San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1923-09-16
WHEN EVERYBODY WRITES

Il LIN DILL w M GS
Every now and then readers of Ameri-
can magazines encounter an article by
some purist complaining of the poor
quality of what he condescendingly calls
the current literature of this country.
Excerpts from novels and short stories
are presented to exemplify the authors
lack of refinement or their slovenly
habits: bad grammar mixed fig
ures" and so on. Then the works of
authors long ago passed to their re-
wards-principal among which awards
may be safety from critics-are cited
as examples of almost perfect literature.
1t is true enough that few American
short-story and novel writers of the pres
ent day have attained impeccability in
the use of the English language. Mis-
takes in grammar and absurdites in
rhetoric are to be found occasionally in
some of the most carefully and intelli-
gently edited of American magazines.
Comparison with the best of English
publications adds nothing to the r"puta-
ton of American magazines in the eyes
of those who Judge a novel or short
story exclusively from the standpoint OF
a grammarian or a rhetorician.
But for the shortcomings of American
writers there is an easy explanation, if
not a practical justification. The ex-
PLANTATION does not necessarily support
the charge of unrefinement; certainly
it does not testify to the writers mental
laziness.
Quantitatively, Americans are the
greatest writers on earth-and if there
is any writing in the realm or realms of
departed spirits, doubtless Americans
take the cake" there, too. This is the
land of the typewriter; there is one in
almost every home into which educa-
ton has entered, and in the typical bust
ness or professional office there are sew
eral. And everybody-housewife, son,
daughter, the boss" and the office boy
as we'll as the stenographer-not only
knows how to operate "the machine"
but does so as a matter of course.
Who writes the stories that fill the
modern American magazine? Some of
them are produced by professional writ
ers who do nothing else for living.
But many come from the typewriters of
men and women whose time is normally
devoted to matters far removed from
literature. And even the professional
magazine writers, mostly, became such
only after many years in other occupa-
tons. Among them are former law
yers, retired merchants, ex-pugilists, ere
formed" newspaper men, superannuated
diplonatists, efficiency experts, sociofe-=
gists, psychologists, mothers who like to
do something besides manage their
doctors who have knack for
conveying scientific realities to the lay
mind, and innumerable others who have
thoughts beyond the daily grind o. their
regular work and the ability t. ex-
press those tgusthohz'-
press those thoughts intelligibly in writ
ing.
1t is no wonder that American litera-
ture is not above criticism as to gram
mar, rhetoric and style. But the short
comings Of which the purists complain
do not necessarily constitute a barrier
to literary art-if art be defined as
significant work. And significance is
simply matter Of meaning. OF course
a dramatically and rhetorically flaw
less story or other form of literature
would be more thoroughly admirable
than one which grammarians and rnetori-
clans could pick to pieces. But 'twere
better that a story should mean some
thing than that it be merely collection
of words, phrases, sentences, paragraphs
and chapters designed to show that the
author had been to school and learned
how to avoid mistakes as to form.