no longer desired by magazine editors, who ought to know what
their readers desire. Among these is the travel sketch, to me a very
agreeable kind, and really to be regretted in its decline. There are
some reasons for its decline besides a change of taste in readers, and a
possible surfeit. Travel itself has become so universal that everybody,
in a manner, has been everywhere, and the foreign scene has no longer the
charm of strangeness. We do not think the Old World either so romantic
or so ridiculous as we used; and perhaps from an instinctive perception
of this altered mood writers no longer appeal to our sentiment or our
humor with sketches of outlandish people and places. Of course, this can
hold true only in a general way; the thing is still done, but not nearly
so much done as formerly. When one thinks of the long line of American
writers who have greatly pleased in this sort, and who even got their
first fame in it, one must grieve to see it obsolescent. Irving, Curtis,
Bayard Taylor, Herman Melville, Ross Browne, Warner, Ik Marvell,
Longfellow, Lowell, Story, Mr. James, Mr. Aldrich, Mr. Hay, Mrs. Hunt,
Mr. C. W. Stoddard, Mark Twain, and many others whose names will not come
to me at the moment, have in their several ways richly contributed to our
pleasure in it; but I cannot now fancy a young author finding favor with
an editor in a sketch of travel or a study of foreign manners and
customs; his work would have to be of the most signal importance and
brilliancy to overcome the editor's feeling that the thing had been done
already; and I believe that a publisher, if offered a book of such
things, would look at it askance and plead the well-known quiet of the
trade. Still, I may be mistaken.

I am rather more confident about the decline of another literary species
--namely, the light essay. We have essays enough and to spare of certain
soberer and severer sorts, such as grapple with problems and deal with
conditions; but the kind that I mean, the slightly humorous, gentle,
refined, and humane kind, seems no longer to abound as it once did. I do
not know whether the editor discourages them, knowing his readers' frame,
or whether they do not offer themselves, but I seldom find them in the
magazines. I certainly do not believe that if any one were now to write
essays such as Warner's Backlog Studies, an editor would refuse them; and
perhaps nobody really writes them. Nobody seems to write the sort that
Colonel Higginson formerly contributed to the periodicals, or such as
Emerson wrote. Without a great name behind it, I am afraid that a volume
of essays would find few buyers, even after the essays had made a public
in the magazines. There are, of course, instances to the contrary, but
they are not so many or so striking as to make me think that the essay
could be offered as a good opening for business talent.

I suspect that good poetry by well-known hands was never better paid in
the magazines than it is now. I must say, too, that I think the quality
of the minor poetry of our day is better than that of twenty-five or
thirty years ago. I could name half a score of young poets whose work
from time to time gives me great pleasure, by the reality of its feeling
and the delicate perfection of its art, but I will not name them, for
fear of passing over half a score of others equally meritorious. We have
certainly no reason to be discouraged, whatever reason the poets
themselves have to be so, and I do not think that even in the short story
our younger writers are doing better work than they are doing in the
slighter forms of verse. Yet the notion of inviting business talent into
this field would be as preposterous as that of asking it to devote itself
to the essay. What book of verse by a recent poet, if we except some
such peculiarly gifted poet as Mr. Whitcomb Riley, has paid its expenses,
not to speak of any profit to the author? Of course, it would be rather
more offensive and ridiculous that it should do so than that any other
form of literary art should do so; and yet there is no more provision in
our economic system for the support of the poet apart from his poems than
there is for the support of the novelist apart from his novel. One could
not make any more money by writing poetry than by writing history, but it
is a curious fact that while the historians have usually been rich men,
and able to afford the luxury of writing history, the poets have usually
been poor men, with no pecuniary justification in their devotion to a
calling which is so seldom an election.

To be sure, it can be said for them that it costs far less to set up poet
than to set up historian. There is no outlay for copying documents, or
visiting libraries, or buying books. In fact, except as historian, the
man of letters, in whatever walk, has not only none of the expenses of
other men of business, but none of the expenses of other artists. He has
no such outlay to make for materials, or models, or studio rent as the
painter or the sculptor has, and his income, such as it is, is immediate.
If he strikes the fancy of the editor with the first thing he offers, as
he very well may, it is as well with him as with other men after long
years of apprenticeship. Although he will always be the better for an
apprenticeship, and the longer apprenticeship the better, he may
practically need none at all. Such are the strange conditions of his
acceptance with the public, that he may please better without it than
with it. An author's first book is too often not only his luckiest, but
really his best; it has a brightness that dies out under the school he
puts himself to, but a painter or a sculptor is only the gainer by all
the school he can give himself.




X.

