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diff --git a/18625-h/18625-h.htm b/18625-h/18625-h.htm new file mode 100644 index 0000000..85ba92a --- /dev/null +++ b/18625-h/18625-h.htm @@ -0,0 +1,12514 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Contemporary American Literature: Bibliographies and Study Outlines, by John Matthews Manly and Edith Rickert + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 2em; + } + p.indhead {text-align: center; margin-top: 1.5em;} + + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + /* Ensure anchors work by positioning them all in the same way */ + a[name] {position:absolute; } + a {text-decoration: none;} + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; margin-right: 10%; } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + text-indent: 0em; + } /* page numbers */ + + .chapterhead {margin-top: 4em; font-weight: normal;} + + .blockquot {font-size: 90%} + .hanging {margin-left: 1.5em; text-indent: -1.5em;} + .hanging2 {margin-left: 3em; text-indent: -1.5em;} + .author {margin-left: 1.5em; text-indent: -1.5em;} + .noindent {text-indent: 0em;} + + ins.correction {text-decoration:none; border-bottom: thin dotted gray;} + + ul.bib {list-style-type: none;} + .leftpad {margin-left: 1.5em; text-indent: -1.5em; padding-left: 0.5em; font-size: 90%;} + .star {margin-left: 1.5em; text-indent: -1.5em; font-size: 90%;} + + dt {padding-left: 1.5em;} + + .figcenter {margin: auto; text-align: center;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + .poem span.i14 {display: block; margin-left: 14em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Contemporary American Literature, by +John Matthews Manly and Edith Rickert + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Contemporary American Literature + Bibliographies and Study Outlines + +Author: John Matthews Manly and Edith Rickert + +Release Date: June 19, 2006 [EBook #18625] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN LITERATURE *** + + + + +Produced by Juliet Sutherland, Julia Miller, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + +<div style="background-color: #EEE; padding: 0.5em 1em 0.5em 1em;"> +<p class="center"><b>Transcriber’s Note</b></p> + +<p class="noindent">A number of typographical errors have been maintained +in the current version of this book. They are <ins class="correction" title="correction">marked</ins> +and the corrected text is shown in the popup. A <a href="#note">list</a> of these +errors is found at the end of this book.</p> +</div> + +<hr style="width: 65%;" /> + + + +<p class="center noindent" style="font-size: 200%; letter-spacing: 0.1em; margin-top: 2em;">CONTEMPORARY</p> + +<p class="center noindent" style="font-size: 200%; letter-spacing: 0.1em;">AMERICAN LITERATURE</p> + + +<p class="center noindent" style="margin-top: 2em;">BIBLIOGRAPHIES AND STUDY OUTLINES</p> + + +<p class="center noindent" style="margin-top: 3em;">BY</p> + +<p class="center noindent">JOHN MATTHEWS MANLY</p> + +<p class="center noindent">AND</p> + +<p class="center noindent" style="margin-bottom: 3em;">EDITH RICKERT</p> + +<div class="figcenter" style="width: 50px;"> +<img src="images/img01.jpg" width="50" height="54" alt="Publisher's Mark" title="Publisher's Mark" /> +</div> + +<p class="center noindent" style="margin-top: 3em;">NEW YORK<br /> +HARCOURT, BRACE AND COMPANY</p> + +<hr style="width: 65%;" /> + +<p class="noindent"><span class='pagenum'><a name="Page_ii" id="Page_ii">[ii]</a></span></p> + + + +<p class="center noindent" style="margin-top: 2em; font-size: smaller;">COPYRIGHT, 1922, BY<br /> +HARCOURT, BRACE AND COMPANY, INC.</p> + +<p class="center noindent" style="margin-top: 3em; font-size: smaller;">Printed in the U. S. A.