New York, January 15th(Continued,Dictated on January 16th)

That incident made a strong impression upon me. I believed I had made a discovery--the discovery already indicated--the discovery of the wide difference in interest between "news" and "history"; that news is history in its first and best form, its vivid and fascinating form, and that history is the pale and tranquil reflection of it.
This reminds me that in this daily dictation of autobiographical notes I am mixing these two forms together all the time. I am hoping by this method of procedure to secure the values of both. I am sure I have found the right way to spin an autobiography at last, after my many experiments. Years ago I used to make skeleton notes to use as texts in writing autobiographical chapters, but really those notes were worth next to nothing. If I expanded them upon the page at once, while their interest was fresh in my mind, they were useful, but if I left them unused for several weeks, or several months, their power to suggest and excite had usually passed away. They were faded flowers, their fragrance was gone. But I believe in this present plan. When you arrive with your stenographic plant at eleven, every morning, you find me placid and comfortable in bed, smoking, untroubled by the fact that I must presently get to work and begin to dictate this history of mine. And if I were depending upon faded notes for inspiration, I should have trouble and my work would soon become distasteful. But by my present system I do not need any notes. The thing uppermost in a person's mind is the thing to talk about or write about. The thing of new and immediate interest is the pleasantest text he can have--and you can't come here at eleven o'clock, or any other hour, and catch me without a new interest--a perfectly fresh interest--because I have either been reading the infernal newspapers and got it there, or I have been talking with somebody; and in either case the new interest is present--the interest which I most wish to dictate about. So you see the result is that this narrative of mine is sure to begin every morning in diary form, because it is sure to begin with something which I have just read, or something which I have just been talking about. That text, when I am done with it--if I ever get done with it, and I don't seem to get done with any text--but it doesn't matter, I am not interested in getting done with anything. I am only interested in talking along and wandering around as much as I want to, regardless of results to the future reader. By consequence, here we have diary and history combined; because as soon as I wander from the present text--the thought of to-day--that digression takes me far and wide over an uncharted sea of recollection, and the result of that is history. Consequently my autobiography is diary and history combined. The privilege of beginning every day in the diary form is a valuable one. I may even use a larger word, and say it is a precious one, for it brings together widely separated things that are in a manner related to each other, and consequently pleasant surprises and contrasts are pretty sure to result every now and then.
Did I dictate something about John Malone three or four days ago? Very well, then, if I didn't I must have been talking with somebody about John Malone. I remember now, it was with Mr. Volney Streamer. He is a librarian of the Players' Club. He called here to bring me a book which he has published, and, in a general way, to make my acquaintance. I was a foundation member of the Players' Club, but ceased to be a member three years ago, through an absurdity committed by the management of that club, a management which has always been idiotic; a management which from the beginning has been selected from, not the nearest asylum in the city, but the most competent one (and some time I wish to talk about that). Several times, during this lapse of three years, old friends of mine and comrades in the club--David Munro, that charming Scot, editor of the North American Review; Robert Reid, the artist; Saint-Gaudens, the sculptor; John Malone, the ex-actor; and others--have been resenting the conduct of that management--the conduct, I mean, which resulted in my segregation from the club--and they have always been trying to find a way of restoring me to the fold without damaging my pride. At last they found a way. They made me an honorary member. This handsome honor afforded me unlimited gratification and I was glad to get back under such flattering conditions. (I don't like that word, but let it go, I can't think of the right one at the moment.) Then David Munro and the others put up the fatted calf for the lost sheep in the way of a dinner to me. Midway of the dinner I got a glimpse, through a half-open pantry door, of that pathetic figure, John Malone. There he was, left out, of course. Sixty-five years old; and his history may be summarized--his history for fifty years--in those two words, those eloquent words--"left out." He has been left out, and left out, and left out, as the years drifted by for nearly two generations. He was always expecting to be counted in. He was always pathetically hoping to be counted in; and that hope never deserted him through all those years, and yet was never in any instance realized. During all those years that I used to drop in at the Players' for a game of billiards and a chat with the boys, John Malone was always there until midnight and after. He had a cheap lodging in the Square--somewhere on Gramercy Park, but the club was his real home. He told me his history once. His version of it was this:
He was an apprentice in a weekly little newspaper office in Willamette, Oregon, and by and by Edwin Booth made a one-night stand there with his troupe, and John got stage-struck and joined the troupe, and traveled with it around about the Pacific coast in various useful histrionic capacities--capacities suited to a beginner, sometimes assisting by appearing on the stage to say, "My lord, the carriage waits," later appearing armored in shining tin, as a Roman soldier, and so on, gradually rising to higher and higher eminences, and by and by he stood shoulder to shoulder with John McCullough, and the two stood next in rank after Edwin Booth himself on the tragic stage. It was a question which of the two would succeed Booth when Booth should retire or die. According to Malone, his celebrity quite equaled McCullough's in those days, and the chances were evenly balanced. A time came when there was a great opportunity--a great part to be played in Philadelphia. Malone was chosen for the part. He missed his train. John McCullough was put into that great place and achieved a success which made him for life. Malone was sure that if he had not missed the train he would have achieved that success himself; he would have secured the enduring fame which fell to John McCullough's lot; he would have moved on through life serene, comfortable, fortunate, courted, admired, applauded, as was John McCullough's case from that day until the day of his death. Malone believed with all his heart that fame and fortune were right there within his reach at that time, and that he lost them merely through missing his train. He dated ............