In view of this fact it becomes again very hard to establish the author's
status in the business world, and at moments I have grave question
whether he belongs there at all, except as a novelist. There is, of
course, no outlay for him in this sort, any more than in any other sort
of literature, but it at least supposes and exacts some measure of
preparation. A young writer may produce a brilliant and very perfect
romance, just as he may produce a brilliant and very perfect poem, but in
the field of realistic fiction, or in what we used to call the novel of
manners, a writer can only produce an inferior book at the outset. For
this work he needs experience and observation, not so much of others as
of himself, for ultimately his characters will all come out of himself,
and he will need to know motive and character with such thoroughness and
accuracy as he can acquire only through his own heart. A man remains in
a measure strange to himself as long as he lives, and the very sources of
novelty in his work will be within himself; he can continue to give it
freshness in no other way than by knowing himself better and better. But
a young writer and an untrained writer has not yet begun to be acquainted
even with the lives of other men. The world around him remains a secret
as well as the world within him, and both unfold themselves
simultaneously to that experience of joy and sorrow that can come only
with the lapse of time. Until he is well on towards forty, he will
hardly have assimilated the materials of a great novel, although he may
have amassed them. The novelist, then, is a man of letters who is like a
man of business in the necessity of preparation for his calling, though
he does not pay store-rent, and may carry all his affairs under his hat,
as the phrase is. He alone among men of letters may look forward to that
sort of continuous prosperity which follows from capacity and diligence
in other vocations; for story-telling is now a fairly recognized trade,
and the story-teller has a money-standing in the economic world. It is
not a very high standing, I think, and I have expressed the belief that
it does not bring him the respect felt for men in other lines of
business. Still our people cannot deny some consideration to a man who
gets a hundred dollars a thousand words or whose book sells five hundred
thousand copies or less. That is a fact appreciable to business, and the
man of letters in the line of fiction may reasonably feel that his place
in our civilization, though he may owe it to the women who form the great
mass of his readers, has something of the character of a vested interest
in the eyes of men. There is, indeed, as yet no conspiracy law which
will avenge the attempt to injure him in his business. A critic, or a
dark conjuration of critics, may damage him at will and to the extent of
their power, and he has no recourse but to write better books, or worse.
The law will do nothing for him, and a boycott of his books might be
preached with immunity by any class of men not liking his opinions on the
question of industrial slavery or antipaedobaptism. Still the market for
his wares is steadier than the market for any other kind of literary
wares, and the prices are better. The historian, who is a kind of
inferior realist, has something like the same steadiness in the market,
but the prices he can command are much lower, and the two branches of the
novelist's trade are not to be compared in a business way. As for the
essayist, the poet, the traveller, the popular scientist, they are
nowhere in the competition for the favor of readers. The reviewer,
indeed, has a pretty steady call for his work, but I fancy the reviewers
who get a hundred dollars a thousand words could all stand upon the point
of a needle without crowding one another; I should rather like to see
them doing it. Another gratifying fact of the situation is that the best
writers of fiction, who are most in demand with the magazines, probably
get nearly as much money for their work as the inferior novelists who
outsell them by tens of thousands, and who make their appeal to the
innumerable multitude of the less educated and less cultivated buyers of
fiction in book form. I think they earn their money, but if I did not
think all of the higher class of novelists earned so much money as they
get, I should not be so invidious as to single out for reproach those who
did not.

The difficulty about payment, as I have hinted, is that literature has no
objective value really, but only a subjective value, if I may so express
it. A poem, an essay, a novel, even a paper on political economy, may be
worth gold untold to one reader, and worth nothing whatever to another.
It may be precious to one mood of the reader, and worthless to another
mood of the same reader. How, then, is it to be priced, and how is it to
be fairly marketed? All people must be fed, and all people must be
clothed, and all people must be housed; and so meat, raiment, and shelter
are things of positive and obvious necessity, which may fitly have a
market price put upon them. But there is no such positive and obvious
necessity, I am sorry to say, for fiction, or not for the higher sort of
fiction. The sort of fiction which corresponds in literature to the
circus and the variety theatre in the show-business seems essential to
the spiritual health of the masses, but the most cultivated of the
classes can get on, from time to time, without an artistic novel. This
is a great pity, and I should be-very willing that readers might feel
something like the pangs of hunger and cold, when deprived of their finer
fiction; but apparently they never do. Their dumb and passive need is
apt only to manifest itself negatively, or in the form of weariness of
this author or that. The publisher of books can ascertain the fact
through the declining sales of a writer; but the editor of a magazine,
who is the best customer of the best writers, must feel the market with a
much more delicate touch. Sometimes it may be years before he can
satisfy himself that his readers are sick of Smith, and are pining for
Jones; even then he cannot know how long their mood will last, and he is
by no means safe in cutting down Smith's price and putting up Jones's.
With the best will in the world to pay justly, he cannot. Smith, who has
been boring his readers to death for a year, may write tomorrow a thing
that will please them so much that he will at once be a prime favorite
again; and Jones, whom they have been asking for, may do something so
uncharacteristic and alien that it will be a flat failure in the
magazine. The only thing that gives either writer positive value is his
acceptance with the reader; but the acceptance is from month to month
wholly uncertain. Authors are largely matters of fashion, like this
style of bonnet, or that shape of gown. Last spring the dresses were all
made with lace berthas, and Smith was read; this year the butterfly capes
are worn, and Jones is the favorite author. Who shall forecast the fall
and winter modes?




