introduce Hawthorne to a magazine to which he already contributed. The
other pieces are not in his vein, and "H." is a common signature in the
periodicals of the time. At all events, Hawthorne would have gone
further afield for a pseudonym than the initial of his own name, which
he is not known ever to have used.] now became equally with "The Token"
a constant medium for the publication of his writings of all sorts. Park
Benjamin, who was soon associated with Howe and Sargent in the
editorship, took sole charge in March, 1835, and was from the first, and
always remained, a firm admirer of the new author's genius. To him, next
to Goodrich, Hawthorne owed his introduction to such readers as he then
had.

If Hawthorne made any effort to break a way for himself in reaching the
public, it has not been traced, except that one letter exists, January
27, 1832, in which he offers his pen to the "Atlantic Souvenir" of
Philadelphia; but that annual was bought out by Goodrich the same year
and merged with "The Token," so that Hawthorne's venture only brought
him back to the old stand. In 1833 his connection with Goodrich appears
to have been temporarily broken, as "The Token" for 1834, which appeared
that fall, contains nothing by him. For 1835 he contributed to it "The
Haunted Mind" and "The Mermaid, A Revery," now known as "The Village
Uncle," anonymously, and "Alice Doane's Appeal" as by the author of "The
Gentle Boy." In "Youth's Keepsake" for the same year appeared "Little
Annie's Ramble." These stories were published in the fall of 1834,
before the venture of "The Story-Teller." Early in 1835 he furnished for
the next year's "Token," 1836, "The Wedding Knell" and "The Minister's
Black Veil" as by the author of "Sights from a Steeple," and "The
May-pole of Merry Mount" as by the author of "The Gentle Boy." What
there was left in his hands must have gone almost as a block to "The New
England Magazine," and perhaps his stock of unused papers was thus