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United States, provided their projectors have capital enough to give them a fair start. Whether the Illustrated American, the most notable venture of recent years in the illustrated periodical field, will win permanent success is an interesting question. That it deserves adequate support no one who has ever seen its handsomely illustrated pages will deny, but the cost of producing a weekly paper of such excellence must be very great, and the subscription price is necessarily so high that the magazine is beyond the reach of many. The most costly periodical ever published in the United States, the American edition of L'Art et les Lettres, the subscription price of which was seventy-two dollars a year, had to be discontinued for lack of support. The Transatlantic, started in Boston under favorable auspices, was a financial failure. There are enough rich people in America to support highclass magazines; but their tastes do not always lead them to spend their money in that direction. For the credit of the country, it is to be hoped that the experiment of publishing the Illustrated American may succeed. It is said, however, that nearly a quarter of a million of dollars has been spent already in the enterprise.

The fact that Mr. Howells is to publish one of his new novels next year for the first time in the columns of the New York Sun marks an epoch in American literature. Whatever his detractors may say, it must be acknowledged that Howells occupies the leading place among American novelists to-day. His acceptance of the newspaper offer for his next book shows that the newspaper was able to outbid the regular publishers, for, of course, the author sold his story where he could get the highest price. When a newspaper- of course relying upon the coöperation of other newspapers connected with it by the syndicate plan—is enabled to offer to the leading American novelist a better price for his work than the largest publishing house in the country is willing to give, it is evident that a new era in literature has begun. The newspapers will give to Mr. Howells a larger audience than he could secure through the magazines, and his story will have as great

value for publication in book form after it has run through the newspapers as it would have after it had been published in Harper's Monthly -possibly a greater value. It is evident that as magazines are coming to some extent to take the place of books, so newspapers are coming to take in part the place of the magazines.

Some people have expressed surprise that it was possible for Mr. Howells to sell his story to the Sun, since it was generally understood when his much-talked-of contract with the Harpers was made, several years ago, that everything he might write henceforth was to become the property of Harper & Brothers. Contrary to the general impression, the contract which was made at that time was an annual one, and although it has been renewed from year to year, the conditions have not remained unchanged. The Harpers are shrewd business men, - -as the recent publication of facts about their dealings with Rudyard Kipling shows, but, as the same facts also show, they are not always far-sighted in their transactions with authors. To outsiders it certainly seems strange that when it was possible for them to secure the exclusive services of so popular a writer as Mr. Howells they did not think it best to secure them for more than a twelvemonth at a time.

The fact that the King of the Sandwich Islands has ready for publication a new book, upon which he has been engaged for several years, should certainly excite the interest of some American publisher. The royal gentleman is already the author of one published work, entitled Legends of Hawaii," in preparing which he collaborated with ex-Minister Daggett. His new book is entitled "The Temple of Wisdom," and is said to be of a religious nature, aiming to show incidentally that "all things have their origin in fire, and will end in fire." Certainly, a great many manuscripts, quite as valuable as that of King Kalakaua is likely to be, begin in the fire of enthusiasm and end in the fire, when they have come back too many times to their discouraged authors, because publishers in these latter days have so

little appreciation of what in literature is really and truly good.

This

When one considers how many earnest authors there are struggling vainly for means to get their thoughts before the reading public, it seems especially deplorable that so much money should be wasted by the government in printing valueless documents every year. year the deficit in the accounts of the government printing office, due to the extravagant publication of black-bound books, counts up among the millions, and it is safe to say that enough money has been uselessly spent in printing uninteresting facts and figures to give at least a thousand American authors a chance for fame. The value of the books published

at great expense by the government and sent out by congressmen to burden the country's mails is illustrated by the fact that a Massachusetts state senator recently made a savory bonfire in his backyard of 300 or 400 volumes which a paternal government had forced upon him, and which only cumbered up his house. When the brains of impecunious young writers are teeming with ideas that they know will interest the world, it seems shameful that public money should be wasted in publishing books which are burned because their value, even to the junk-man, is so absurdly small.

(1.) Will you please define strictly the work of an "editor," 'editor-in-chief," "managing editor," and "business manager"? Can one of these do the work of all?

(2.) When books and pamphlets are sent to an editor for review or "editorial notice," by what means is he able to pass the usually high opinion on them so soon afterward, seeing that it is impossible for him to have read through so much literature in the given time?

(3.) Since almost every branch of industry and profession is being reduced to a systematic school of its peculiar kind, what objection could be raised to a school of journalism?

