Summary

Portrait of Bret Harte Bret Harte The Boom in the Calaveras Clarion (1899)

He went into the dark composing room, lit a candle, and rummaging in a drawer sacred to weather-beaten, old-fashioned electrotyped advertising symbols of various trades, finally selected one and brought it to Mrs. Dimmidge. It represented a bare and exceedingly stalwart arm wielding a large hammer.
"Your husband being a miner—a quartz miner—would that do?" he asked. (It had been previously used to advertise a blacksmith, a gold-beater, and a stonemason.)
Source: Wikisource

Portrait of Bret Harte Bret Harte The Boom in the Calaveras Clarion (1899)

The real editor of the Clarion woke one morning, in San Francisco, to find his paper famous. Its advertising columns were eagerly sought for—he at once advanced the rates. People bought successive issues, to gaze upon this monumental record of extravagance. A singular idea, which, however, brought further fortune to the paper, was advanced by an astute critic at the Eureka Saloon. "My opinion, gentlemen, is that the whole blamed thing is a bluff! There ain't no Mr. Dimmidge; there ain't no Mrs. Dimmidge; there ain't no desertion!
Source: Wikisource

Portrait of Bret Harte Bret Harte The Boom in the Calaveras Clarion (1899)

Dimmidge was a weak, uxorious spouse, wasting his substance on a creature who didn't care for him, and in another a maddened, distracted, henpecked man, content to purchase peace and rest at any price. Certainly never was advertisement more effective in its publicity, or cheaper in proportion to the circulation it commanded. It was copied throughout the whole Pacific slope; mighty San Francisco papers described its size and setting under the attractive headline, "How they Advertise a Wife in the Mountains!"
Source: Wikisource

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