XI.

In this inquiry it is always the author rather than the publisher, always
the contributor rather than the editor, whom I am concerned for. I study
the difficulties of the publisher and editor only because they involve
the author and the contributor; if they did not, I will not say with how
hard a heart I should turn from them; my only pang now in scrutinizing
the business conditions of literature is for the makers of literature,
not the purveyors of it.

After all, and in spite of my vaunting title, is the man of letters ever
am business man? I suppose that, strictly speaking, he never is, except
in those rare instances where, through need or choice, he is the
publisher as well as the author of his books. Then he puts something on
the market and tries to sell it there, and is a man of business. But
otherwise he is an artist merely, and is allied to the great mass of
wage-workers who are paid for the labor they have put into the thing done
or the thing made; who live by doing or making a thing, and not by
marketing a thing after some other man has done it or made it. The
quality of the thing has nothing to do with the economic nature of the
case; the author is, in the last analysis, merely a working-man, and is
under the rule that governs the working-man's life. If he is sick or
sad, and cannot work, if he is lazy or tipsy, and will not, then he earns
nothing. He cannot delegate his business to a clerk or a manager; it
will not go on while he is sleeping. The wage he can command depends
strictly upon his skill and diligence.

I myself am neither sorry nor ashamed for this; I am glad and proud to be
of those who eat their bread in the sweat of their own brows, and not the
sweat of other men's brows; I think my bread is the sweeter for it. In
the mean time, I have no blame for business men; they are no more of the
condition of things than we working-men are; they did no more to cause it
or create it; but I would rather be in my place than in theirs, and I
wish that I could make all my fellow-artists realize that economically
they are the same as mechanics, farmers, day-laborers. It ought to be
our glory that we produce something, that we bring into the world
something that was not choately there before; that at least we fashion or
shape something anew; and we ought to feel the tie that binds us to all
the toilers of the shop and field, not as a galling chain, but as a
mystic bond also uniting us to Him who works hitherto and evermore.
I know very well that to the vast multitude of our fellow-working-men we
artists are the shadows of names, or not even the shadows. I like to
look the facts in the face, for though their lineaments are often
terrible, yet there is light nowhere else; and I will not pretend, in
this light, that the masses care any more for us than we care for the
masses, or so much. Nevertheless, and most distinctly, we are not of the
classes. Except in our work, they have no use for us; if now and then
they fancy qualifying their material splendor or their spiritual dulness
with some artistic presence, the attempt is always a failure that bruises
and abashes. In so far as the artist is a man of the world, he is the
less an artist, and if he fashions himself upon fashion, he deforms his
art. We all know that ghastly type; it is more absurd even than the
figure which is really of the world, which was born and bred in it, and
conceives of nothing outside of it, or above it. In the social world, as
well as in the business world, the artist is anomalous, in the actual
conditions, and he is perhaps a little ridiculous.

Yet he has to be somewhere, poor fellow, and I think that he will do well
to regard himself as in a transition state. He is really of the masses,
but they do not know it, and what is worse, they do not know him; as yet
the common people do not hear him gladly or hear him at all. He is
apparently of the classes; they know him, and they listen to him; he
often amuses them very much; but he is not quite at ease among them;
whether they know it or not, he knows that he is not of their kind.
Perhaps he will never be at home anywhere in the world as long as there
are masses whom he ought to consort with, and classes whom he cannot
consort with. The prospect is not brilliant for any artist now living,
but perhaps the artist of the future will see in the flesh the
accomplishment of that human equality of which the instinct has been
divinely planted in the human soul.




CONFESSIONS OF A SUMMER COLONIST


The season is ending in the little summer settlement on the Down East
coast where I have been passing the last three months, and with each
loath day the sense of its peculiar charm grows more poignant.
A prescience of the homesickness I shall feel for it when I go already
begins to torment me, and I find myself wishing to imagine some form of
words which shall keep a likeness of it at least through the winter; some
shadowy semblance which I may turn to hereafter if any chance or change
should destroy or transform it, or, what is more likely, if I should
never come back to it. Perhaps others in the distant future may turn to
it for a glimpse of our actual life in one of its most characteristic
phases; I am sure that in the distant present there are many millions of
our own inlanders to whom it would be altogether strange.




