A Dutch Boy Fifty Years After, Edward William Bok [best book reader .TXT] 📗

it was found that the amount of the small insurance left behind would barely cover the funeral expenses. Hence the two boys faced the problem of supporting the mother on their meagre income. They determined to have but one goal: to put their mother back to that life of comfort to which she had been brought up and was formerly accustomed. But that was not possible on their income. It was evident that other employment must be taken on during the evenings.

The city editor of the _Brooklyn Eagle_ had given Edward the assignment of covering the news of the theatres; he was to ascertain "coming attractions" and any other dramatic items of news interest. One Monday evening, when a multiplicity of events crowded the reportorial corps, Edward was delegated to "cover" the Grand Opera House, where Rose Coghlan was to appear in a play that had already been seen in Brooklyn, and called, therefore, for no special dramatic criticism. Yet _The Eagle_ wanted to cover it. It so happened that Edward had made another appointment for that evening which he considered more important, and yet not wishing to disappoint his editor he accepted the assignment. He had seen Miss Coghlan in the play; so he kept his other engagement, and without approaching the theatre he wrote a notice to the effect that Miss Coghlan acted her part, if anything, with greater power than on her previous Brooklyn visit, and so forth, and handed it in to his city editor the next morning on his way to business.

Unfortunately, however, Miss Coghlan had been taken ill just before the raising of the curtain, and, there being no understudy, no performance had been given and the audience dismissed. All this was duly commented upon by the New York morning newspapers. Edward read this bit of news on the ferry-boat, but his notice was in the hands of the city editor.

On reaching home that evening he found a summons from _The Eagle_, and the next morning he received a rebuke, and was informed that his chances with the paper were over. The ready acknowledgment and evident regret of the crestfallen boy, however, appealed to the editor, and before the end of the week he called the boy to him and promised him another chance, provided the lesson had sunk in. It had, and it left a lasting impression. It was always a cause of profound gratitude with Edward Bok that his first attempt at "faking" occurred so early in his journalistic career that he could take the experience to heart and profit by it.

One evening when Edward was attending a theatrical performance, he noticed the restlessness of the women in the audience between the acts. In those days it was, even more than at present, the custom for the men to go out between the acts, leaving the women alone. Edward looked at the programme in his hands. It was a large eleven-by-nine sheet, four pages, badly printed, with nothing in it save the cast, a few advertisements, and an announcement of some coming attraction. The boy mechanically folded the programme, turned it long side up and wondered whether a programme of this smaller size, easier to handle, with an attractive cover and some reading-matter, would not be profitable.

When he reached home he made up an eight-page "dummy," pasted an attractive picture on the cover, indicated the material to go inside, and the next morning showed it to the manager of the theatre. The programme as issued was an item of considerable expense to the management; Edward offered to supply his new programme without cost, provided he was given the exclusive right, and the manager at once accepted the offer. Edward then sought a friend, Frederic L. Colver, who had a larger experience in publishing and advertising, with whom he formed a partnership. Deciding that immediately upon the issuance of their first programme the idea was likely to be taken up by the other theatres, Edward proceeded to secure the exclusive rights to them all. The two young publishers solicited their advertisements on the way to and from business mornings and evenings, and shortly the first smaller-sized theatre programme, now in use in all theatres, appeared. The venture was successful from the start, returning a comfortable profit each week. Such advertisements as they could not secure for cash they accepted in trade; and this latter arrangement assisted materially in maintaining the households of the two publishers.

Edward's partner now introduced him into a debating society called The Philomathean Society, made up of young men connected with Plymouth Church, of which Henry Ward Beecher was pastor. The debates took the form of a miniature congress, each member representing a State, and it is a curious coincidence that Edward drew, by lot, the representation of the Commonwealth of Pennsylvania. The members took these debates very seriously; no subject was too large for them to discuss. Edward became intensely interested in the society's doings, and it was not long before he was elected president.

The society derived its revenue from the dues of its members and from an annual concert given under its auspices in Plymouth Church. When the time for the concert under Edward's presidency came around, he decided that the occasion should be unique so as to insure a crowded house. He induced Mr. Beecher to preside; he got General Grant's promise to come and speak; he secured the gratuitous services of Emma C. Thursby, Annie Louise Cary, Clara Louise Kellogg, and Evelyn Lyon Hegeman, all of the first rank of concert-singers of that day, with the result that the church could not accommodate the crowd which naturally was attracted by such a programme.

