newspaper dream at all, in fact. It was an artist's dream. And it had
begun to come true. Here were the stories.... Hoped I'd like 'em.

"One Thousand and One Afternoons" were launched in June, 1921. They were
presented to the public as journalism extraordinary; journalism that
invaded the realm of literature, where in large part, journalism really
dwells. They went out backed by confidence in the genius of Ben Hecht.
This, if you please, took place three months before the publication of
"Erik Dorn," when not a few critics "discovered" Hecht. It is not too much
to say that the first full release of Hecht's literary powers was in "One
Thousand and One Afternoons." The sketches themselves reveal his creative
delight in them; they ring with the happiness of a spirit at last free to
tell what it feels; they teem with thought and impressions long treasured;
they are a recital of songs echoing the voices of Ben's own city and
performed with a virtuosity granted to him alone. They announced to a
Chicago audience which only half understood them the arrival of a prodigy
whose precise significance is still unmeasured.

"Erik Dorn" was published. "Gargoyles" took form. Hecht wrote a play in
eight days. He experimented with a long manuscript to be begun and
finished within eighteen hours. "One Thousand and One Afternoons"
continued to pour out of him. His letter-box became too small for his
mail. He was bombarded with eulogies, complaints, arguments, "tips," and
solicitations. His clipping bureau rained upon him violent reviews of
"Dorn." His publishers submerged him with appeals for manuscript.
Syndicates wired him, with "name your own terms." New York editors tried
to steal him. He continued to write "One Thousand and One Afternoons." He
became weary, nervous and bilious; he spent four days in bed, and gave up
tobacco. Nothing stopped "One Thousand and One Afternoons." One a day, one
a day! Did the flesh fail, and topics give out, and the typewriter became