matter of the sort that draws in the unattached reader. The chief danger on the literary side of a weekly is that it should fall into the hands of some particular school, and this I watched for closely. It seems impossible to get vividness of apprehension and breadth of view together in the same critic. So it falls to the wise editor to secure the first and impose the second. Directly I detected the shrill partisan note in our criticism, the attempt to puff a poor thing because it was “in the right direction,” or damn a vigorous piece of work because it wasn't, I tackled the man and had it out with him. Our pay was good enough for that to matter a good deal....
Our distinctive little blue and white poster kept up its neat persistent appeal to the public eye, and before 1911 was out, the BLUE WEEKLY was printing twenty pages of publishers' advertisements, and went into all the clubs in London and three-quarters of the country houses where week-end parties gather together. Its sale by newsagents and bookstalls grew steadily. One got more and more the reassuring sense of being discussed, and influencing discussion.