A Dutch Boy Fifty Years After Part 11

Edward replied he thought it went very well, except that he did not like the reference to ex-President Hayes.

"What reference? What did I say?"

Edward repeated it.

"Did I say that?" he asked. Edward looked at him. Mr. Beecher's face was tense. After a few moments he said: "That's generally the way with extemporaneous remarks: they are always dangerous. The best impromptu speeches and remarks are the carefully prepared kind," he added.

Edward told him he regretted the reference because he knew that General Hayes would read it in the New York papers, and he would be nonplussed to understand it, considering the cordial relations which existed between the two men. Mr. Beecher knew of Edward's relations with the ex-President, and they had often talked of him together.

Nothing more was said of the incident. When the Beecher home was reached Mr. Beecher said: "Just come in a minute." He went straight to his desk, and wrote and wrote. It seemed as if he would never stop.

At last he handed Edward an eight-page letter, closely written, addressed to General Hayes.

"Read that, and mail it, please, on your way home. Then it'll get there just as quickly as the New York papers will."

It was a superbly fine letter,--one of those letters which only Henry Ward Beecher could write in his tenderest moods. And the reply which came from Fremont, Ohio, was no less fine!

CHAPTER IX

THE FIRST "WOMAN'S PAGE," "LITERARY LEAVES," AND ENTERING SCRIBNER'S

Edward had been in the employ of Henry Holt and Company as clerk and stenographer for two years when Mr. Cary sent for him and told him that there was an opening in the publis.h.i.+ng house of Charles Scribner's Sons, if he wanted to make a change. Edward saw at once the larger opportunities possible in a house of the importance of the Scribners, and he immediately placed himself in communication with Mr. Charles Scribner, with the result that in January, 1884, he entered the employ of these publishers as stenographer to the two members of the firm and to Mr. Edward L. Burlingame, literary adviser to the house. He was to receive a salary of eighteen dollars and thirty-three cents per week, which was then considered a fair wage for stenographic work. The typewriter had at that time not come into use, and all letters were written in long-hand. Once more his legible handwriting had secured for him a position.

Edward Bok was now twenty-one years of age. He had already done a prodigious amount of work for his years. He was always busy. Every spare moment of his evenings was devoted either to writing his literary letter, to the steady acquirement of autograph letters in which he still persisted, or to helping Mr. Beecher in his literary work. The Plymouth pastor was particularly pleased with Edward's successful exploitation of his pen work; and he afterward wrote: "Bok is the only man who ever seemed to make my literary work go and get money out of it."

Enterprise and energy the boy unquestionably possessed, but one need only think back even thus far in his life to see the continuous good fortune which had followed him in the friends.h.i.+ps he had made, and in the men with whom his life, at its most formative period, had come into close contact. If we are inclined to credit young Bok with an ever-willingness to work and a certain quality of initiative, the influences which played upon him must also be taken into account.

Take, for example, the peculiarly fortuitous circ.u.mstances under which he entered the Scribner publis.h.i.+ng house. As stenographer to the two members of the firm, Bok was immediately brought into touch with the leading authors of the day, their works as they were discussed in the correspondence dictated to him, and the authors' terms upon which books were published. In fact, he was given as close an insight as it was possible for a young man to get into the inner workings of one of the large publis.h.i.+ng houses in the United States, with a list peculiarly noted for the distinction of its authors and the broad scope of its books.

The Scribners had the foremost theological list of all the publis.h.i.+ng houses; its educational list was exceptionally strong; its musical list excelled; its fiction represented the leading writers of the day; its general list was particularly noteworthy; and its foreign department, importing the leading books brought out in Great Britain and Europe, was an outstanding feature of the business. The correspondence dictated to Bok covered, naturally, all these fields, and a more remarkable opportunity for self-education was never offered a stenographer.

Mr. Burlingame was known in the publis.h.i.+ng world for his singularly keen literary appreciation, and was accepted as one of the best judges of good fiction. Bok entered the Scribner employ as Mr. Burlingame was selecting the best short stories published within a decade for a set of books to be called "Short Stories by American Authors." The correspondence for this series was dictated to Bok, and he decided to read after Mr. Burlingame and thus get an idea of the best fiction of the day. So whenever his chief wrote to an author asking for permission to include his story in the proposed series, Bok immediately hunted up the story and read it.