</p> + +<hr style="width: 65%;" /> + + + +<h2 class="chapterhead">CONTENTS</h2> + +<p class="noindent"><span class='pagenum'><a name="Page_iii" id="Page_iii">[iii]</a></span></p> + +<table border="0" width="80%" cellpadding="0" cellspacing="0" summary="Table of Contents"> +<tr> + <td></td> + <td align="right" style="font-size: smaller;">PAGE</td> +</tr> +<tr> + <td><a href="#HOW_TO_USE_THIS_BOOK"><span class="smcap">How to Use This Book</span></a></td> + <td align="right"><a href="#HOW_TO_USE_THIS_BOOK">v</a></td> +</tr> +<tr> + <td><a href="#INDEXES_AND_CRITICAL_PERIODICALS"><span class="smcap">Indexes and Critical Periodicals</span></a></td> + <td align="right"><a href="#INDEXES_AND_CRITICAL_PERIODICALS">ix</a></td> +</tr> +<tr> + <td><a href="#GENERAL_WORKS_OF_REFERENCE"><span class="smcap">General Works of Reference</span></a></td> + <td align="right"><a href="#GENERAL_WORKS_OF_REFERENCE">xi</a></td> +</tr> +<tr> + <td><a href="#ANTHOLOGIES"><span class="smcap">Anthologies</span></a></td> + <td align="right"><a href="#ANTHOLOGIES">xv</a></td> +</tr> +<tr> + <td><a href="#COLLECTIONS_OF_PLAYS"><span class="smcap">Collections of Plays</span></a></td> + <td align="right"><a href="#COLLECTIONS_OF_PLAYS">xvi</a></td> +</tr> +<tr> + <td><a href="#COLLECTIONS_OF_SHORT_STORIES"><span class="smcap">Collections of Short Stories</span></a></td> + <td align="right"><a href="#COLLECTIONS_OF_SHORT_STORIES">xviii</a></td> +</tr> +<tr> + <td><a href="#COLLECTIONS_OF_ESSAYS"><span class="smcap">Collections of Essays</span></a></td> + <td align="right"><a href="#COLLECTIONS_OF_ESSAYS">xviii</a></td> +</tr> +<tr> + <td><a href="#BIBLIOGRAPHIES"><span class="smcap">Bibliographies</span></a></td> + <td align="right"><a href="#BIBLIOGRAPHIES">xix</a></td> +</tr> +<tr> + <td><a href="#ALPHABETICAL_LIST_OF_AUTHORS"><span class="smcap">Alphabetical Index of Authors, with Biographical Matter, +Bibliographies, and Studies and Reviews</span></a></td> + <td align="right" style="vertical-align: bottom;"><a href="#ALPHABETICAL_LIST_OF_AUTHORS">1</a></td> +</tr> +<tr> + <td><a href="#AUTHORS_FORM"><span class="smcap">Indexes of Authors according to Form</span></a></td> + <td align="right"><a href="#AUTHORS_FORM">167</a></td> +</tr> +<tr> + <td><a href="#AUTHORS_PLACE_OF_BIRTH"><span class="smcap">Index of Authors according to Birthplace</span></a></td> + <td align="right"><a href="#AUTHORS_PLACE_OF_BIRTH">177</a></td> +</tr> +<tr> + <td><a href="#SUBJECT_INDEX"><span class="smcap">Index of Authors according to Subject-Matter and Local +Color</span></a></td> + <td align="right" style="vertical-align: bottom;"><a href="#SUBJECT_INDEX">181</a></td> +</tr> +</table> +<p class="noindent"><span class='pagenum'><a name="Page_v" id="Page_v">[v]</a></span></p> + +<hr style="width: 65%;" /> + +<p class="noindent"><span class='pagenum'><a name="Page_iv" id="Page_iv">[iv]</a></span></p> + +<h2 class="chapterhead"><a name="HOW_TO_USE_THIS_BOOK" id="HOW_TO_USE_THIS_BOOK"></a>HOW TO USE THIS BOOK</h2> + + +<p>This book is intended as a companion volume to <i>Contemporary British +Literature</i>; but the differences between conditions in America and in +England have made it necessary to alter somewhat the original plan.</p> + +<p>In America today we have a few excellent writers who challenge comparison +with the best of present-day England. We have many more who have been +widely successful in the business of making novels, poems, plays, which +cannot rank as literature at all. In choosing from such a large number a +list for study, it is our hope that we have not omitted the name of any +author who counts as a force in our developing literature; but, on the +other hand, it is undoubtedly true that we have excluded many writers +whose work compares favorably with that of some on the list. Our choice +has been governed by two principles: (1) To include experimental +work—work dealing with fresh materials or attempting new methods—rather +than better work on familiar patterns; and (2) to represent varying +tendencies in the literary effort of our country today rather than work +that ranks high in popular taste. The task of doing justice to every +writer is impossible; but we have been primarily concerned not with +writers but with readers—those who wish guidance to the best that there +is in our literature and to the signs that point to the future.</p> + +<p>The word <i>contemporary</i> we have interpreted arbitrarily to mean since the +beginning of the War, excluding writers who died before August, 1914, and +living authors who have produced no work since then. Space limitations +made it impossible to go back to the beginning of the century, and no +other date since then is so significant as 1914.