X.

Whether the newspapers will become the rivals of the magazines as the vehicle of literature is a matter that still remains in doubt with the careful observer, after a decade of the newspaper syndicate. Our daily papers never had the habit of the feuilleton as those of the European continent have it; they followed the English tradition in this, though they departed from it in so many other things; and it was not till the Sunday editions of the great dailies arose that there was any real hope for the serial in the papers. I suspect that it was the vast demand for material in their pages—twelve, eighteen, twenty-four, thirty-six—that created the syndicate, for it was the necessity of the Sunday edition not only to have material in abundance, but, with all possible regard for quality, to have it cheap; and the syndicate, when it came into being, imagined a means of meeting this want. It sold the same material to as many newspapers as it could for simultaneous publication in their Sunday editions, which had each its special field, and did not compete with another.

I do not think the syndicate began with serials, and I do not think it is likely to end with them. It has rather worked the vein of interviews, personal adventure, popular science, useful information, travel, sketches, and short stories. Still it has placed a good many serial stories, and at pretty good prices, but not generally so good as those the magazines pay the better sort of writers; for the worse sort it has offered perhaps the best market they have had out of book form. By the newspapers, the syndicate conceives, and perhaps justly, that something sensational is desired; yet all the serial stories it has placed cannot be called sensational. It has enlarged the field of belles-lettres, certainly, but not permanently, I think, in the case of the artistic novel. As yet the women, who form the largest, if not the only cultivated class among us, have not taken very cordially to the Sunday edition, except for its social gossip; they certainly do not go to it for their fiction, and its fiction is mainly of the inferior sort with which boys and men beguile their leisure.

In fact the newspapers prefer to remain newspapers, at least in quality if not in form; and I heard a story the other day from a charming young writer of his experience with them, which may have some instruction for the magazines that less wisely aim to become newspapers. He said that when he carried his work to the editors they struck out what he thought the best of it, because it was what they called magaziny; not contemptuously, but with an instinctive sense of what their readers wanted of them, and did not want. It was apparent that they did not want literary art, or even the appearance of it; they wanted their effects primary; they wanted their emotions raw, or at least saignantes from the joint of fact, and not prepared by the fancy or the taste.

The syndicate has no doubt advanced the prosperity of the short story by increasing the demand for it. We Americans had already done pretty well in that kind, for there was already a great demand for the short story in the magazines; but the syndicate of Sunday editions particularly cultivated it, and made it very paying. I have heard that some short-story writers made the syndicate pay more for their wares than they got from the magazines for them, considering that the magazine publication could enhance their reputation, but the Sunday edition could do nothing for it. They may have been right or not in this; I will not undertake to say, but that was the business view of the case with them.

In spite of the fact that short stories when gathered into a volume and republished would not sell so well as a novel, the short story flourished, and its success in the periodicals began to be felt in the book trade: volumes of short stories suddenly began to sell. But now again, it is said the bottom has dropped out, and they do not sell, and their adversity in book form threatens to affect them in the magazines; an editor told me the other day that he had more short stories than he knew what to do with; and I was not offering him a short story of my own, either.

A permanent decline in the market for a kind of literary art which we have excelled in, or if we have not excelled, have done some of our most exquisite work, would be a pity.

There are other sorts of light literature once greatly in demand, but now apparently no longer desired by 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, Ik Marvell, Longfellow, Lowell, Story, Mr. James, Mr. Aldrich, Colonel Hay, Mr. Warner, 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 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 anyone were now to write essays such as Mr. 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 not 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 sculptor is only the gainer by all the school he can give himself.