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at the city limits. He tore down to the composing room, where Ragner was just ���nishing the makeup of the ���rst page. Shirer���s story, or as much of it as Ragner had considered necessary to use, gleamed from the page in freshly composed metal, not yet touched by ink. There was a threecolumn headline on it. ���Three columns?��� said Frantz. ���Every paper in the world will put a banner on this story!��� ���What for?��� Ragner replied testily. ���He landed. We���ve got the story. That���s all there is to it. Frantz offered to write a color story on the spectacle of the crowd at Le Bourget to supplement Shirer���s story of the landing. ���It���s too late to pull the paper apart and remake it now,��� Ragner said. ���I have to catch my bus.��� In desperation, Frantz proposed that he run over to Commercial Cables, where he knew Wales was writing his story, to bring back a carbon. For once even the dreaded name of the Foreign News Service boss failed to impress Ragner. ���Go if you want,��� he said, ���but we won���t be able to use it.��� Frantz went all the same. When he returned, Ragner had left and the table on which pages are made up in composing rooms was empty, with the last pages already trundled off to the stereotyping room. For a wild moment Frantz was tempted to mutiny: There was time to call the front page and an inside page back and remake the paper with, on the Lindbergh story, the eight�� column headline it deserved. But Ragner, foresighted for once and obstinate as always, had left orders with the HYLAND 15