</p> + +<p>The biographical material is limited to information of interest for the +interpretation of work. The bibliographies<span class='pagenum'><a name="Page_vi" id="Page_vi">[vi]</a></span> are selective except in the +case of the more important authors, for whom they are, for the student’s +purpose, complete. The following items have usually been omitted: (1) +books privately printed; (2) separate editions of works included in +larger volumes; (3) unimportant or inaccessible works; (4) works not of a +literary character; (5) English reprints; (6) editions other than the +first. Exceptions to this plan explain themselves.</p> + +<p>The stars (*) are merely guides to the reader in long bibliographies and +bibliographies containing works of very unequal merit.</p> + +<p>The Suggestions for Reading given in the case of the more important +authors are intended for students who need and desire guidance. It is our +hope that these hints and questions may lead to discussion and +differences of opinion, for dissent is the guidepost to truth. As far as +possible, we have avoided statement of our own opinions.</p> + +<p>The Studies and Reviews are the meagre result of long search in +periodical literature. The fact that the photograph and the personal note +bulk far more largely than criticism in America needs no comment here.</p> + +<p>Supplementary to the alphabetical list of authors with material for +study, which constitutes the body of the book, are the classified +indexes. These are intended for use in planning courses of study. The +classification according to form suggests the limitation of work to +poets, dramatists, novelists, short-story writers, essayists, critics, +writers on country life, travel, and Nature, humorists, “columnists,” and +writers of biography and autobiography. In this connection should be +noted the supplementary list of poets whose names have not been included +in our list but whose work can be studied in one or more of the +anthologies indicated.</p> + +<p>The classification according to birthplace (in some cases information +could not be obtained) furnishes material for the study of local groups +of writers.</p> + +<p>The classification according to subject matter (including the use of +local color and background), although it is neces<span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span>sarily incomplete, +will, it is hoped, suggest courses of reading on these bases.</p> + +<p>Preceding the alphabetical list of authors are bibliographies of +different types, which should be of use in the finding of material: lists +of indexes and critical periodicals; of general works of reference +discussing the period; of collections of poems, plays, short-stories, and +essays; and of bibliographies of short plays and short stories.</p> + +<hr style='width: 45%;' /> + +<p>Our thanks for criticisms and suggestions are due to Professors Robert +Herrick, Robert Morss Lovett, and Percy Holmes Boynton.</p> + +<p>To Mr. G. Teyen, of the Chicago Public Library, we are indebted for +continual help in procuring books, verifying references, and, in general, +for putting the resources of the library at our disposal.</p> + +<p><span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span></p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span></p> + +<h2 class="chapterhead"><a name="INDEXES_AND_CRITICAL_PERIODICALS" id="INDEXES_AND_CRITICAL_PERIODICALS"></a>INDEXES AND CRITICAL PERIODICALS</h2> + + +<p class="noindent center"><i>Indexes</i></p> + +<table width="100%" border="0" cellpadding="0" cellspacing="0" summary="Indexes"> +<tr> + <td>American Library Association Index, (to 1900)</td> + <td>A. L. A. I.</td> +</tr> +<tr> + <td style="padding-left: 2.5em;">Supplement, 1901-1910</td> + <td>A. L. A. Supp.</td> +</tr> +<tr> + <td>Annual Literary Index (1892-1904)</td> + <td>A. L. I.</td> +</tr> +<tr> + <td style="padding-left: 1em;">Continued as Annual Library Index, 1905-1910</td> + <td>A. L. I.</td> +</tr> +<tr> + <td>Dramatic Index, 1909-</td> + <td>D. I.