The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-02-04
Sensational Literary Successes.

In the last tweivemonth few books
have sold as books have rarely sold be-
fore, and the world has begun to spec
ulste upon the meaning Of these as
founding successes. To take the most
prominent, the sales OF David Harum."
.sRIchard Carver and when Knight
hood Was in Flower have been some
thing beyond the publishers widest
dreams. What Is there In these books
more than in a thousand others to lift
them above the mass and put them.
ephemeral as they are and by their ma
tvre must be. beside the great books OF
the race in popularity?
Maurice Thompson. writing In the In
dependent. Is OF the opinion that the
story Is the main thing In fiction: and
that the marvellous success of these
books means a revival Of the taste for
the story pure and simple, which Is in
itself such good thing and such a de-
OF crudity and poor writing can hurt IT,
This justification applies certainly to
when Knishthood Was In Flower"
but what has II to do with David
Harumg" All the world admits that the
story amounts 10 nothing In that book
and II Is said In publishing circles that
It's success IL largely due TO sagacIous
publishers reader. who took the present
opening chapters out of the middle of
the book, where they obviously belong.
and placed them at the beginning, 80
that the reader might have a taste OF
the real flavor and quality of David
llarum before embarking on the COM
mon-place history OF John rennox's love
for which nobody cares two-pence.
The success OF Richard Carvei' is still
different matter Neither the romantic
element nor the character delineation IL
Overwhelmingly strong and the prog
ress OF the story Is mpeded by great
deal OF irrelevant and more or less tire
some matter. An explanation which
shall explain all three of these successes
must be more inclusive than that Of
fered by MIR. Thompson
To dosmatixe truthfully about the
public taste is dfileult II is easy 20 tell
part truths about what the people like
IN literature. but to tell all the truth
is comparable TO telling ali the truth
about the Infinite No human critic has
the power. The utmost one can say
for any theory Is that 1t Is less false
than another,
stevenson. writing to Edmund Gosse.
says. "what the public likes is work
sof any kind little loosely executed;
So long as Il Is a little wordy. a little
slack. little dim and kuouess the
dear public likes It. Il should az possi-
hls, be little dun into the bargain. I
know that good work sometimes hits.
but. with my hand on nay heart. think
K ia an accident There must
he something wrong IN me or would
not be popular" So much for the Pub
Hes head and its literary discrimlna-
tlen But we also know that the Pub
hos heart Is sound. and that no book
has any chance % very pronounced pop
ulsrity which is not morally pure and
which does not have IN II both romance
and reality; touches Of the happy I'm
possible and ~ the equally happy pos
slhle--iruth 70 human nature. and truth
"a human dreams,
II. then. book or books can DE found
which viii unite werdiness occasional
duIlness and a style "a little dim and
knotlsss' 70 romance ana acute percep-
ton OF character and the Irresistible
appeal TO the great heart OF humanity,
why. then IN that book. or books, win be
united the elements necessary TO vast
popular success. And 1; Is impossible
saT sf.s discriminating reader not TO sd-