Life, 1909-01-28 · page 10 of 28
Life — January 28, 1909 — page 10: what you’re looking at
What you’re looking at
This page presents a satirical dialogue between an editor and a young female visitor to a newspaper office. The accompanying illustration shows what appears to be a dramatic nighttime scene with figures in period costume. The dialogue's humor centers on workplace dynamics: the young woman wants the editor to publish her writing, but he's reluctant. She persistently argues her case while he makes excuses about space and timing. The satire targets both editorial gatekeeping and gender dynamics in publishing—her determination contrasts with his dismissive bureaucratic responses. The illustration's caption—"Say, mister, I'll give you these marbles an' a top if you'd cut these barn curses before ma finds me"—suggests juvenile mischief or corruption, likely commenting ironically on the serious tone of the dialogue above. The overall piece appears to satirize power imbalances in the publishing world.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
126 A Call on the Editor CENE: Editorial Rooms. Enter a young lady, rather brilliantly dressed, holding in her hand an envelope. The office boy advances. Sue: Is Mr. (mean- 9 the editor) in? Yes'm, but he’s busy. trained to this to Orrice woy (He has been everybody.) Sur: May I see him. please? Orrice nov: Couldnt you leave it? Sux (handing him a card, and ignor- ing his obvious implication) : Will you please hand this to Mr. ? Tam sure that he will sce me, It is very im- portant Ofce boy takes card in to Following conversation ensues: “Did you tell her I was busy Yes, sir.” “ Did you ask her to leave it?” “Yes, sir.” “Well (wearily) show her in Young lady enters Sanctum Sanctorum with outstretched hand. Site: This is ever so kind of you, to ke your time from a busy life to sec But I shall only take a few minutes. (Throws off her cloak and arranges her- self as comfortably as possible in bie chair provided.) Could I talk to you? (This apparently superfluous phrase is rendered necessary by the attitude of the editor, has inadvertently allowed editor. who ‘LIPFE* his eyes to stray toward some proofs lying on the desk.) Epitor: Certainly. Sur (fixing him with Go on. her eyes): I € written something that I feel sure is just what you want, The idea came to me suddenly. It ought to be used right Eptror > (brutelly): Could you leave it Sue: Oh, certainty. That was my ins But I wanted to tell you about I have read it to a number of and they thought it was— fine! I wasn’t going to bring it here first, but they all advised me to. They said it would be a shame not to have it printed pitox (beginning to hedge): We are very much crowded just at present. If it 1s anything that would have to be used immediately, I'm afraid Sie: Oh, no; not necessarily. Of course it ought to be used soon—say next week. (She opens up envelope.) If you will permit me, I will read. Eprtor (struggling to suppress his hor- ror, and not quite succeeding): I'm afraid that wouldn't do. You see we have a system. It wouldn't be fair to others. If you will leave it, I will give you a quick answer, (Chuckles inwardly as he thinks how quick it is going to be.) Sue: But won't you let me tell you about it? You see, it's about Epitor: It would be detter to have you leave it. tention. it first, my friends, A STRIKE FOR FREEDOM “Say, MISTER, I'LL GIVE YOU THREE MARBLES AN’ A TOP IF YOU'LL CUT THESE DARN CURLS BEFORE MA FINDS ME.” Sur (pursing up her lips): Oh, dear! I shall be so disappointed if you don’t like it. Suppose you read it now? I will turn my back if you like. Iam so anxious to know what you think of it. I know you can tell me, of course. There is nobody who knows any better than you. Epitor (wincing slightly under the flattery, obvious as it is): I'd like to blige you, but (suddenly getting back his courage, and assuming a more de- cisive attitude) you see, Miss —, it wouldn't be fair to the others. It must take its regular course. Sue (musingly): Yes, I understand. You have your rules. Couldn't you look at just the first page? I think it has rather a nice title, don’t you? Eprtor (opening the envelope and fastening the title with his eye): Very nice. (Briskly) I'll let you know about this (stands up), Miss ——, at the ear- tiest possible moment. Will you call for it or shall I send it back? Sue: Send it back! Why, I thought you were going to keep it? Eprror (smiling weakly): Of course, of course, if it is accepted we will notify you at and send you a check. Sue (rapturously) : Ob, wouldn’t that be grand? I want to tell you how the idea came to me. It was Epttor (gently): I think I would rather not know, I want to read it from an unprejudiced standpoint. Sue: Dear, dear, how strict you are! (Rising) 1 am so glad to have met you. I can’t tell you how glad I am. Per- haps, when you have more time I could call—say to-morrow. Eprtor: The next day might be bet- ter—that is, in case you don’t hear from me before—but (hopefully) 1 hope to give you an answer much sooner than that. Sue: Thank you, thank you ever so much! And (with a slight suggestion of the kittenish) mind you take it. Epitor (smiling brightly) : Let us hope so. (Awkwardly) Well, good morning. Sue: Good morning. I can’t tell you how awed I feel to have met you. And you must like it. Epitox (vaguely): Yes, thank: Good morning, good morning. She rus'les out Ten minutes later the office boy enters. Epitor (handing him manuscript): Here, wait till to-morrow morning, and send this back with form letter number three. ' Orrice nov: And if again, will you see her? Eprtor: Not if you value your job! once, a you. she comes in comicbooks.com