</td> +</tr> +<tr> + <td style="padding-left: 1em;">Published with Annual Magazine Subject Index.</td> + <td></td> +</tr> +<tr> + <td>Magazine Subject Index: Boston, 1908</td> + <td>M. S. I.</td> +</tr> +<tr> + <td style="padding-left: 1em;">Continued by Annual Magazine Subject Index, 1909-</td> + <td>A. S. I.</td> +</tr> +<tr> + <td>Poole’s Index to Periodical Literature, 1802-1881</td> + <td>Poole</td> +</tr> +<tr> + <td style="padding-left: 2.5em;">Supplements, 1882-1906; 1907-1908</td> + <td>Poole Supp.</td> +</tr> +<tr> + <td>Reader’s Guide to Periodical Literature, 1900-</td> + <td>R. G.</td> +</tr> +<tr> + <td style="padding-left: 2.5em;">Supplement, 1907-1915, 1916-1919</td> + <td>R. G. Supp.</td> +</tr> +<tr> + <td style="padding-left: 1em;">Continued as International Index to Periodicals, 1921-</td> + <td>I. I. P.</td> +</tr> +</table> + + +<p class="noindent center"><i>Periodicals</i></p> + + +<p class="noindent">(The initials following the abbreviated titles of the periodicals refer +to the indexes in which they are listed.)</p> + + +<p class="hanging">The <i>Book Review Digest</i>, 1905- ——, contains summaries of important +reviews in periodicals and newspapers.</p> + +<p class="hanging">Academy: London (ceased 1916)—Acad.</p> + +<p class="hanging">American Catholic Quarterly Review: Philadelphia—Amer. Cath. Quar.</p> + +<p class="hanging"><a name="Athenaeum" id="Athenaeum"></a>Athenæum: London—Ath.—A. L. I. Combined with Nation (London), Feb. 19, +1921.</p> + +<p class="hanging">Atlantic Monthly: Boston—Atlan.—R. G.; A. S. I.</p> + +<p class="hanging">Bellman: Minneapolis, Minn. (ceased 1919).</p> + +<p class="hanging">Booklist (A. L. A.): Chicago.</p> + +<p class="hanging">Bookman: New York—Bookm.—R. G.</p> + +<p class="hanging">Bookman: London—Bookm. (Lond.)—D. I.; A. S. I.</p> + +<p class="hanging">Book News: Philadelphia (ceased 1918).</p> + +<p class="hanging">Boston Transcript: Boston—Bost. Trans.</p> + +<p class="hanging">Catholic World: New York—Cath. World.</p> + +<p class="hanging">Century: New York—Cent.—R. G.</p> + +<p class="hanging">Chapbook (a Monthly Miscellany): London.</p> + +<p class="hanging">Columbia University Quarterly: New York—Columbia Univ. Quar.<span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span></p> + +<p class="hanging">Contemporary Review: London and New York—Contemp.—R. G.; A. S. I.</p> + +<p class="hanging">Craftsman: New York. Includes some literary studies.</p> + +<p class="hanging">Critic: New York (ceased 1906)—R. G.</p> + +<p class="hanging">Current Literature: New York (name changed to Current Opinion, +1913)—Cur. Lit.—R. G.</p> + +<p class="hanging">Current Opinion: New York—Cur. Op.—R. G.</p> + +<p class="hanging">Dial: New York—Dial—R. G.</p> + +<p class="hanging">Double-Dealer: New Orleans (1921- ——).</p> + +<p class="hanging">Drama: Washington—Drama—R. G. S.</p> + +<p class="hanging">Dublin Review: London—Dub. R.—D. I.; A. S. I.; R. G. S.</p> + +<p class="hanging">Edinburgh Review: Edinburgh—Edin. R.</p> + +<p class="hanging">Egoist: London (1914-19). Includes art, music, literature, emphasizing +especially new movements.</p> + +<p class="hanging">English Review: London (1908- ——)—Eng. Rev.—R. G. S.; D. I.; A. S. I.</p> + +<p class="hanging">Fortnightly Review: London and New York—Fortn.—R. G.; A. S. I.</p> + +<p class="hanging">Forum: New York—R. G.; A. S. I.</p> + +<p class="hanging">Freeman: New York (ceased 1924).</p> + +<p class="hanging">Harper’s Magazine: New York—Harp.</p> + +<p class="hanging">Independent: New York—Ind.—R. G.</p> + +<p class="hanging">Literary Digest: New York—Lit. Digest—R. G.</p> + +<p class="hanging"><a name="lit_rev" id="lit_rev"></a>Literary Review of the New York Evening Post: New York (1921- ——).—Lit. +Rev.</p> + +<p class="hanging">Little Review: Chicago.</p> + +<p class="hanging">Littell’s Living Age: Boston—Liv. Age—R. G. Reprints from the best +periodicals.</p> + +<p class="hanging">London Mercury: London (1919- ——)—Lond. Merc. Critical review, +established in 1919, edited by J. C. Squire.</p> + +<p class="hanging">London Times Literary Supplement: London—Lond. Times—A. S. I.