J. A. B. [(1.) On a large daily paper the editor-inchief has control of everybody on the editorial and reporting staff and directs the policy of the paper, though he may do little writing; the managing editor is his lieutenant, and carries out the ideas of the editor-in-chief, acting more or less independently, as the case may be; "an editor" may mean either one of the men who write editorials, or one of the men who edit the copy of reporters and other writers; the business manager has charge of the business department, devoting his time mainly to matters of advertising and circulation. On small papers, one man can do the work of all, but he will have to sit up nights.

(2.) An expert book-reviewer does not need to read a book thoroughly in order to describe it sufficiently for his purpose. Most newspaper book reviews are mere descriptions, and not criticisms, and such notices can be written quickly by one who has had experience and has the necessary ability. When a publisher sends in a book of sufficient importance to deserve a careful criticism, either the editor takes time to read it, or he delegates the work to somebody else. There are a few papers that always give caretul reviews of the books they notice, but their number is very small.

(3) The establishment of a genuine school of journalism is not only possible, but most de sirable. The experiment has never had a proper trial in this country, although there are one or two schools in which some instruction is

preparation for newspaper work may be had.. W. H. H. ]

An Italian friend lately called my attention to the fact that a certain Italian word is always misspelled by English and American writers: viz., "literati" is used instead of "letterati" the form used by Italian writers. Webster gives the word as from the Latin, literatus. Is there a question upon this point or not?

J. P. R. [There is no question that "literati" has been added to the English language from the Latin, and not from the Italian. "Literati" is the correct form.-W. H. H. ]

(1.) How long after the appearance in print of an article is one expected patiently to await remuneration from a publisher who professes to "pay on publication"?

(2.) What course do you advise in the following case? Months and months ago a manuscript was submitted to the eminent editor of a reputable periodical, with stamps for return if unavailable. But thus far the author's utmost efforts to hear pro or con have only elicited a printed circular of an admirable book written by the said editor, and already in the author's possession, proving that he still lives. Is it within the bounds of possibility that “patient waiting" will bring no loss"?

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(3.) Suppose we do distinctly state that we expect remuneration for articles which are subsequently used and not paid for, is there any redress?

(4.) Is there such a thing as a directory of periodicals, giving simply name and address; and, if so, how is it obtainable, and at what cost?

H. A. ST.

[(1.) Most editors who "pay on publication" pay within thirty days from the time when the article is published. Some editors pay quarterly.

(2.) In such a case as that described the author has no option but to withdraw his article or await the pleasure of the editor.

(3.) There is the same redress in case an editor uses without payment an article distinctly offered to him for sale as there is in case a grocer fails to pay for butter sent to him by a farmer for sale, and added to his stock.

(4) There are two large newspaper directories, Rowell's "American Newspaper Directory," published by G. C. Rowell & Co., New York, and Aver's "American Newspaper

THE PHILOSOPHY OF FICTION IN LITERATURE. By Daniel Greenleaf Thompson. 226 pp. Cloth, $1.50. New York: Longmans, Green, & Company. 1890.

Having established the proposition that the prime requisite of a novel is that it shall interest, Mr. Thompson proceeds to make the inquiry: "What are the things that interest? What does interest mean? And what are its bearings upon human life and happiness?" He finds that interest is only another name for pleasure derived from the reading, that the source of such pleasure may be æsthetic, scien

tific, or moral, and that the three may contribute to the general effect in varying proportions. He notes that fiction is a representation of human experience, or that of beings with like faculties to those of men, and proceeds to answer the question: "Is not that the most interesting and the most perfect work which most exactly and accurately reproduces a section of such experience as it actually covers? After showing that "naturalism," if adopted as the growing theory of novelistic construction, would annihilate creative power, he goes on to show that whatever interests people in real life holds their attention in fiction. Since the things of contemporaneous interest principally occupy men's minds, moulding their thoughts and governing their feelings, that story will have the most readers which embodies and reproduces some phase of current life. For like reasons, portraitures of universal traits in human character attract and hold the attention. And if there be in the minds of people generally an underlying thought or belief struggling for expression, the novelist who understands and brings it out is sure of success. Having reached these conclusions, Mr. Thompson proceeds to discuss at length the question: "Should everything that is interesting to anybody be made the subject of the constructive writer's art?"

especially defending, within proper limitations, what is known as "erotic fiction." The succeeding chapter on "The Construction of a Work of Fiction" is too general to be of much practical use to writers, and, indeed, it may be said of the whole book that it is more of theoretical than of practical value. Any fiction writer, however, will find it to be well worth a careful reading.