Later, when the house decided to start _Scribner's Magazine_, and Mr.

Burlingame was selected to be its editor, all the preliminary correspondence was dictated to Bok through his employers, and he received a first-hand education in the setting up of the machinery necessary for the publication of a magazine. All this he eagerly absorbed.

He was again fortunate in that his desk was placed in the advertising department of the house; and here he found, as manager, an old-time Brooklyn boy friend with whom he had gone to school, Frank N.

Doubleday, to-day the senior partner of Doubleday, Page and Company.

Bok had been attracted to advertising through his theatre programme and _Brooklyn Magazine_ experience, and here was presented a chance to learn the art at first hand and according to the best traditions. So, whenever his stenographic work permitted, he a.s.sisted Mr. Doubleday in preparing and placing the advertis.e.m.e.nts of the books of the house.

Mr. Doubleday was just reviving the publication of a house-organ called _The Book Buyer_, and, given a chance to help in this, Bok felt he was getting back into the periodical field, especially since, under Mr.

Doubleday's guidance, the little monthly soon developed into a literary magazine of very respectable size and generally bookish contents.

The house also issued another periodical, _The Presbyterian Review_, a quarterly under the editors.h.i.+p of a board of professors connected with the Princeton and Union Theological Seminaries. This ponderous-looking magazine was not composed of what one might, call "light reading," and as the price of a single copy was eighty cents, and the advertis.e.m.e.nts it could reasonably expect were necessarily limited in number, the periodical was rather difficult to move. Thus the whole situation at the Scribners' was adapted to give Edward an all-round training in the publis.h.i.+ng business. It was an exceptional opportunity.

He worked early and late. An increase in his salary soon told him that he was satisfying his employers, and then, when the new _Scribner's Magazine_ appeared, and a little later Mr. Doubleday was delegated to take charge of the business end of it, Bok himself was placed in charge of the advertising department, with the publis.h.i.+ng details of the two periodicals on his hands.

He suddenly found himself directing a stenographer instead of being a stenographer himself. Evidently his apprentice days were over. He had, in addition, the charge of sending all the editorial copies of the new books to the press for review, and of keeping a record of those reviews. This naturally brought to his desk the authors of the house who wished to see how the press received their works.

The study of the writers who were interested in following the press notices of their books, and those who were indifferent to them became a fascinating game to young Bok. He soon discovered that the greater the author the less he seemed to care about his books once they a were published. Bok noticed this, particularly, in the case of Robert Louis Stevenson, whose work had attracted him, but, although he used the most subtle means to inveigle the author into the office to read the press notices, he never succeeded. Stevenson never seemed to have the slightest interest in what the press said of his books.

One day Mr. Burlingame asked Bok to take some proofs to Stevenson at his home; thinking it might be a propitious moment to interest the author in the popular acclaim that followed the publication of _Doctor Jekyll and Mr. Hyde_, Bok put a bunch of press notices in his pocket.

He found the author in bed, smoking his inevitable cigarette.

As the proofs were to be brought back, Bok waited, and thus had an opportunity for nearly two hours to see the author at work. No man ever went over his proofs more carefully than did Stevenson; his corrections were numerous; and sometimes for ten minutes at a time he would sit smoking and thinking over a single sentence, which, when he had satisfactorily shaped it in his mind, he would recast on the proof.

Stevenson was not a prepossessing figure at these times. With his sallow skin and his black dishevelled hair, with finger-nails which had been allowed to grow very long, with fingers discolored by tobacco--in short, with a general untidiness that was all his own, Stevenson, so Bok felt, was an author whom it was better to read than to see. And yet his kindliness and gentleness more than offset the unattractiveness of his physical appearance.

After one or two visits from Bok, having grown accustomed to him, Stevenson would discuss some sentence in an article, or read some amended paragraph out loud and ask whether Bok though it sounded better. To pa.s.s upon Stevenson as a stylist was, of course, hardly within Bok's mental reach, so he kept discreetly silent when Stevenson asked his opinion.

