The Forum had established Page's reputation as an editor, and the competition for his services was lively. The distinguished Boston publishing house of Houghton, Mifflin & Company immediately invited him to become a part of their organization. When Horace E. Scudder, in 1898, resigned the editorship of the Atlantic Monthly, Page succeeded him. Thus Page became the successor of James Russell Lowell, James T. Fields, William D. Howells, and Thomas Bailey Aldrich as the head of this famous periodical. This meant that he had reached the top of his profession. He was now forty-three years old.
No American publication had ever had so brilliant a history. Founded in 1857, in the most flourishing period of the New England writers, its pages had first published many of the best essays of Emerson, the second series of the Biglow papers as well as many other of Lowell's writings, poems of Longfellow and Whittier, such great successes as Holmes's "Autocrat of the Breakfast Table," Mrs. Howe's "Battle Hymn of the Republic," and the early novels of Henry James. If America had a literature, the Atlantic was certainly its most successful periodical exponent. Yet, in a sense, the Atlantic, by the time Page succeeded to the editorship, had become the victim of its dazzling past. Its recent editors had lived too exclusively in their back numbers. They had conducted the magazine too much for the restricted audience of Boston and New England. There was a time, indeed, when the business office arranged the subscribers in two classes—"Boston" and "foreign"; "Boston" representing their local adherents, and "foreign" the loyal readers who lived in the more benighted parts of the United States. One of its editors had been heard to boast that he never solicited a contribution; it was not his business to be a literary drummer! Let the truth be fairly spoken: when Page made his first appearance in the Atlantic office, the magazine was unquestionably on the decline. Its literary quality was still high; the momentum that its great contributors had given it was still keeping the publication alive; entrance into its columns still represented the ultimate ambition of the aspiring American writer; but it needed a new spirit to insure its future. What it required was the kind of editing that had suddenly made the Forum one of the greatest of English-written reviews. This is the reason why the canny Yankee proprietors had reached over to New York and grasped Page as quickly as the capitalists of the Forum let him slip between their fingers.
Page's sense of humour discovered a certain ironic aspect in his position as the dictator of this famous New England magazine. The fact that his manner was impatiently energetic and somewhat startling to the placid atmosphere of Park Street was not the thing that really signified its break with its past. But here was a Southerner firmly entrenched in a headquarters that had long been sacred to the New England abolitionists. One of the first sights that greeted Page, as he came into the office, was the angular and spectacled countenance of William Lloyd Garrison, gazing down from a steel engraving on the wall. One of Garrison's sons was a colleague, and the anterooms were frequently cluttered with dusky gentlemen patiently waiting for interviews with this benefactor of their race. Page once was careless enough to inform Mr. Garrison that "one of your niggers" was waiting outside for an audience. "I very much regret, Mr. Page," came the answer, "that you should insist on spelling 'Negro' with two 'g's'." Despite the mock solemnity of this rebuke, perennial good-nature and raillery prevailed between the son of Garrison and his disrespectful but ever sympathetic Southern friend. Indeed, one of Page's earliest performances was to introduce a spirit of laughter and genial coöperation into a rather solemn and self-satisfied environment. Mr. Mifflin, the head of the house, even formally thanked Page "for the hearty human way in which you take hold of life." Mr. Ellery Sedgwick, the present editor of the Atlantic, has described the somewhat disconcerting descent of Page upon the editorial sanctuary of James Russell Lowell:
"Were a visitant from another sphere to ask me for the incarnation of those qualities we love to call American, I should turn to a familiar gallery of my memory and point to the living portrait that hangs there of Walter Page. A sort of foursquareness, bluntness, it seemed to some; an uneasy, often explosive energy; a disposition to underrate fine drawn nicenesses of all sorts; ingrained Yankee common sense, checking his vaulting enthusiasm; enormous self-confidence, impatience of failure—all of these were in him; and he was besides affectionate to a fault, devoted to his country, his family, his craft—a strong, bluff, tender man.
