As a matter of fact there are few authors who cannot be edited with advantage, and it would be infinitely better for our reading if this truth was applied to some of the literature of to-day.
Bok had once under his hand a story by Mark Twain, which he believed contained passages that should be deleted. They represented a goodly portion of the manuscript. They were, however, taken out, and the result submitted to the humorist. The answer was curious. Twain evidently saw that Bok was right, for he wrote: "Of course, I want every single line and word of it left out," and then added: "Do me the favor to call the next time you are again in Hartford. I want to say things which—well, I want to argue with you." Bok never knew what those "things" were, for at the next meeting they were not referred to.
It is, perhaps, a curious coincidence that all the Presidents of the United States whose work Bok had occasion to publish were uniformly liberal with regard to having their material edited.
Colonel Roosevelt was always ready to concede improvement: "Fine," he wrote; "the changes are much for the better. I never object to my work being improved, where it needs it, so long as the sense is not altered."
William Howard Taft wrote, after being subjected to editorial revision: "You have done very well by my article. You have made it much more readable by your rearrangement."
Mr. Cleveland was very likely to let his interest in a subject run counter to the space exigencies of journalism; and Bok, in one instance, had to reduce one of his articles considerably. He explained the reason and enclosed the revision.
"I am entirely willing to have the article cut down as you suggest," wrote the former President. "I find sufficient reason for this in the fact that the matter you suggest for elimination has been largely exploited lately. And in looking the matter over carefully, I am inclined to think that the article expurgated as you suggest will gain in unity and directness. At first, I feared it would appear a little 'bobbed' off, but you are a much better judge of that than I. ... I leave it altogether to you."
It was always interesting to Bok, as a study of mental processes, to note how differently he and some author with whom he would talk it over would see the method of treating some theme. He was discussing the growing unrest among American women with Rudyard Kipling at the latter's English home; and expressed the desire that the novelist should treat the subject and its causes.
They talked until the early hours, when it was agreed that each should write out a plan, suggest the best treatment, and come together the next morning. When they did so, Kipling had mapped out the scenario of a novel; Bok had sketched out the headings of a series of analytical articles. Neither one could see the other's viewpoint, Kipling contending for the greater power of fiction and Bok strongly arguing for the value of the direct essay. In this instance, the point was never settled, for the work failed to materialize in any form!
If the readers of The Ladies' Home Journal were quick to support its editor when he presented an idea that appealed to them, they were equally quick to tell him when he gave them something of which they did not approve. An illustration of this occurred during the dance-craze that preceded the Great War. In 1914, America was dance-mad, and the character of the dances rapidly grew more and more offensive. Bok's readers, by the hundreds, urged him to come out against the tendency.