Delphi complete works of.., p.1459
Delphi Complete Works of William Dean Howells, page 1459
I.
Literature is at once the most intimate and the most articulate of the arts. It cannot impart its effect through the senses or the nerves as the other arts can; it is beautiful only through the intelligence; it is the mind speaking to the mind; until it has been put into absolute terms, of an invariable significance, it does not exist at all. It cannot awaken this emotion in one, and that in another; if it fails to express precisely the meaning of the author, if it does not say him, it says nothing, and is nothing. So that when a poet has put his heart, much or little, into a poem, and sold it to a magazine, the scandal is greater than when a painter has sold a picture to a patron, or a sculptor has modelled a statue to order. These are artists less articulate and less intimate than the poet; they are more exterior to their work; they are less personally in it; they part with less of themselves in the dicker. It does not change the nature of the case to say that Tennyson and Longfellow and Emerson sold the poems in which they couched the most mystical messages their genius was charged to bear mankind. They submitted to the conditions which none can escape; but that does not justify the conditions, which are none the less the conditions of hucksters because they are imposed upon poets. If it will serve to make my meaning a little clearer, we will suppose that a poet has been crossed in love, or has suffered some real sorrow, like the loss of a wife or child. He pours out his broken heart in verse that shall bring tears of sacred sympathy from his readers, and an editor pays him a hundred dollars for the right of bringing his verse to their notice. It is perfectly true that the poem was not written for these dollars, but it is perfectly true that it was sold for them. The poet must use his emotions to pay his provision bills; he has no other means; society does not propose to pay his bills for him. Yet, and at the end of the ends, the unsophisticated witness finds the transaction ridiculous, finds it repulsive, finds it shabby. Somehow he knows that if our huckstering civilization did not at every moment violate the eternal fitness of things, the poet’s song would have been given to the world, and the poet would have been cared for by the whole human brotherhood, as any man should be who does the duty that every man owes it.
The instinctive sense of the dishonor which money-purchase does to art is so strong that sometimes a man of letters who can pay his way otherwise refuses pay for his work, as Lord Byron did, for a while, from a noble pride, and as Count Tolstoy has tried to do, from a noble conscience. But Byron’s publisher profited by a generosity which did not reach his readers; and the Countess Tolstoy collects the copyright which her husband foregoes; so that these two eminent instances of protest against business in literature may be said not to have shaken its money basis. I know of no others; but there may be many that I am culpably ignorant of. Still, I doubt if there are enough to affect the fact that Literature is Business as well as Art, and almost as soon. At present business is the only human solidarity; we are all bound together with that chain, whatever interests and tastes and principles separate us, and I feel quite sure that in writing of the Man of Letters as a Man of Business I shall attract far more readers than I should in writing of him as an Artist. Besides, as an artist he has been done a great deal already; and a commercial state like ours has really more concern in him as a business man. Perhaps it may sometime be different; I do not believe it will till the conditions are different, and that is a long way off.
II.
In the mean time I confidently appeal to the reader’s imagination with the fact that there are several men of letters among us who are such good men of business that they can command a hundred dollars a thousand words for all they write. It is easy to write a thousand words a day, and, supposing one of these authors to work steadily, it can be seen that his net earnings during the year would come to some such sum as the President of the United States gets for doing far less work of a much more perishable sort. If the man of letters were wholly a business man, this is what would happen; he would make his forty or fifty thousand dollars a year, and be able to consort with bank presidents, and railroad officials, and rich tradesmen, and other flowers of our plutocracy on equal terms. But, unfortunately, from a business point of view, he is also an artist, and the very qualities that enable him to delight the public disable him from delighting it uninterruptedly. “No rose blooms right along,” as the English boys at Oxford made an American collegian say in a theme which they imagined for him in his national parlance; and the man of letters, as an artist, is apt to have times and seasons when he cannot blossom. Very often it shall happen that his mind will lie fallow between novels or stories for weeks and months at a stretch; when the suggestions of the friendly editor shall fail to fruit in the essays or articles desired; when the muse shall altogether withhold herself, or shall respond only in a feeble dribble of verse which he might sell indeed, but which it would not be good business for him to put on the market. But supposing him to be a very diligent and continuous worker, and so happy as to have fallen on a theme that delights him and bears him along, he may please himself so ill with the result of his labors that he can do nothing less in artistic conscience than destroy a day’s work, a week’s work, a month’s work. I know one man of letters who wrote to-day and tore up tomorrow for nearly a whole summer. But even if part of the mistaken work may be saved, because it is good work out of place, and not intrinsically bad, the task of reconstruction wants almost as much time as the production; and then, when all seems done, comes the anxious and endless process of revision. These drawbacks reduce the earning capacity of what I may call the high-cost man of letters in such measure that an author whose name is known everywhere, and whose reputation is commensurate with the boundaries of his country, if it does not transcend them, shall have the income, say, of a rising young physician, known to a few people in a subordinate city.
