Literature and Life (Complete). William Dean Howells
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.
VI.
I think this is the case of authorship as it now stands with regard to the magazines. I am not sure that the case is in every way improved for young authors. The magazines all maintain a staff for the careful examination of manuscripts, but as most of the material they print has been engaged, the number of volunteer contributions that they can use is very small; one of the greatest of them, I know, does not use fifty in the course of a year. The new writer, then, must be very good to be accepted, and when accepted he may wait long before he is printed. The pressure is so great in these avenues to the public favor that one, two, three years, are no uncommon periods of delay. If the young writer has not the patience for this, or has a soul above cooling his heels in the courts of fame, or must do his best to earn something at once, the book is his immediate hope. How slight a hope the book is I have tried to hint already, but if a book is vulgar enough in sentiment, and crude enough in taste, and flashy enough in incident, or, better or worse still, if it is a bit hot in the mouth, and promises impropriety if not indecency, there is a very fair chance of its success; I do not mean success with a self-respecting publisher, but with the public, which does not personally put its name to it, and is not openly smirched by it. I will not talk of that kind of book, however, but of the book which the young author has written out of an unspoiled heart and an untainted mind, such as most young men and women write; and I will suppose that it has found a publisher. It is human nature, as competition has deformed human nature, for the publisher to wish the author to take all the risks, and he possibly proposes that the author shall publish it at his own expense, and let him have a percentage of the retail price for managing it. If not that, he proposes that the author shall pay for the stereotype plates, and take fifteen per cent. of the price of the book; or if this will not go, if the author cannot, rather than will not, do it (he is commonly only too glad to do any thing he can), then the publisher offers him ten per cent. of the retail price after the first thousand copies have been sold. But if he fully believes in the book, he will give ten per cent. from the first copy sold, and pay all the costs of publication himself. The book is to be retailed for a dollar and a half, and the publisher is not displeased with a new book that sells fifteen hundred copies. Whether the author has