ionaires
should be working, indirectly at least, for the prosperity of a man like
Dryfoos, who, as March understood, had got his money together out of
every gambler's chance in speculation, and all a schemer's thrift from
the error and need of others. The situation was not more incongruous,
however, than all the rest of the 'Every Other Week' affair. It seemed to
him that there were no crazy fortuities that had not tended to its
existence, and as time went on, and the day drew near for the issue of
the first number, the sense of this intensified till the whole lost at
moments the quality of a waking fact, and came to be rather a fantastic
fiction of sleep.

Yet the heterogeneous forces did co-operate to a reality which March
could not deny, at least in their presence, and the first number was
representative of all their nebulous intentions in a tangible form. As a
result, it was so respectable that March began to respect these
intentions, began to respect himself for combining and embodying them in
the volume which appealed to him with a novel fascination, when the first
advance copy was laid upon his desk. Every detail of it was tiresomely
familiar already, but the whole had a fresh interest now. He now saw how
extremely fit and effective Miss Leighton's decorative design for the
cover was, printed in black and brick-red on the delicate gray tone of
the paper. It was at once attractive and refined, and he credited Beaton
with quite all he merited in working it over to the actual shape. The
touch and the taste of the art editor were present throughout the number.
As Fulkerson said, Beaton had caught on with the delicacy of a
humming-bird and the tenacity of a bulldog to the virtues of their
illustrative process, and had worked it for all it was worth. There were
seven papers in the number, and a poem on the last page of the cover, and
he had found some graphic comment for each. It was a larger proportion
than would afterward be allowed, but for once in a way it was allowed.
Fulkerson said they could not expect to get their money back on that
first number, anyway. Seven of the illustrations were Beaton's; two or
three he got from practised hands; the rest were the work of unknown
people which he had suggested, and then related and adapted with
unfailing ingenuity to the different papers. He handled the illustrations
with such sympathy as not to destroy their individual quality, and that
indefinable charm which comes from