Wedding Knell." These papers constituted one third of the volume, and
for them he was paid a dollar a page, or one hundred and eight dollars,
which may be regarded therefore as the normal price he received from
Goodrich. Two of these tales are on subjects set down in his "Note-Book"
of 1835; the others are perhaps earlier in conception. These tales were
his substantial work for the year.

They gave occasion for what appears to have been the first public
mention of Nathaniel Hawthorne as the author who had hitherto disguised
himself under so many descriptions. It is not surprising that his name
was unknown, for he had sedulously suppressed it. His sister, referring
to these years, said, "He kept his very existence a secret so far as
possible." He had never signed an article in the twelve years since
leaving college. He had preferred to become known in "the author of
Waverley" style, but the charm did not work. In "The Token" he was, in
the main, the author of "Sights from a Steeple" or "The Gentle Boy;" in
"The New England Magazine" he was the author of "The Gray Champion." But
now his anonymity was to be dissipated in a friendly if rude way. It
was, doubtless, Park Benjamin, in New York, who wrote thus of these last
tales in "The Token," in "The American Monthly Magazine" for October,
1836:--

"The author of 'Sights from a Steeple,' of 'The Gentle Boy,' and of 'The
Wedding Knell,' we believe to be one and the same individual. The
assertion may sound very bold, yet we hesitate not to call this author
second to no man in this country, except Washington Irving. We refer
simply to romance writing; and trust no wise man of Gotham will talk of
Dewey, and Channing, and Everett, and Verplanck. Yes, to us the style of
NATHANIEL HAWTHORNE is more pleasing, more fascinating, than any one's
except their dear Geoffry Crayon! This mention of the real name of our