In view of this fact, so humiliating to an author in the presence of a nation of business men like ours, I do not know that I can establish the man of letters in the popular esteem as very much of a business man, after all. He must still have a low rank among practical people; and he will be regarded by the great mass of Americans as perhaps a little off, a little funny, a little soft! Perhaps not; and yet I would rather not have a consensus of public opinion on the question; I think I am more comfortable without it.
III.
There is this to be said in defence of men of letters on the business side, that literature is still an infant industry with us, and, so far from having been protected by our laws, it was exposed for ninety years after the foundation of the republic to the vicious competition of stolen goods. It is true that we now have the international copyright law at last, and we can at least begin to forget our shame; but literary property has only forty-two years of life under our unjust statutes, and if it is attacked by robbers the law does not seek out the aggressors and punish them, as it would seek out and punish the trespassers upon any other kind of property; it leaves the aggrieved owner to bring suit against them, and recover damages, if he can. This may be right enough in itself; but I think, then, that all property should be defended by civil suit, and should become public after forty-two years of private tenure. The Constitution guarantees us all equality before the law, but the law-makers seem to have forgotten this in the case of our literary industry. So long as this remains the case, we cannot expect the best business talent to go into literature, and the man of letters must keep his present low grade among business men.
As I have hinted, it is but a little while that he has had any standing at all. I may say that it is only since the Civil War that literature has become a business with us. Before that time we had authors, and very good ones; it is astonishing how good they were; but I do not remember any of them who lived by literature except Edgar A. Poe, perhaps; and we all know how he lived; it was largely upon loans. They were either men of fortune, or they were editors or professors, with salaries or incomes apart from the small gains of their pens; or they were helped out with public offices; one need not go over their names or classify them. Some of them must have made money by their books, but I question whether any one could have lived, even very simply, upon the money his books brought him. No one could do that now, unless he wrote a book that we could not recognize as a work of literature. But many authors live now, and live prettily enough, by the sale of the serial publication of their writings to the magazines. They do not live so nicely as successful tradespeople, of course, or as men in the other professions when they begin to make themselves names; the high state of brokers, bankers, railroad operators, and the like is, in the nature of the case, beyond their fondest dreams of pecuniary affluence and social splendor. Perhaps they do not want the chief seats in the synagogue; it is certain they do not get them. Still, they do very fairly well, as things go; and several have incomes that would seem riches to the great mass of worthy Americans who work with their hands for a living — when they can get the work. Their incomes are mainly from serial publication in the different magazines; and the prosperity of the magazines has given a whole class existence which, as a class, was wholly unknown among us before the Civil War. It is not only the famous or fully recognized authors who live in this way, but the much larger number of clever people who are as yet known chiefly to the editors, and who may never make themselves a public, but who do well a kind of acceptable work. These are the sort who do not get reprinted from the periodicals; but the better recognized authors do get reprinted, and then their serial work in its completed form appeals to the readers who say they do not read serials. The multitude of these is not great, and if an author rested his hopes upon their favor he would be a much more imbittered man than he now generally is. But he understands perfectly well that his reward is in the serial and not in the book; the return from that he may count as so much money found in the road — a few hundreds, a very few thousands, at the most, unless he is the author of an historical romance.
IV.
