is that some of these writers shall be got together, shall be paid at least as well as popular short-story writers are paid, shall each have a definite department marked out under a trustworthy editor, and be pledged to limit their work to the pages of this new critical magazine. Their work would be signed, and there they would be, conspicuously urged to do the best that was in them, apropos of more or less contemporary books and writers. They would have leisure for deliberate judgments, for the development of that consistency of thought which the condition of journalism renders so impossible. This review would mean for them status, reputation, and opportunity. They would deal with contemporary fiction, with contemporary speculative literature, and with the style, logic, methods and vocabulary of scientific and philosophical writers. Their work would form the mass of the magazine, but there would also be (highly paid) occasional writers, towards whose opinions the regular staff would very carefully define their attitude. The project, of course, in foolish hands, might be very foolishly misinterpreted. It might be quite easy to drive a team of egregious asses in this way over contemporary work, leaving nothing but hoof-marks and injuries, but we are assuming the thing to be efficiently done. It is submitted that such a magazine, patiently and generously sustained for a few years, would at last probably come to pay its way. Unless the original selection of the staff was badly done, it would by sheer persistent high quality win its way to authority with the reading public, and so fill its covers with a swelling mass of advertisement pages. And once it paid, then forthwith a dozen rivals would be in the field, all of them, of course, also paying highly for critical matter and competing for critics of standing. Such an enterprise would be a lever for criticism through the whole of our literary world.]
Then it should also be possible to endow university lectureships and readerships in contemporary criticism, lectureships and readerships in which questions of style and method could be illustrated by quotation (not necessarily of a flattering sort) from contemporary work. Why