As soon as he had read the letter the author told himself that he had been certain all along that his book would be accepted. Nevertheless, he went to the interview moved by certain emotional flutterings against which circumstance had guarded him ever since his boyhood. He found this mild excitation of the nervous system by no means unpleasant. It was like digesting a new and subtle liqueur that made him light-footed and tingled in the tips of his fingers. He recalled a phrase that had greatly pleased him in the early days of his novel. "As the sun colours flowers, so Art colours life." It seemed to him that this was beginning to come true, and that life was already presenting itself to him in a gayer, brighter dress. He reached the publisher's office, therefore, in an unwontedly receptive mood, and was tremendously impressed by the rudeness of the clerks, who treated authors as mendicants and expressed their opinion of literature by handling books as if they were bundles of firewood.
The publisher looked at him under heavy eyelids, recognised his position in the social scale, and reflected with satisfaction that his acquaintances could be relied on to purchase at least a hundred copies. The interview did not at all take the lines that the author in his innocence had expected, and in a surprisingly short space of time he found himself bowed out, with the duplicate of a contract in the pocket of his overcoat. In the outer office the confidential clerk took him in hand and led him to the door of an enormous cellar, lit by electricity and filled from one end to the other with bales and heaps of books. "Books!" said the confidential clerk, with the smile of a gamekeeper displaying his hand-reared pheasants. "There are a great many," the author said timidly.
"Of course, we do not keep our stock here," the clerk explained. "These are just samples." It was sometimes necessary to remind inexperienced writers that the publication of their first book was only a trivial incident in the history of a great publishing house. The author had a sad vision of his novel as a little brick in a monstrous pyramid built of books, and the clerk mentally decided that he was not the kind of man to turn up every day at the office to ask them how they were getting on.
The author was a little dazed when he emerged into the street and the sunshine. His book, which an hour before had seemed the most important thing in the world, had, become almost insignificant in the light of that vast collection of printed matter, and in some subtle way he felt that he had dwindled with it. The publisher had praised it without enthusiasm and had not specified any of its merits; he had not even commented on his fantastic use of the colon. The author had lived with it now for many months—it had become a part of his personality, and he felt that he had betrayed himself in delivering it into the hands of strangers who could not understand it. He had the reticence of the well-bred Englishman, and though he told himself reassuringly that his novel in no way reflected his private life, he could not quite overcome the sentiment that it was a little vulgar to allow alien eyes to read the product of his most intimate thoughts. He had really been shocked at the matter-of-fact way in which every one at the office had spoken of his book, and the sight of all the other books with which it would soon be inextricably confused had emphasised the painful impression. This all seemed to rob the author's calling of its presumed distinction, and he looked at the men and women who passed him on the pavement, and wondered whether they too had written books.
This mood lasted for some weeks, at the end of which time he received the proofs, which he read and re-read with real pleasure before setting himself to correcting them with meticulous care. He performed this task with such conscientiousness, and made so many minor alterations—he changed most of those flighty colons to more conventional semicolons—that the confidential clerk swore terribly when he glanced at the proofs before handing them to a boy, with instructions to remove three-quarters of the offending emendations. A week or two later there happened one of those strange little incidents that make modern literary history. It was a bright, sunny afternoon; the publisher had been lunching with the star author of the firm, a novelist whose books were read wherever the British flag waved and there was a circulating library to distribute them, and now, in the warm twilight of the lowered blinds he was enjoying profound thoughts, delicately tinted by burgundy and old port. The shrewdest men make mistakes, and certainly it was hardly wise of the confidential clerk to choose this peaceful moment to speak about our author's book. "I suppose we shall print a thousand?" he said. "Five thousand!" ejaculated the publisher. What was he thinking about? Was he filling up an imaginary income-tax statement, or was he trying to estimate the number of butterflies that seemed to float in the amber shadows of the room? The clerk did not know. "I suppose you mean one thousand, sir?" he said gently. The publisher was now wide awake. He had lost all his butterflies, and he was not the man to allow himself to be sleepy in the afternoon. "I said five thousand!" The clerk bit his lip and left the room.
The author never heard of this brief dialogue; probably if he had been present he would have missed its significance. He would never have connected it with the flood of paragraphs that appeared in the Press announcing that the acumen of the publisher had discovered a new author of genius—paragraphs wherein he was compared with Dickens, Thackeray, Flaubert, Richardson, Sir Walter Besant, Thomas Browne, and the author of "An Englishwoman's Love-letters." As it was, it did not occur to him to wonder why the publisher should spend so much money on advertising a book of which he had seemed to have but a half-hearted appreciation. After all it was his book, and the author felt that it was only natural that as the hour of publication drew near the world of letters should show signs of a dignified excitement.
III. The Critic Errant
There are some emotions so intimate that the most intrepid writer hesitates to chronicle them lest it should be inferred that he himself is in the confessional. We have endeavoured to show our author as a level-headed English-man with his nerves well under control and an honest contempt for emotionalism in the stronger sex; but his feelings in the face of the first little bundle of reviews sent him by the press-cutting agency would prove this portrait incomplete. He noticed with a vague astonishment that the flimsy scraps of paper were trembling in his fingers like banknotes in the hands of a gambler, and he laid them down on the breakfast-table in disgust of the feminine weakness. This unmistakable proof that he had written a book, a real book, made him at once happy and uneasy. These fragments of smudged prints were his passport into a new and delightful world; they were, it might be said, the name of his destination in the great republic of letters, and yet he hesitated to look at them. He heard of the curious blindness of authors that made it impossible for them to detect the most egregious failings in their own work, and it occurred to him that this might be his malady. Why: had he published his book? He felt at that moment that he had taken too great a risk. It would have been so easy to have had it privately printed and contented himself with distributing it among his friends. But these people were paid for writing about books, these critics who had sent Keats to his gallipots and Swinburne to his fig-tree, might well have failed to have recognised that his book was sacred, because it was his own.
When he had at last achieved a fatalistic tranquillity, he once more picked up the notices, and this time he read them through carefully. The Rutlandshire Gazette quoted Shakespeare, the Thrums Times compared him with Christopher North, the Stamford-bridge Herald thought that his style resembled that of Macaulay, but they were unanimous in praising his book without reservation. It seemed to the author that he was listening to the authentic voice of fame. He rested his chin on his hand and dreamed long dreams.
He could afford in this hour of his triumph to forget the annoyances he had undergone since his book was first accepted. The publisher, with a large first edition to dispose of, had been rather more than firm with the author. He had changed the title of the book from "Earth's Returns"—a title that had seemed to the author dignified and pleasantly literary—to "The Improbable Marquis," which seemed to him to mean nothing at all. Moreover, instead of giving the book a quiet and scholarly exterior, he had bound it in boards of an injudicious heliotrope, inset with a nasty little coloured picture of a young woman with a St. Bernard dog. This binding revolted the author, who objected, with some reason, that in all his book there was no mention of a dog of that description, or, indeed, of any dog at all. The book was wrapped in an outer cover that bore a recommendation of its contents, starting with a hideous split infinitive and describing it as an exquisite social comedy written from within. On the whole it seemed to the author that his book was flying false and undesirable colours, and since art lies outside the domesticities, he was hardly relieved when his wife told him that she thought the binding was very pretty. The author had shuddered no less at the little paragraphs that the publisher had inserted in the newspapers concerning his birth and education, wherein he was bracketed with other well-known writers whose careers at the University had been equally undistinguished. But now that, like Byron, he found himself famous among the bacon and eggs, he was in no mood to remember these past vexations. As soon as he had finished breakfast he withdrew himself to his study and wrote half an essay on the Republic of Letters.