Life — July 20, 1911 — page 28: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

Life's Carolyn Wells I" was a lovely day in June when we alighted in Rahway. The mosquitos were singing merrily in the elderberry bushes and all nature was balmy. We discovered Miss Wells in a hammocl: cating chocolate creams, her favorite oc: cupation when not publishing books. “You are about to be interviewed,” we said in our most tactful manner, “bat do not let this disturb you. It never occurs to me that my work is of enough importance to be written about,” replied Miss Wells, “ which sounds as if I didn’t mean it, but I do.” “When was your first contribution?” “Don't you remember?” Then our mind wandered back to 1897, when a particularly pleasing and intensely humorous set of verses on the theatre hat (since relegated to oblivion) came to our mind. Was that your fir My very first.” “Then you are entitled to be enrolled among that list of distinguished peop! whose fir contribution appeared in Lire.” (We made a note of the fact.) “And have you really published any hooks?" we again inquired, gently. " we asked Family -LIFE- Album “Between fifty and sixty. I have twenty-two publishers.” “How did you acquire your facility for writing?” “Principally by not seeking informa- tion. I hate information in any form “But, Miss Wells, your anthologies —of which you have published a goodly number and they are all very delight ful, too—aren’t they the work of a stu- dent?” “Dear me, no; that was only fun.” “Is there any subject you haven't written about?” j ‘ot that I can think of just no “Do you have any method of writ- mend.” “And any opinions?” “TL think that publishers and editors are the finest class of men in existence. But, really now, I don’t like to tal about myself.” Incidentally, we may remark that Miss Wells is a shining exception to the villainous statement that women have no sense of humor. Her facility is too well known to need long exposition. She is one of the most valued friends and contributors of Lire T° the Occidental there has never scemed to be any system about the use of the idiographs of which the Chinese and Japanese compose their written language. It has been difficult for scholars of the Oriental languages to discover any system to account for the selection of the various symbols. Here are two, however, which indicate that there may possibly be such a sys- tem: \ \ THE CHARACTER MYANENG “ WoMAN ” TUE CHARACTER MEANING When Sue Goes Suffragetting HEN Sister Susan suffragettes, She dons a costume that is The prettiest thing of filmy nets; The bodice lacy lattice, he neck quite low—the sleeves quite high, A prude might think it shocking To note as Susan pa A ke ses by sh of silken stocking You'd never think as Susic goes Her mien and costume scanning, She had a thought beyond her clothes And merely Ma y- Anning You wouldn't dream her purpose grand Is Hen-emancipation, Or guess her life is neatly planned To franchise consecration. She calls on all the men she knows For votes for ladies pleading, On every coat she pins a rose With purring voice misleading. She lets a convert hold her hand, So sweet and soft and human, Until he vows the Cause is grand And shouts for Votes for Woman! Now Susie has a motor car, A private sceretary, So beautiful her motives arc She's thought a bit hot-airy. Her gowns at Paquin’s, out she picks, We're all on Susie bettin; There's lots of fun in politics When she goes suffragettin: Kate Masterson. SOPH EDITING REJECTED MATERIAL, comicbook $-CO