The Reporter Who Made Himself King — Story, Setting & Ideas
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The catalog record for The Reporter Who Made Himself King — Story, Setting & Ideas provides practical reading context through 20,342 words, 1 hr 29 min estimated reading time, and 2 detected text sections.
The text analysis averages about 19.3 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Short stories,” connecting these edition facts with the source record’s subject description.
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Read the Text
This was very disappointing to young Gordon, and he became more and more keenly discouraged.
And then as war work was out of the question, he decided to write his novel. It was to be a novel of New York life, and he wanted a quiet place in which to work on it. He was already making inquiries among the suburban residents of his acquaintance for just such a quiet spot, when he received an offer to go to the Island of Opeki in the North Pacific Ocean, as secretary to the American consul at that place. The gentleman who had been appointed by the President to act as consul at Opeki was Captain Leonard T. Travis, a veteran of the Civil War, who had contracted a severe attack of rheumatism while camping out at night in the dew, and who on account of this souvenir of his efforts to save the Union had allowed the Union he had saved to support him in one office or another ever since. He had met young Gordon at a dinner, and had had the presumption to ask him to serve as his secretary, and Gordon, much to his surprise, had accepted his offer. The idea of a quiet life in the tropics with new and beautiful surroundings, and with nothing to do and plenty of time in which to do it, and to write his novel besides, seemed to Albert to be just what he wanted; and though he did not know nor care much for his superior officer, he agreed to go with him promptly, and proceeded to say good-by to his friends and to make his preparations. Captain Travis was so delighted with getting such a clever young gentleman for his secretary, that he referred to him to his friends as "my attache of legation;" nor did he lessen that gentleman's dignity by telling anyone that the attache's salary was to be five hundred dollars a year. His own salary was only fifteen hundred dollars; and though his brother-in-law, Senator Rainsford, tried his best to get the amount raised, he was unsuccessful. The consulship to Opeki was instituted early in the '50's, to get rid of and reward a third or fourth cousin of the President's, whose services during the campaign were important, but whose after-presence was embarrassing. He had been created consul to Opeki as being more distant and unaccessible than any other known spot, and had lived and died there; and so little was known of the island, and so difficult was communication with it, that no one knew he was dead, until Captain Travis, in his hungry haste for office, had uprooted the sad fact. Captain Travis, as well as Albert, had a secondary reason for wishing to visit Opeki. His physician had told him to go to some warm climate for his rheumatism, and in accepting the consulship his object was rather to follow out his doctor's orders at his country's expense, than to serve his country at the expense of his rheumatism.
Albert could learn but very little of Opeki; nothing, indeed, but that it was situated about one hundred miles from the Island of Octavia, which island, in turn, was simply described as a coaling-station three hundred miles distant from the coast of California. Steamers from San Francisco to Yokohama stopped every third week at Octavia, and that was all that either Captain Travis or his secretary could learn of their new home. This was so very little, that Albert stipulated to stay only as long as he liked it, and to return to the States within a few months if he found such a change of plan desirable.
As he was going to what was an almost undiscovered country, he thought it would be advisable to furnish himself with a supply of articles with which he might trade with the native Opekians, and for this purpose he purchased a large quantity of brass rods, because he had read that Stanley did so, and added to these, brass curtain-chains, and about two hundred leaden medals similar to those sold by street pedlers during the Constitutional Centennial celebration in New York City.
He also collected even more beautiful but less exensive decorations for Christmas-trees, at a wholesale house on Park Row. These he hoped to exchange for furs or feathers or weapons, or for whatever other curious and valuable trophies the Island of Opeki boasted. He already pictured his rooms on his return hung fantastically with crossed spears and boomerangs, feather head-dresses, and ugly idols.
