IX

IN THE SANCTUM

Perner's days were not without compensations. There was correspondence with certain celebrities whom they had decided to engage for the coming year, and to be addressed by these as "Dear Mr. Perner," and even as "My dear Perner" more than once, was worth the foregoing of certain luxuries of a grosser nature.

Then, too, the news of the "Whole Family" had gone abroad among the bohemians of the town, and the poet and the fictionist unearthed from the dark corners of their desks—technically known as their "barrels"—the sketches, poems, and stories that had already (and more than once, perhaps, as editors came and went) gone the hopeless round from Franklin Square to Irvington-on-the-Hudson. They shook the dust from these, cleaned them carefully with an eraser, and brought them to Perner's door. They were a merry crowd, these bohemians, and most of them Perner knew. He had waited with them in editorial anterooms, had striven hip to thigh with them in the daily turmoil of Park Row, and in more convivial and prosperous moments had touched glasses and nibbled cheese with them at Lipton's or in Perry's back room. It was really rather fine, therefore, to have become all at once a potentate before whom, with due respect, they now dumped the various contents of their several "barrels."

He informed one and all graciously that contributions would be promptly passed upon, and such as were selected promptly paid for, speaking as one with ample means in reserve. He knew, of course, the venerable character of most of these offerings,—he could detect a renovated manuscript across the room in poor light,—but he also knew that some of his own most successful work had become much travel-worn. He was willing to wade through the pile of chaff in the hope of discovering a gem, and, besides, the dignity of an editorial desk with heaped-up manuscript was gratifying.

Also, the bohemians were entertaining. They knew the peculiarities of every editor in town, and exchanged with Perner characteristic experiences. Among them was a stout, middle-aged man named Capers. He was partly bald, with a smooth baby face that gave him somewhat the appearance of Cupid, and, with his merry disposition, made him seem much younger than he really was.

"Well, I've just had a round with Jacky," he said, as he came in one morning, puffing somewhat after the long climb. (Jacky was the name by which a certain very prominent and somewhat difficult magazine editor was irreverently known among the bohemians.) "It was a pretty stiff tussle, but I landed him."

Perner's face showed interest. Jacky, to him, had been always a trying problem.

"How was it?" he asked. "What did you land him with?"

"Christmas poem—twenty-four lines. Wrote it for an autumn poem—twelve lines in the first place. Too late for this year."

"You could change it, of course, easy enough."

"Changed it right there. Put the golden apples and brown nuts in a pan on the table instead of on the sear and yellow trees. Then I showed it to him again, and he said he didn't care much for nuts and apples anyway, so I took 'em out, and put back the trees, and hung tinsel and embroidered slippers on them. I had to add four more lines to do that, and spoke of the holidays connecting the years like a 'joyous snow-clad isthmus' to rhyme with 'Christmas.' He liked that pretty well, but thought it ought to have a little more atmosphere, so I put in at the beginning a stanza with a Star in the East in it, and another at the end with Christmas day as a star in the heart of humanity—sort of a reflection like—"

"That was good—tiptop!"

"Yes; he took it then. He said, if he didn't, I'd keep on adding to it and break up the magazine. Now, Perny, I'll tell you, I've got a poem that runs right straight through the year. Every stanza is complete in itself, and I can give you any kind of a cut you want. You can have it all as it is, or I'll take out the bones and trim it up for you, or you can have slices out of it here and there at so much a slice."

Perner took the manuscript and ran his eye over it casually.

"That's a good thing on September," he said. "The figure of the goldenrod like a plumed warder closing the gates of summer is striking. We don't publish till November, though."

"That's all right! What's the matter with making it chrysanthemum—a royal goddess at the gates of fall?"

"Why, yes; I suppose that will do." Perner handed back the sheet, and Capers immediately set about recasting his stanzas. Perner had been too long in literature himself to be shocked by this phase of it. He was only amused. Furthermore, he was fond of Capers, as was every editor in town. They knew him to be far more conscientious in his work than most of those who affected the poetic manner and dress. These and others were less entertaining. Some of them Perner would rather not have seen.

There was the faded, middle-aged woman whose poor, impossible manuscript was offered to him with hands made heavy by toil. There was the pale, eager girl who trembled before him until Perner himself was so disturbed that words meant to be kindly and encouraging became only rude and meaningless. There was the handsomely dressed woman of fashion, who, with the air of a benefactor, laid before him stories of bad execution and worse morals—stories to which was attached neither the author's signature nor stamps for their return. Then there was the sharp-featured woman with spectacles, who regarded him severely and proceeded to read her poem aloud. Once this contributor brought a song, and insisted on singing it to him, much to the enjoyment of Van Dorn and Livingstone in the next room.

There were men who tried him, too: men who brought bad pictures and a recommendation from their instructors; men who were worn and threadbare, and smelled of liquor and opium; men, and women, too, who offered their ancestry, or their relationship with better-known people, as an argument of their ability; men who accompanied their contributions with a card bearing a picture of themselves as well as their names, and on the reverse side local press notices complimentary to their talents.

All of these, however, were the exceptions. For the most part, the bohemians were sensible, cheerful people who had adopted the uncertain paths of art, and were following them, in storm and sun, bravely and perseveringly, to the end. They were nearly always light-hearted—on the surface, at least,—and bore away their unaccepted offerings or left others with equally good nature. Now and then a new aspirant came, in whose work Perner recognized the elements of success. Toward these his heart warmed, and out of his well of experience he gave to them an abundance of encouragement and priceless counsel. Indeed, this was a keen enjoyment to him. His own struggle, begun somewhat late in life, had not been altogether an easy one, and there was delight in renewing each step of his success. There was regret, too—regret that the old days of freedom, and nights without responsibility, were over. Still, it was something to be the editor of a great paper, and then, by and by, there would be for him—for all of them—the comforts of wealth, and with it time in which to do only such work as gave them most pleasure. The strain was rather hard now, sometimes, and might become even harder before the final triumph. But the end of their rainbow was drawing each day nearer, and in the summer dusk, under their open skylight, the friends still drowsed and talked far into the night of pots of gold.