Through this work, in odd hours, I finished my story of the strike. It all came back to me vividly now and I tried to tell what I had seen. I took it to my editor.
"Print that?" he said when he'd read it. "You're mad."
"It's the truth," I remarked.
"As you see it," he said. "And you've seen it only from one side. If this story had been written and signed by Marsh or your friend Kramer, we might have run it, with a reply from the companies. But I don't want to see you stand for this—in our magazine or anywhere else—it means too much to you as a writer. Look out, my boy," he added, with a return to the old brusque kindliness which he had always shown me in the years I had worked under him. "We think a lot of you in this office. For God's sake don't lose your head. Don't be one more good reporter spoiled."
I took my story of the strike to every editor I knew, and it was rejected by each in turn. They thought it all on the side of the crowd, an open plea for revolution. Then I took it to Joe in the Tombs.
"Will you sign this, Joe?" I asked, when he had read it.
"No," he replied. "It's too damn mild. You've given too much to the other side. All these bouquets to efficiency and all this about the weak points of the crowd. The average stoker reading this would think that the revolution won't come till we are all white-haired."
"I don't believe it will," I said.
"I know you don't. That's why you're no good to us," he said. "We want our stuff written by men who are sure that a big revolution is just ahead, men who are certain that a strike, to take in half the civilized world, is coming in the next ten years."
"I don't believe that."