The opening of Richard Harding Davis's story sets up a pointed contrast between the old-school journalist—trained from youth as a printer's devil, skeptical, and underpaid—and the university graduate who enters the profession with grand illusions about the power of the press. The narrator insists that a reporter's real value comes from ignorance of the business side, from believing his lines matter more than advertising revenue. This framework introduces Albert Gordon, a Yale man who has spent three years learning to think quickly, write fast, and remain calm under pressure. The story then drops him onto a tropical island where he must negotiate between two native kings, armed with little more than his reporter's resourcefulness and a revolver. The shift from city newsroom to island diplomacy is abrupt, and the narrative voice carries the same wry, self-aware tone that characterized the opening lecture on journalism.
The Reporter as Reluctant Kingmaker
Gordon's arrival on the island is not a journalistic assignment but a shipwreck, yet he immediately falls into a role that mirrors his city work: mediating between opposing parties. The two kings, Ollypybus and Messenwah, have been at odds, and Gordon, along with his companion Stedman, steps in to broker a treaty. The narrator draws a direct line between Gordon's urban experience and his island diplomacy: he feels the same cold chill down his spine as when walking past snowball-throwing boys in a high hat. The parallel is deliberately undignified, undercutting any heroic pretension. Gordon's authority rests not on any official mandate but on the rifles he carries and the natives' fear of them. The story treats this power as both comical and precarious—Gordon half-expects an arrow in his shoulder at any moment. The reporter, who once covered city events, now stages a treaty signing, complete with threats of violence and the distribution of trinkets.
Treaties, Watches, and Revolvers
The negotiation scene is built around a single object: a silver watch marked 'Munich.' King Messenwah has already sold his island to a foreign ship's crew for this watch, believing he has made a binding treaty. Gordon and Stedman dismiss the agreement as invalid because Ollypybus did not consent, and they propose a new treaty that divides the island. The watch becomes a symbol of the flimsy legal fictions that underpin colonial claims. Gordon's indignation—'those monarchical pirates, imposing upon a poor old black'—is immediately undercut by his own plan to 'improve' the island and 'meddle in their affairs of state.' The story does not resolve this irony; it simply presents the gap between Gordon's self-image as a protector and his actual behavior. The revolver given to Messenwah as a replacement for the watch is a more honest currency: it buys loyalty only as long as cartridges are supplied. The treaty is a performance, and the narrator never lets the reader forget it.
The Voice of the Old-Time Journalist
The story's most distinctive feature is its narrative voice, which oscillates between the knowing cynicism of the 'old time journalist' and the earnest enthusiasm of the young reporter. The opening paragraphs read like a lecture delivered by a veteran who has seen too many bright-eyed graduates burn out. The prose is brisk, colloquial, and packed with specific detail: the fire badge on the left suspender, the copy-boy at the elbow, the three-year timeline for losing one's illusions. This voice returns in the island scenes, where it undercuts Gordon's grand gestures with dry asides. When Gordon declares his anger at the foreign treaty, the narrator notes that he glared 'as grimly as he thought was safe.' The effect is to keep the reader at a slight distance from the protagonist, aware that his heroism is partly a pose. The story does not condemn Gordon; it simply observes the gap between his self-image and his actions with a wry, affectionate skepticism.
Readers should pay attention to the story's framing device: the opening lecture on journalism is not a digression but a key to interpreting everything that follows. Gordon's island adventure is a test of the very qualities the narrator describes—quick thinking, resourcefulness, and a willingness to act without full knowledge. The story does not resolve whether Gordon succeeds or fails; it leaves him in the middle of a precarious negotiation. The pleasure lies in watching a reporter apply city-bred instincts to a setting that refuses to behave like a news story.
That rainy afternoon, Davis’s Albert Gordon kept grinning through the absurdity of his island kingship, and I kept thinking how little the romance of influence matches its grubby practice. Later, rummaging for something calmer, I opened Lavender and Old Lace — Themes and Context, and found the same quiet joke about faded ambitions, only gentler. One book’s comedy of power, the other’s comedy of patience. Both left me staring out the window, content.
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