"Those were the decorous days of the old tradition, and Page's entrance into the 'atmosphere' of Park Street has taken on the dignity of legend. There were all kinds of signs and portents, as the older denizens will tell you. Strange breezes floated through the office, electric emanations, and a pervasive scent of tobacco, which—so the local historian says—had been unknown in the vicinity since the days of Walter Raleigh, except for the literary aroma of Aldrich's quarantined sanctum upstairs. Page's coming marked the end of small ways. His first requirement was, in lieu of a desk, a table that might have served a family of twelve for Thanksgiving dinner. No one could imagine what that vast, polished tableland could serve for until they watched the editor at work. Then they saw. Order vanished and chaos reigned. Huge piles of papers, letters, articles, reports, books, pamphlets, magazines, congregated themselves as if by magic. To work in such confusion seemed hopeless, but Page eluded the congestion by the simple expedient of moving on. He would light a fresh cigar, give the editorial chair a hitch, and begin his work in front of a fresh expanse of table, with no clutter of the past to disturb the new day's litter.
"The motive power of his work was enthusiasm. Never was more generous welcome given to a newcomer than Page held out to the successful manuscript of an unknown. I remember, though I heard the news second hand at the time, what a day it was in the office when the first manuscript from the future author of 'To Have and To Hold,' came in from an untried Southern girl. He walked up and down, reading paragraphs aloud and slapping the crisp manuscript to enforce his commendation. To take a humbler instance, I recall the words of over generous praise with which he greeted the first paper I ever sent to an editor quite as clearly as I remember the monstrous effort which had brought it into being. Sometimes he would do a favoured manuscript the honour of taking it out to lunch in his coat-pocket, and an associate vividly recalls eggs, coffee, and pie in a near-by restaurant, while, in a voice that could be heard by the remotest lunchers, Page read passages which many of them were too startled to appreciate. He was not given to overrating, but it was not in his nature to understate. 'I tell you,' said he, grumbling over some unfortunate proof-sheets from Manhattan, 'there isn't one man in New York who can write English—not from the Battery to Harlem Heights.' And if the faults were moral rather than literary, his disapproval grew in emphasis. There is more than tradition in the tale of the Negro who, presuming on Page's deep interest in his race, brought to his desk a manuscript copied word for word from a published source. Page recognized the deception, and seizing the rascal's collar with a firm editorial grip, rejected the poem, and ejected the poet, with an energy very invigorating to the ancient serenities of the office.
"Page was always effervescent with ideas. Like an editor who would have made a good fisherman, he used to say that you had to cast a dozen times before you could get a strike. He was forever in those days sending out ideas and suggestions and invitations to write. The result was electric, and the magazine became with a suddenness (of which only an editor can appreciate the wonder) a storehouse of animating thoughts. He avoided the mistake common to our craft of editing a magazine for the immediate satisfaction of his colleagues. 'Don't write for the office,' he would say. 'Write for outside,' and so his magazine became a living thing. His phrase suggests one special gift that Page had, for which his profession should do him especial honour. He was able, quite beyond the powers of any man of my acquaintance, to put compendiously into words the secrets of successful editing. It was capital training just to hear him talk. 'Never save a feature,' he used to say. 'Always work for the next number. Forget the others. Spend everything just on that.' And to those who know, there is divination in the principle. Again he understood instinctively that to write well a man must not only have something to say, but must long to say it. A highly intelligent representative of the coloured race came to him with a philosophic essay. Page would have none of it. 'I know what you are thinking of,' said Page. 'You are thinking of the barriers we set up against you, and the handicap of your lot. If you will write what it feels like to be a Negro, I will print that.' The result was a paper which has seemed to me the most moving expression of the hopeless hope of the race I know of.