I.

In a certain sort fragile is written all over our colony; as far as the
visible body of it is concerned it is inexpressibly perishable; a fire
and a high wind could sweep it all away; and one of the most American of
all American things is the least fitted among them to survive from the
present to the future, and impart to it the significance of what may soon
be a "portion and parcel" of our extremely forgetful past.

It is also in a supremely transitional moment: one might say that last
year it was not quite what it is now, and next year it may be altogether
different. In fact, our summer colony is in that happy hour when the
rudeness of the first summer conditions has been left far behind, and
vulgar luxury has not yet cumbrously succeeded to a sort of sylvan
distinction.

The type of its simple and sufficing hospitalities is the seven-o'clock
supper. Every one, in hotel or in cottage, dines between one and two,
and no less scrupulously sups at seven, unless it is a few extremists who
sup at half-past seven. At this function, which is our chief social
event, it is 'de rigueur' for the men not to dress, and they come in any
sort of sack or jacket or cutaway, letting the ladies make up the pomps
which they forego. From this fact may be inferred the informality of the
men's day-time attire; and the same note is sounded in the whole range of
the cottage life, so that once a visitor from the world outside, who had
been exasperated beyond endurance by the absence of form among us (if
such an effect could be from a cause so negative), burst out with the
reproach, "Oh, you make a fetish of your informality!"

"Fetish" is, perhaps, rather too strong a word, but I should not mind
saying that informality was the tutelary genius of the place. American
men are everywhere impatient of form. It burdens and bothers them, and
they like to throw it off whenever they can. We may not be so very
democratic at heart as we seem, but we are impatient of ceremonies that
separate us when it is our business or our pleasure to get at one
another; and it is part of our splendor to ignore the ceremonies, as we
do the expenses. We have all the decent grades of riches and poverty in
our colony, but our informality is not more the treasure of the humble
than of the great. In the nature of things it cannot last, however, and
the only question is how long it will last. I think, myself, until some
one imagines giving an eight-o'clock dinner; then all the informalities
will go, and the whole train of evils which such a dinner connotes will
rush in.




II.

The cottages themselves are of several sorts, and some still exist in the
earlier stages of mutation from the fishermen's and farmers' houses which
formed their germ. But these are now mostly let as lodgings to bachelors
and other single or semi-detached folks who go for their meals to the
neighboring hotels or boarding-houses. The hotels are each the centre of
this sort of centripetal life, as well as the homes of their own scores
or hundreds of inmates. A single boarding-house gathers about it half a
dozen dependent cottages which it cares for, and feeds at its table; and
even where the cottages have kitchens and all the housekeeping
facilities, their inmates sometimes prefer to dine at the hotels.
By far the greater number of cottagers, however, keep house, bringing
their service with them from the cities, and settling in their summer
homes for three or four or five months.

The houses conform more or less to one type: a picturesque structure of
colonial pattern, shingled to the ground, and stained or left to take a
weather-stain of grayish brown, with cavernous verandas, and dormer-
windowed roofs covering ten or twelve rooms. Within they are, if not
elaborately finished, elaborately fitted up, with a constant regard to
health in the plumbing and drainage. The water is brought in a system of
pipes from a lake five miles away, and as it is only for summer use the
pipes are not buried from the frost, but wander along the surface,
through the ferns and brambles of the tough little sea-side knolls on
which the cottages are perched, and climb the old tumbling stone walls of
the original pastures before diving into the cemented basements.

Most of the cottages are owned by their occupants, and furnished by them;
the rest, not less attractive and hardly less tastefully furnished,
belong to natives, who have caught on to the architectural and domestic
preferences of the summer people, and have built them to let. The
rugosities of the stony pasture land end in a wooded point seaward, and
curve east and north in a succession of beaches. It is on the point, and
mainly short of its wooded extremity, that the cottages of our settlement
are dropped, as near the ocean as may be, and with as little order as
birds' nests in the grass, among the sweet-fern, laurel, bay, wild
raspberries, and dog-roses, which it is the ideal to leave as untouched
as possible. Wheel-worn lanes that twist about among the hollows find
the cottages from the highway, but foot-paths approach one cottage from
another, and people walk rather than drive to each other's doors.
From the deep-bosomed, well-sheltered little harbor the tides swim
inland, half a score of winding miles, up the channel of a river which
without them would be a trickling rivulet. An irregular line of cottages
follows the shore a little way, and then leaves the river to the
schooners and barges which navigate it as far as the oldest pile-built
wooden bridge in New England, and these in their turn abandon it to the
fleets of row-boats and canoes in which summer youth of both sexes
explore it to its source over depths as clear as glass, past wooded
headlands and low, rush-bordered meadows, through reaches and openings of
pastoral fields, and under the shadow of dreaming groves.