I doubt, indeed, whether the earnings of literary men are absolutely as great as they were earlier in the century, in any of the English-speaking countries; relatively they are nothing like as great. Scott had forty thousand dollars for ‘Woodstock,’ which was not a very large novel, and was by no means one of his best; and forty thousand dollars then had at least the purchasing power of sixty thousand now. Moore had three thousand guineas for ‘Lalla Rookh,’ but what publisher would be rash enough to pay fifteen thousand dollars for the masterpiece of a minor poet now? The book, except in very rare instances, makes nothing like the return to the author that the magazine makes, and there are few leading authors who find their account in that form of publication. Those who do, those who sell the most widely in book form, are often not at all desired by editors; with difficulty they get a serial accepted by any principal magazine. On the other hand, there are authors whose books, compared with those of the popular favorites, do not sell, and yet they are eagerly sought for by editors; they are paid the highest prices, and nothing that they offer is refused. These are literary artists; and it ought to be plain from what I am saying that in belles-lettres, at least, most of the best literature now first sees the light in the magazines, and most of the second-best appears first in book form. The old-fashioned people who flatter themselves upon their distinction in not reading magazine fiction or magazine poetry make a great mistake, and simply class themselves with the public whose taste is so crude that they cannot enjoy the best. Of course, this is true mainly, if not merely, of belles-lettres; history, science, politics, metaphysics, in spite of the many excellent articles and papers in these sorts upon what used to be called various emergent occasions, are still to be found at their best in books. The most monumental example of literature, at once light and good, which has first reached the public in book form is in the different publications of Mark Twain; but Mr. Clemens has of late turned to the magazines too, and now takes their mint-mark before he passes into general circulation. All this may change again, but at present the magazines — we have no longer any reviews form the most direct approach to that part of our reading public which likes the highest things in literary art. Their readers, if we may judge from the quality of the literature they get, are more refined than the book readers in our community; and their taste has no doubt been cultivated by that of the disciplined and experienced editors. So far as I have known these, they are men of aesthetic conscience and of generous sympathy. They have their preferences in the different kinds, and they have their theory of what kind will be most acceptable to their readers; but they exercise their selective function with the wish to give them the best things they can. I do not know one of them — and it has been, my good fortune to know them nearly all — who would print a wholly inferior thing for the sake of an inferior class of readers, though they may sometimes decline a good thing because for one reason or another, they believe it would not be liked. Still, even this does not often happen; they would rather chance the good thing they doubted of than underrate their readers’ judgment.
The young author who wins recognition in a first-class magazine has achieved a double success, first, with the editor, and then with the best reading public. Many factitious and fallacious literary reputations have been made through books, but very few have been made through the magazines, which are not only the best means of living, but of outliving, with the author; they are both bread and fame to him. If I insist a little upon the high office which this modern form of publication fulfils in the literary world, it is because I am impatient of the antiquated and ignorant prejudice which classes the magazines as ephemeral. They are ephemeral in form, but in substance they are not ephemeral, and what is best in them awaits its resurrection in the book, which, as the first form, is so often a lasting death. An interesting proof of the value of the magazine to literature is the fact that a good novel will often have wider acceptance as a book from having been a magazine serial.
V.
Under the ‘regime’ of the great literary periodicals the prosperity of literary men would be much greater than it actually is if the magazines were altogether literary. But they are not, and this is one reason why literature is still the hungriest of the professions. Two-thirds of the magazines are made up of material which, however excellent, is without literary quality. Very probably this is because even the highest class of readers, who are the magazine readers, have small love of pure literature, which seems to have been growing less and less in all classes. I say seems, because there are really no means of ascertaining the fact, and it may be that the editors are mistaken in making their periodicals two-thirds popular science, politics, economics, and the timely topics which I will call contemporanics. But, however that may be, their efforts in this direction have narrowed the field of literary industry, and darkened the hope of literary prosperity kindled by the unexampled prosperity of their periodicals. They pay very well indeed for literature; they pay from five or six dollars a thousand words for the work of the unknown writer to a hundred and fifty dollars a thousand words for that of the most famous, or the most popular, if there is a difference between fame and popularity; but they do not, altogether, want enough literature to justify the best business talent in devoting itself to belles-lettres, to fiction, or poetry, or humorous sketches of travel, or light essays; business talent can do far better in dry goods, groceries, drugs, stocks, real estate, railroads, and the like. I do not think there is any danger of a ruinous competition from it in the field which, though narrow, seems so rich to us poor fellows, whose business talent is small, at the best.
The most of the material contributed to the magazines is the subject of agreement between the editor and the author; it is either suggested by the author or is the fruit of some suggestion from the editor; in any case the price is stipulated beforehand, and it is no longer the custom for a well-known contributor to leave the payment to the justice or the generosity of the publisher; that was never a fair thing to either, nor ever a wise thing. Usually, the price is so much a thousand words, a truly odious method of computing literary value, and one well calculated to make the author feel keenly the hatefulness of selling his art at all. It is as if a painter sold his picture at so much a square inch, or a sculptor bargained away a group of statuary by the pound. But it is a custom that you cannot always successfully quarrel with, and most writers gladly consent to it, if only the price a thousand words is large enough. The sale to the editor means the sale of the serial rights only, but if the publisher of the magazine is also a publisher of books, the republication of the material is supposed to be his right, unless there is an understanding to the contrary; the terms for this are another affair. Formerly something more could be got for the author by the simultaneous appearance of his work in an English magazine; but now the great American magazines, which pay far higher prices than any others in the world, have a circulation in England so much exceeding that of any English periodical that the simultaneous publication can no longer be arranged for from this side, though I believe it is still done here from the other side.