It now entered into the minds of the two young theatre-programme publishers to extend their publishing interests by issuing an "organ" for their society, and the first issue of _The Philomathean Review_ duly appeared with Mr. Colver as its publisher and Edward Bok as editor. Edward had now an opportunity to try his wings in an editorial capacity. The periodical was, of course, essentially an organ of the society; but gradually it took on a more general character, so that its circulation might extend over a larger portion of Brooklyn. With this extension came a further broadening of its contents, which now began to take on a literary character, and it was not long before its two projectors realized that the periodical had outgrown its name. It was decided--late in 1884--to change the name to _The Brooklyn Magazine_.

There was a periodical called _The Plymouth Pulpit_, which presented verbatim reports of the sermons of Mr. Beecher, and Edward got the idea of absorbing the _Pulpit_ in the _Magazine_. But that required more capital than he and his partner could command. They consulted Mr. Beecher, who, attracted by the enterprise of the two boys, sent them with letters of introduction to a few of his most influential parishioners, with the result that the pair soon had a sufficient financial backing by some of the leading men of Brooklyn, like H. B. Claflin, Seth Low, Rossiter W. Raymond, Horatio C. King, and others.

The young publishers could now go on. Understanding that Mr. Beecher's sermons might give a partial and denominational tone to the magazine, Edward arranged to publish also in its pages verbatim reports of the sermons of the Reverend T. De Witt Talmage, whose reputation was then at its zenith. The young editor now realized that he had a rather heavy cargo of sermons to carry each month; accordingly, in order that his magazine might not appear to be exclusively religious, he determined that its literary contents should be of a high order and equal in interest to the sermons. But this called for additional capital, and the capital furnished was not for that purpose.

It is here that Edward's autographic acquaintances stood him in good stead. He went in turn to each noted person he had met, explained his plight and stated his ambitions, with the result that very soon the magazine and the public were surprised at the distinction of the contributors to _The Brooklyn Magazine_. Each number contained a noteworthy list of them, and when an article by the President of the United States, then Rutherford B. Hayes, opened one of the numbers, the public was astonished, since up to that time the unwritten rule that a President's writings were confined to official pronouncements had scarcely been broken. William Dean Howells, General Grant, General Sherman, Phillips Brooks, General Sheridan, Canon Farrar, Cardinal Gibbons, Marion Harland, Margaret Sangster--the most prominent men and women of the day, some of whom had never written for magazines--began to appear in the young editor's contents. Editors wondered how the publishers could afford it, whereas, in fact, not a single name represented an honorarium. Each contributor had come gratuitously to the aid of the editor.

At first, the circulation of the magazine permitted the boys to wrap the copies themselves; and then they, with two other boys, would carry as huge bundles as they could lift, put them late at night on the front platform of the streetcars, and take them to the post-office. Thus the boys absolutely knew the growth of their circulation by the weight of their bundles and the number of their front-platform trips each month. Soon a baker's hand-cart was leased for an evening, and that was added to the capacity of the front platforms. Then one eventful month it was seen that a horse-truck would have to be employed. Within three weeks, a double horse-truck was necessary, and three trips had to be made.

By this time Edward Bok had become so intensely interested in the editorial problem, and his partner in the periodical publishing part, that they decided to sell out their theatre-programme interests and devote themselves to the magazine and its rapidly increasing circulation. All of Edward's editorial work had naturally to be done outside of his business hours, in other words, in the evenings and on Sundays; and the young editor found himself fully occupied. He now revived the old idea of selecting a subject and having ten or twenty writers express their views on it. It was the old symposium idea, but it had not been presented in American journalism for a number of years. He conceived the topic "Should America Have a Westminster Abbey?" and induced some twenty of the foremost men and women of the day to discuss it. When the discussion was presented in the magazine, the form being new and the theme novel, Edward was careful to send advance sheets to the newspapers, which treated it at length in reviews and editorials, with marked effect upon the circulation of the magazine.

All this time, while Edward Bok was an editor in his evenings he was, during the day, a stenographer and clerk of the Western Union Telegraph Company. The two occupations were hardly compatible, but each meant a source of revenue to the boy, and he felt he must hold on to both.

After his father passed away, the position of the boy's desk--next to the empty desk of his father--was a cause of constant depression to him. This was understood by the attorney for the company, Mr. Clarence Cary, who sought the head of Edward's department, with the result that Edward was transferred to Mr. Cary's department as the attorney's private stenographer.

Edward had been much attracted to Mr. Cary, and the attorney believed in the boy, and decided to show his interest by pushing him along. He had heard of the