considers a publisher's advancement to be best shown in
ability to extract an odd penny now and then from a few subscribers who
really subscribe only out of courtesy. We wish that Mr. Held might come
to consider amateur journalism in its higher aspects; as a medium for
improvement in literature and taste; an aid to the cultivation of the
art for its own sake in the manner of gentlemen, not of cheap tradesmen.
The selection of commercial prosperity as a goal will ruin any true
literary progress, and dull the artistic aspiration of the student as
soon as his mercenary instincts shall have been satisfied. Besides,
there is really no sound business principle in the so-called "sale" of
little papers. No youth could ever found or sustain a real magazine of
substantial price and more than nominal circulation. The various
ten-cents-a-year journals which some "amateurs" try to edit are no
logical steps toward actually professional publishing. The latter comes
only after literary skill has been attained, and literary skill must at
first be developed without regard for immediate monetary profit.

But the merit of Mr. Held's work is none the less unusual. "The Frank
Friend" gives evidence of considerable critical ability, despite the
touch of arrogance, apologized for in a latter issue, shown in imperfect
appreciation of Mr. Edward H. Cole's phenomenally pure English. Mr.
Held, in his enthusiasm for "local color", forgets that all the
English-speaking world is heir to one glorious language which should be
the same from Cape Colony to California or New York to New Zealand.

The only poem in this issue is Olive G. Owen's "How Prayest Thou?", a
piece of true sentiment and artistic beauty. The only fault is metrical;
the use of the word "trial" as a monosyllable. This tendency to slur
over words appears to be Miss Owen's one poetical vice, as exemplified
in the imperfect rendering of "jewel", "realness", and "cruelness"
elsewhere.

THE SPECTATOR for August-September is marred by a resurrection of the
ever odious topic of Consolidation, but is otherwise of remarkable
merit. Elbert Hubbard, a professional advertiser and writer of
considerable popularity in certain circles, relates in an interesting
way the history of his most widely known literary effort. Mr. Hubbard's
prose style is direct and pointed, though rather abrupt and barren. "The
Midnight Extra", by Dora M. Hepner, is a humorous short story of unusual
merit, leading from a w