In fact, Bok reasoned it out that the novelist did not really expect an answer or an opinion, but was at such times thinking aloud. The mental process, however, was immensely interesting, particularly when Stevenson would ask Bok to hand him a book on words lying on an adjacent table. "So hard to find just the right word," Stevenson would say, and Bok got his first realization of the truth of the maxim: "Easy writing, hard reading; hard writing, easy reading."

On this particular occasion when Stevenson finished, Bok pulled out his clippings, told the author how his book was being received, and was selling, what the house was doing to advertise it, explained the forthcoming play by Richard Mansfield, and then offered the press notices.

Stevenson took the bundle and held it in his hand.

"That's very nice to tell me all you have," he said, "and I have been greatly interested. But you have really told me all about it, haven't you, so why should I read these notices? Hadn't I better get busy on another paper for Mr. Burlingame for the next magazine, else he'll be after me? You know how impatient these editors are." And he handed back the notices.

Bok saw it was of no use: Stevenson was interested in his work, but, beyond a certain point, not in the world's reception of it. Bok's estimate of the author rose immeasurably. His att.i.tude was in such sharp contrast to that of others who came almost daily into the office to see what the papers said, often causing discomfiture to the young advertising director by insisting upon taking the notices with them.

But Bok always countered this desire by reminding the author that, of course, in that case he could not quote from these desirable notices in his advertis.e.m.e.nts of the book. And, invariably, the notices were left behind!

It now fell to the lot of the young advertiser to arouse the interest of the public in what were to be some of the most widely read and best-known books of the day: Robert Louis Stevenson's _Dr. Jekyll and Mr. Hyde_; Frances Hodgson Burnett's _Little Lord Fauntleroy_; Andrew Carnegie's _Triumphant Democracy_; Frank R. Stockton's _The Lady, or the Tiger?_ and his _Rudder Grange_, and a succession of other books.

The advertising of these books keenly sharpened the publicity sense of the developing advertising director. One book could best be advertised by the conventional means of the display advertis.e.m.e.nt; another, like _Triumphant Democracy_, was best served by sending out to the newspapers a "broadside" of pungent extracts; public curiosity in a story like _The Lady, or the Tiger?_ was, of course, whetted by the publication of literary notes as to the real denouement the author had in mind in writing the story. Whenever Mr. Stockton came into the office Bok pumped him dry as to his experiences with the story, such as when, at a dinner party, his hostess served an ice-cream lady and a tiger to the author, and the whole company watched which he chose.

"And which did you choose?" asked the advertising director.

"_Et tu, Brute?_" Stockton smilingly replied. "Well, I'll tell you. I asked the butler to bring me another spoon, and then, with a spoon in each hand, I attacked both the lady and the tiger at the same time."

Once, when Stockton was going to Boston by the night boat, every room was taken. The ticket agent recognized the author, and promised to get him a desirable room if the author would tell which he had had in mind, the lady or the tiger.

"Produce the room," answered Stockton.

The man did. Stockton paid for it, and then said:

"To tell you the truth, my friend, I don't know."

And that was the truth, as Mr. Stockton confessed to his friends. The idea of the story had fascinated him; when he began it he purposed to give it a definite ending. But when he reached the end he didn't know himself which to produce out of the open door, the lady or the tiger, "and so," he used to explain, "I made up my mind to leave it hanging in the air."

When the stories of _Dr. Jekyll and Mr. Hyde_ and _Little Lord Fauntleroy_ were made into plays, Bok was given an opportunity for an entirely different kind of publicity. Both plays were highly successful; they ran for weeks in succession, and each evening Bok had circulars of the books in every seat of the theatre; he had a table filled with the books in the foyer of each theatre; and he bombarded the newspapers with stories of Mr. Mansfield's method of making the quick change from one character to the other in the dual role of the Stevenson play, and with anecdotes about the boy Tommy Russell in Mrs.

Burnett's play. The sale of the books went merrily on, and kept pace with the success of the plays. And it all sharpened the initiative of the young advertiser and developed his sense for publicity.

One day while waiting in the anteroom of a publis.h.i.+ng house to see a member of the firm, he picked up a book and began to read it. Since he had to wait for nearly an hour, he had read a large part of the volume when he was at last admitted to the private office. When his business was finished, Bok asked the publisher why this book was not selling.

"I don't know," replied the publisher. "We had great hopes for it, but somehow or other the public has not responded to it."