The Real Journalist

Our age which has boasted of realism will fail chiefly through lack of
reality. Never, I fancy, has there been so grave and startling a divorce
between the real way a thing is done and the look of it when it is done.
I take the nearest and most topical instance to hand a newspaper.
Nothing looks more neat and regular than a newspaper, with its parallel
columns, its mechanical printing, its detailed facts and figures, its
responsible, polysyllabic leading articles. Nothing, as a matter of fact,
goes every night through more agonies of adventure, more hairbreadth
escapes, desperate expedients, crucial councils, random compromises, or
barely averted catastrophes. Seen from the outside, it seems to come
round as automatically as the clock and as silently as the dawn. Seen
from the inside, it gives all its organisers a gasp of relief every
morning to see that it has come out at all; that it has come out without
the leading article upside down or the Pope congratulated on discovering
the North Pole.

I will give an instance (merely to illustrate my thesis of unreality) from
the paper that I know best. Here is a simple story, a little episode in
the life of a journalist, which may be amusing and instructive: the tale
of how I made a great mistake in quotation. There are really two stories:
the story as seen from the outside, by a man reading the paper; and the
story seen from the inside, by the journalists shouting and telephoning
and taking notes in shorthand through the night.

This is the outside story; and it reads like a dreadful quarrel. The
notorious G. K. Chesterton, a reactionary Torquemada whose one gloomy
pleasure was in the defence of orthodoxy and the pursuit of heretics, long
calculated and at last launched a denunciation of a brilliant leader of
the New Theology which he hated with all the furnace of his fanatic soul.
In this document Chesterton darkly, deliberately, and not having the fear
of God before his eyes, asserted that Shakespeare wrote the line "that
wreathes its old fantastic roots so high." This he said because he had
been kept in ignorance by Priests; or, perhaps, because he thought
craftily that none of his dupes could discover a curious and forgotten
rhyme called 'Elegy in a Country Churchyard'. Anyhow, that orthodox
gentleman made a howling error; and received some twenty-five letters and
post-cards from kind correspondents who pointed out the mistake.

But the odd thing is that scarcely any of them could conceive that it was
a mistake. The first wrote in the tone of one wearied of epigrams, and
cried, "What is the joke NOW?" Another professed (and practised, for all
I know, God help him) that he had read through all Shakespeare and failed
to find the line. A