I wish I could pretend that my author philosophized the facts of his New York with something less than the raw haste of the young journalist; but I am afraid I must own that ‘New York in Slices’ affects one as having first been printed in an evening paper, and that the writer brings to the study of the metropolis something like the eager horror of a country visitor. This probably enabled him to heighten the effect he wished to make with readers of a kindred tradition, and for me it adds a certain innocent charm to his work. I may make myself better understood if I say that his attitude towards the depravities of a smaller New York is much the same as that of Mr. Stead towards the wickedness of a much larger Chicago. He seizes with some such avidity upon the darker facts of the prisons, the slums, the gambling-houses, the mock auctions, the toughs (who then called themselves b’hoys and g’hals), the quacks, the theatres, and even the intelligence offices, and exploits their iniquities with a ready virtue which the wickedest reader can enjoy with him.

But if he treated of these things alone, I should not perhaps have brought his curious little book to the polite notice of my readers. He treats also of the press, the drama, the art, and, above all, “the literary soirees” of that remote New York of his in a manner to make us latest New-Yorkers feel our close proximity to it. Fifty-odd years ago journalism had already become “the absorbing, remorseless, clamorous thing” we now know, and very different from the thing it was when “expresses were unheard of, and telegraphs were uncrystallized from the lightning’s blue and fiery film.” Reporterism was beginning to assume its present importance, but it had not yet become the paramount intellectual interest, and did not yet “stand shoulder to shoulder” with the counting-room in authority. Great editors, then as now, ranked great authors in the public esteem, or achieved a double primacy by uniting journalism and literature in the same personality. They were often the owners as well as the writers of their respective papers, and they indulged for the advantage of the community the rancorous rivalries, recriminations, and scurrilities which often form the charm, if not the chief use, of our contemporaneous journals. Apparently, however, notarially authenticated boasts of circulation had not yet been made the delight of their readers, and the press had not become the detective agency that it now is, nor the organizer and distributer of charities.

But as dark a cloud of doubt rested upon its relations to the theatre as still eclipses the popular faith in dramatic criticism. “How can you expect,” our author asks, “a frank and unbiassed criticism upon the performance of George Frederick Cooke Snooks . . . when the editor or reporter who is to write it has just been supping on beefsteak and stewed potatoes at Windust’s, and regaling himself on brandy-and-water cold, without, at the expense of the aforesaid George Frederick Cooke Snooks?” The severest censor of the press, however, would hardly declare now that “as to such a thing as impartial and independent criticism upon theatres in the present state of the relations between editors, reporters, managers, actors—and actresses—the thing is palpably out of the question,” and if matters were really at the pass hinted, the press has certainly improved in fifty years, if one may judge from its present frank condemnations of plays and players. The theatre apparently has not, for we read that at that period “a very great majority of the standard plays and farces on the stage depend mostly for their piquancy and their power of interesting an audience upon intrigues with married women, elopements, seductions, bribery, cheating, and fraud of every description . . . . Stage costume, too, wherever there is half a chance, is usually made as lascivious and immodest as possible; and a freedom and impropriety prevails among the characters of the piece which would be kicked out of private society the instant it would have the audacity to make its appearance there.”