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MR. GUITERMAN WRITES TO POETS 109
who gives us our fiction. But since what has been quoted was said by a member of a State Censor Board, and it is through him and his associates that our work sees, or does not see, the light of day, we must keep our conditions and scenes within his restrictions. And since the script readers are endeavoring to select scenarios that will meet little or no opposition, we can profit by what Dr. Oberholtzer has said.
Mr. Guiterman Writes to Poets
We rarely fill our pages with reprint material, but now and then appears an article so full of meat that those of our readers who have not seen it in its original medium ought to read at least the gist of the message. Here is a quotation of a quotation. We reprint from The Literary Digest for January 29, 1916:
HOW TO WRITE VERSE AND LIVE One of the most deserted places in the world nowadays is the poet's garret. There is an even deeper than poetic gloom up there in the mansard, and the property crust of bread and winebottle candlestick reign in silent desolation shrouded in the dust of years. For the poet has quit the chimney-pots of Bohemia for the flesh-pots of Philistia, and has learned the art of Making Verse Pay. Alfred Noyes does it and Walt Mason does it, as do Berton Braley, John Masefield, Franklin P. Adams, and numbers of others — poets, lyricists, versifiers, and even "vers librettists." One of this number is Arthur Guiterman, whose bread was formerly won on the staff of Life. His verse varies, but the unforgettable title of one characteristic effusion is "The Antiseptic Baby and the Prophylactic Pup." His "Laughing Muse," recently published by Harpers, contains a variety of proofs that the poet of to-day need not starve. Interviewed by Joyce Kilmer for the New York Times, Mr. Guiterman admits that there are still a few obstacles in the way of the beginner, and agrees that a poet determined to devote the whole of his first few years to the composition of an epic might well have difficulty in finding sustenance; but on the whole, he insists, poetry pays, and he gives as the result of his own experience a few hints how to make certain of this :
I suppose the best thing for the young poet to do would be to write on as many subjects as possible, including those of intense interest to himself. What interests him intensely is sure to interest others, and the number of others whom it interests will depend on how close he is by nature to the mind of his place and time. He should get some sort of regular work so that he need not depend at first upon the sale of his writings. This work need not necessarily be literary in character, altho it would be advisable for him to get employment in a magazine or newspaper office, so that he may get in touch with the conditions governing the sale of manuscript.
He should write on themes suggested by the day's news. He should write topical verse; if there is a political campaign on he should write verse