"Page was generous in his coöperation. He never drew a rigid line about his share in any enterprise, but gave and took help with each and all. A lover of good English, with an honest passion for things tersely said, Page esteemed good journalism far above any second-rate manifestation of more pretentious forms; but many of us will regret that he was not privileged to find some outlet for his energies in which aspiration for real literature might have played an ampler part. For the literature of the past Page had great respect, but his interest was ever in the present and the future. He was forever fulminating against bad writing, and hated the ignorant and slipshod work of the hack almost as much as he despised the sham of the man who affected letters, the dabbler and the poetaster. His taste was for the roast beef of literature, not for the side dishes and the trimmings, and his appreciation of the substantial work of others was no surer than his instinct for his own performance. He was an admirable writer of exposition, argument, and narrative—solid and thoughtful, but never dull. . . . I came into close relations with him and from him I learned more of my profession than from any one I have ever known. Scores of other men would say the same."
But the fact that a new hand had seized the Atlantic was apparent in other places than in the Atlantic office itself. One of Page's contributors of the Forum days, Mr. Courtney DeKalb, happened to be in St. Louis when the first number of the magazine under its new editor made its appearance. Mr. DeKalb had been out of the country for some time and knew nothing of the change. Happening accidentally to pick up the Atlantic, the table of contents caught his eye. It bore the traces of an unmistakable hand. Only one man, he said to himself, could assemble such a group as that, and above all, only Page could give such an enticing turn of the titles. He therefore sat down and wrote his old friend congratulating him on his accession to the Atlantic Monthly. The change that now took place was indeed a conspicuous, almost a startling one. The Atlantic retained all its old literary flavour, for to its traditions Page was as much devoted as the highest caste Bostonian; it still gave up much of its space to a high type of fiction, poetry, and reviews of contemporary literature, but every number contained also an assortment of articles which celebrated the prevailing activities of men and women in all worth-while fields of effort. There were discussions of present-day politics, and these even became personal dissections of presidential candidates; there were articles on the racial characters of the American population: Theodore Roosevelt was permitted to discuss the New York police; Woodrow Wilson to pass in review the several elements that made the Nation; Booker T. Washington to picture the awakening of the Negro; John Muir to enlighten Americans upon a national beauty and wealth of which they had been woefully ignorant, their forests; William Allen White to describe certain aspects of his favourite Kansas; E.L. Godkin to review the dangers and the hopes of American democracy; Jacob Rüs to tell about the Battle with the Slum; and W.G. Frost to reveal for the first time the archaic civilization of the Kentucky mountaineers. The latter article illustrated Page's genius at rewriting titles. Mr. Frost's theme was that these Kentucky mountaineers were really Elizabethan survivals; that their dialect, their ballads, their habits were really a case of arrested development; that by studying them present-day Americans could get a picture of their distant forbears. Page gave vitality to the presentation by changing a commonplace title to this one: "Our Contemporary Ancestors."
There were those who were offended by Page's willingness to seek inspiration on the highways and byways and even in newspapers, for not infrequently he would find hidden away in a corner an idea that would result in valuable magazine matter. On one occasion at least this practice had important literary consequences. One day he happened to read that a Mrs. Robert Hanning had died in Toronto, the account casually mentioning the fact that Mrs. Hanning was the youngest sister of Thomas Carlyle. Page handed this clipping to a young assistant, and told him to take the first train to Canada. The editor could easily divine that a sister of Carlyle, expatriated for forty-six years on this side of the Atlantic, must have received a large number of letters from her brother, and it was safe to assume that they had been carefully preserved. Such proved to be the fact; and a new volume of Carlyle letters, of somewhat more genial character than the other collections, was the outcome of this visit[4]. And another fruit of this journalistic habit was "The Memoirs of a Revolutionist," by Prince Peter Kropotkin. In 1897 the great Russian nihilist was lecturing in Boston. Page met him, learned from his own lips his story, and persuaded him to put it in permanent form. This willingness of Page to admit such a revolutionary person into the pages of the Atlantic caused some excitement in conventional circles. In fact, it did take some courage, but Page never hesitated; the man was of heroic mould, he had a great story to tell, he wielded an engaging pen, and his purposes were high-minded. A great book of memoirs was the result.