In the early hours of the morning, with typewriter on my army trunk, half a column cable was pounded out, and that afternoon the Chicago _News_ printed the first cable from the field of what the army thought of peace. A day’s delay in Newchwang to sell my horse, then two nights on a B. & S. freight steamer to Chefoo, and thence by boat and rail two days more to Peking, and a white man’s hotel. No one who has not lived in a Chinese village, surrounded by the filth and vermin of a Manchu compound, during the rainy season, with water trickling through the roof on the inside and mud two feet deep without, can quite realize what a bed, a bath, clean clothes and good “chow” means. Two hours after arriving, a blue-clad Chinese boy handed in a cable from Chicago. It ran: “Await further instructions, Peking.” For the first time in nearly two years, the editor in his office ten thousand miles away had no immediate plan of action on his mind. For the moment the world was quiet, and a brief respite from the constant call for “stories” granted to the correspondent. War work for the reading public falls naturally into two distinct classes, as different as prose and poetry in literature. Editors call the exponents of these divisions “feature men” and “events” or “cable men.” The former are the literary artists who write atmosphere and artistic impressions for the monthly and weekly papers of the world. At enormous salaries, and with the retinue and camp equipage of a commanding general, they drift leisurely along with the army. When the battles are over, they chronicle their impressions and send them by mail to their home offices. They are accompanied by trained artists of the camera, to illustrate their stories, and what is still lacking is filled in by some artist of repute at home. Their names appear in large letters on the covers of the magazines to which they contribute, and to the world are they known far and wide. The other type, the “cable men,” are collectors of what might be called “spot” news. From them not atmosphere or color is demanded, but “accuracy of fact” and “quick delivery” is the essence of their work. Known professionally wherever big papers are printed, the cable man is almost unknown to the general public. His paper requires of him first to be on the spot where news is being made, and second to get a clear, concise and correct report of that news to an uncensored cable, and do it before anyone else can. Waking or sleeping, the events man has two ideas in the back of his head, the hour his paper goes to press, and his line of communication to his cable office. As a diver depends on his air tube to the face of the water, so the correspondent depends on his line of communication to the outer world. The moment his retreat is severed he is useless and for the moment might as well be dead. He may have a story of world importance, but if he is out of touch with the cable his news is worthless. His paper, on the other hand, is prepared