W. H. H.

belong in the world's history, with a resumé of their teachings and specimens of their literary style. Beginning with the earliest composition of the Aryan race, the current of Brahmanic thought has been traced down through the most important Hindu works, which have been considered in chronological order from the earliest songs of the Rigveda to the fanciful conceits of the latest Puranas. The author has striven to make her statements accurate, and she has had the advantage of criticism from learned Orientalists. Her book will serve a useful purpose as a means of introduction to the beauties of Hindu literature.

W. H. H.

STUDIES IN LETTERS AND LIFE. By George Edward Woodberry. 296 pp. $1.25. Boston: Houghton, Mifflin, & Company. 1890.

Earnest, careful, thoughtful work is making for Mr. Woodberry a reputation that is not easily won. His life of Poe is generally regarded as the most satisfactory biography of that brilliant and erratic genius. His poems, recently collected in "The North Shore Watch," have attracted general attention, as much for their depth of thought as for the beauty and grace of their expression. Now comes this volume of his literary essays, reprinted from the Atlantic Monthly and the Nation, and showing the same earnestness and thoughtful study which have characterized all of Mr. Woodberry's work. As an illustration of the love of letters and of interest in ideal living, they fulfil the aim of the author in giving them to the public.)

W. H. H.

THE STORY OF MY HOUSE. By George H. Ellwanger. 286 pp. $1.50. New York: D. Appleton & Company. 1891.

The beautiful etching by Sidney L. Smith, which forms the frontispiece of this attractive volume, shows the author in an ideal library surrounded by all the comforts which delight the heart of the literary man. The book itself is made up of a series of charming essays, describing the perfect house and its furnishings, not as an architect or a decorator might do, but from the point of view of one who knows all the luxuries of living, and from whose refined taste and fortunate experience others may get both information and valuable suggestion. Reading about luxury is tantalizing at times, but Mr. Ellwanger's book has a subtle charm that delights the reader instead of making him discontented with his own commonplace fortune. The book is exquisitely printed and bound, with delicately designed initial letters and ornamental head and tail pieces.

W. H. H.

HENRIK IBSEN, 1828-88. A Critical Biography. By Henrik Jaegar. Tanslated from the Norwegian by William Morton Payne. With portraits and illustrations. 275 pp. Cloth, $1.50. Chicago: A. C. McClurg & Company. 1890.

The story of Ibsen's life is well told in this biography, which Mr. Payne has translated and

edited as a labor of love, and with more than ordinary care. The works of the Norwegian dramatist will have new interest to those who read here the story of his career, written by one of his countrymen, well-fitted to be his biographer. Interesting illustrations of Skien, Ibsen's native town, Grimstad, Ibsen's birthplace, and Venstöb farm, with several portraits, add to the value of the volume. The picture of Frau Ibsen will have special interest for those who remember Mrs. Rudd's article, "A Near View of Ibsen," in THE AUTHOR for June, 1890

W. H. H.

MAKERS OF MODERN ENGLISH. A Popular Handbook to the Greater Poets of the Century. By W J. Dawson. 375 PP. Cloth, $1.75. New York: Thomas Whittaker. 1890. Mr. Dawson's aim has been to provide within small compass a handy guide to the chief poetry of the nineteenth century, confining himself to a study of English writers. Burns, Byron, Shelley, Keats, Scott, Coleridge, Southey, Wordsworth, Hood, the Brownings, Tennyson, Arnold, Rosetti, Swinburne, and Morris are taken up successively, with critical comments that are interesting and suggestive, besides being generally just. A good deal of space is given to Wordsworth, Tennyson, and Browning, the two last of whom the author describes as "the two greatest figures in the world of modern poetry." Of Browning he says: "No more remunerative study can be found than in the careful reading of his works."

The essay on the sonnet, with which Mr. Crandall introduces his collection of more than four hundred examples of the form of verse in which so much of the highest poetic thought has found expression, is well worth the reading of any one who is at all interested in the subject. The novice in sonnet-writing especially will find in it suggestions of great practical value, and the illustrative examples cited by Mr. Crandall are models which deserve the most careful study. The sonnets which the compiler has selected as "representative" include examples of the work of nearly 250 authors a number that must to every reader seem, at first, surprisingly large, since few can have supposed that there were so many American poets capable of doing such good work. Mr. Crandall, however, indorses the opinion expressed by William Sharp, that a finer collection of sonnets could be made from the contemporary American poets than from the living English ones, and the present volume goes far toward bearing out this assertion. Certainly it would be hard to make a finer collection than this, which the publishers have put into such a rich and handsome volume. The value of the