MY LIFE AS AUTHOR AND EDITOR
Salient in the life of this journalist with a name is asking what type of American he was. Mencken came from Germany and during World War One and World War Two he was pro- German and pro-Hitler. He lost his newspaper job with the Baltimore papers in 1941. Apparent German actions again other peoples were dismissed because they were not Germans. Carrying on with that antiquated thinking (feudalism or before) into the Twentienth Century makes Mencken an unexplained throwback, and given the quality of writing in the book, a throw away.
The book presents an autobiography of part of Mencken’s life. I have no idea how much he drank, womanized, or contributed to established art and literary politics. The book describes some of this editorial activities, but does not set human beings in business except to say this happened that happened and the reasons for any disagreements – the other person was Jewish, or was a woman, or would not do what Mencken advised. Mencken dismissed film and California completely without realizing it dramatized American short stories many times better than the writer could put it on a page.
The book was Mencken’s final writing effort with time qualities reflected in the writing. It tells its story sloppily, if at all. It appears Mencken chained himself to a typewriter and merrily typed. There is no sense a wordsmith was at work, edited or believed the manuscript needed further work. The book’s editor, Jonathan Yardley did his best, but elementary flaws flow throughout the writing.
A few observations early in the book should be noted:
“…I am convinced that writing verse is the best of all preparations for writing prose.
I makes the neophyte look sharply to his words, and improves the sense of rhythm and tone-color – in brief, that she of music which is at the bottom of all sound prose…” Page 5-6)
“Under the influence of my father…I emerged into sentience with an almost instinctive distrust of all schemes of revolution and reform. They were…only signs and symptoms of a fundamental hallucinations…the hallucination that human nature could be changed by passing statutes, and preaching gospels – that natural law could be repealed by taking thought.” (page 34)
“…my interest in Roosevelt 1 was always born of delight in the mountebank, not of belief in the prophet.” (page 34)
Work at home: “We … wondered why none of our colleagues had hit on the device of staying way for their offices…we escaped the burden of listening to countless visitors who infest such places – mainly authors trying to sell their manuscripts, not on the merits
thereof but by selling talk. Virtually all our business was done by mail, and it was thus possible for us to do it at our own convenience, and with expedition. On my trips to and from New York I read more manuscripts than the average editor could get through in ten times the time in his office. It was not until long afterward that I discovered that a number of English magazine editors had practiced keeping clear of their offices before we thought of it.”(Page 50)
Paying writers: The Saturday Evening Post’s “…editor…not only paid much higher prices for manuscripts…but he also paid off once a week. As a result [he] got first whack at virtually all the better fiction of the time…” (page 51)
Personal responsibility/memory: “After [Zoe Atkin’s] removal to New York, she let it be known that [Reedy] had not only discovered her but also seduced her, and in the course of time she pushed back this catastrophe back in time until in the end he was depicted as her undoing when she was but sixteen years old. This, if true, put it in 1902, when Reedy himself was forty.”(Page 68)
1920’s Greenwich Village: “…the Village, like the Paris Left Bank, was much less literary artistic than sexual, and most of its male denizens lived on women. The typical menage consisted of a widow or spinster from some small-town in the Middle West, come east to spend her dead husband’s or father’s money and see life, and a bogus painter or pulp- magazine fictioneer who let her feed, clothe and love him.”(page 95)
Any sort of writer putting together an autobiography would have given thought to organization. Little does Mencken’s story at the typewriter evince such expansive thinking – just put together antedotes loosely. What lacks is the potential for an authoritative description of the literary artistic scene on the East Coast i.e. the market Mencken was involved with. Mencken should have stepped back to write the Big Picture. But he could not escape his profession, journalism and its need to advance facts (and Mencken’s opinions) in detail without describing the setting, or telling any reasons. Influences (other than getting drunk), the environment (Mencken did not believe important) and competition (society) – did not writers know one another? As an editor did he not know writers talked and exchanged ideas, concepts and reactions?
So this book falls short in its organization and in its writing.