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from the War. He's only been back from the War about a month or six weeks, and he's poor on that account, and he's got his job back, but he's not quite settled down. He would like some more money and something to challenge him, and his work as editor of the music department of the New York Times critical staff is not enough to keep him busy.”

So he recommended Howard Taubman to me, and Taubman came down to see me and I told him my tale of woe. He proved to be a perfect editor. That's exactly what he was. He saw at once what my problem was. You see, I showed him all this manuscript I had. “Well,” he said, “we've got something to work with. That's one thing.”

He saw at once that it was an editor that was needed, that it was editorial work, and he took two days to decide whether he could do it or not, seeing what the material was. I suppose he mostly read the book. Then he came down and stayed for two and a half weeks, and he ripped that book all to pieces. Beautiful job. I mean, he took three sheets here and put 'em with four sheets that were somewhere else, and he wrote one sentence to connect the two parts that would cover all that had been left out. Wonderful job of cutting. He saw what could be cut, you see, whereas if you give me something to cut, I cut out two sentences and had five, you know--that's my way of doing it.