</p> + +<p class="hanging">Manchester Guardian: Manchester, England—The best English provincial +paper for reviews.</p> + +<p class="hanging">Nation: London—Nation (Lond.)—A. S. I. See <a href="#Athenaeum">Athenæum</a>.</p> + +<p class="hanging">Nation: New York—Nation—R. G.</p> + +<p class="hanging">New Republic: New York (1914- )—New Repub.—R. G.</p> + +<p class="hanging">New Statesman: London (1913- )—New Statesman—R. G. S.; A. S. I.</p> + +<p class="hanging">New York Eve. Post. See <a href="#lit_rev">Literary Review</a>.</p> + +<p class="hanging">New York Times Review of Books: New York—N. Y. Times.</p> + +<p class="hanging">Nineteenth Century and After: London and New York—19th Cent.—R. G.; +A. S. I.</p> + +<p class="hanging">North American Review: New York—No. Am.—R. G.; A. S. I.</p> + +<p class="hanging">Outlook: New York.</p> + +<p class="hanging">Poet Lore: Boston—Poet Lore—R. G. S.</p> +<p class="noindent"><span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span></p> + +<p class="hanging">Poetry: Chicago—Poetry—R. G.</p> + +<p class="hanging">Quarterly Review: London and New York—Quar.—R. G.; A. S. I.</p> + +<p class="hanging">The Review: New York—a weekly journal of political and general +discussion: Began 1919; changed its name, June, 1920, to Weekly +Review; consolidated with Independent, October, 1921.</p> + +<p class="hanging">Review of Reviews: New York—R. of Rs.—R. G.</p> + +<p class="hanging">Saturday Review: London—Sat. Rev.—A. S. I.</p> + +<p class="hanging">Sewanee Review: Sewanee, Tennessee.</p> + +<p class="hanging">Spectator: London—Spec.—R. G. S.; A. S. I.</p> + +<p class="hanging">Springfield Republican, Springfield, Mass.—Springfield Repub.</p> + +<p class="hanging">Touchstone: New York.</p> + +<p class="hanging">Unpopular Review—New York. 1915-19. Continued as Unpartizan Review to +1921.</p> + +<p class="hanging">Westminster Review—London—Westm. R. (ceased 1914).</p> + +<p class="hanging">World Today: New York (ceased 1912).</p> + +<p class="hanging">Yale Review: New Haven, Conn.—R. G. S.</p> + + +<p>Popular magazines, referred to on occasion, are not listed above.</p> + + + +<hr style="width: 65%;" /> +<p class="noindent"><span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span></p> + +<h2 class="chapterhead"><a name="GENERAL_WORKS_OF_REFERENCE" id="GENERAL_WORKS_OF_REFERENCE"></a>GENERAL WORKS OF REFERENCE</h2> + +<p class="noindent center">(Referred to in the book by the first word usually)</p> + + +<p class="noindent">1. <span class="smcap">Histories and General Discussion</span></p> + +<p class="hanging2">Boynton, Percy Holmes. A History of American Literature. 1919. +(Bibliographies.)</p> + +<p class="hanging2">Cambridge History of American Literature. 1917-21. By W. P. Trent, John +Erskine, Stuart P. Sherman, and Carl Van Doren. (Vols. III, IV.) +(Bibliographies.)</p> + +<p class="hanging2">Macy, J. A. The Spirit of American Literature. 1913.</p> + +<p class="hanging2">Pattee, Fred Lewis. A History of American Literature since 1870. 1915. +(Bibliographies.)</p> + +<p class="hanging2">Perry, Bliss. The American Spirit in Literature. 1918.</p> + +<p class="hanging2">Stearns, Harold E. America and the Young Intellectual. 1921.</p> + +<p class="hanging2">—— —— Civilization in the United States. 1922. (Special chapters.)</p> + + +<p class="noindent">2. <span class="smcap">Criticism of Special Authors or Phases</span></p> + +<p class="hanging2">Canby, H. S., Benét, W. R., and Loveman, <a name="corr1" id="corr1"></a><ins class="correction" title="Amy.">Amy,</ins> Saturday Papers. 1921.</p> + +<p class="hanging2">Hackett, Francis. Horizons: a Book of Criticism. 1918.</p> + +<p class="hanging2">—— —— Editor. On American Books. 1920. (Symposium by Joel D. +Spingarn, Padraic Colum, H. L. Mencken, Morris R. Cohen, and Francis +Hackett.)</p> + +<p class="hanging2">Littell, <a name="corr2" id="corr2"></a><ins class="correction" title="Philip.">Philip,</ins> Books and Things. 1919.</p> + +<p class="hanging2">Mencken, H. L. Prefaces. 1917.</p> + +<p class="hanging2">—— —— Prejudices, First and Second Series. 1919-20.</p> + +<p class="hanging2">Underwood, John <a name="corr3" id="corr3"></a><ins class="correction" title="Curtis.">Curtis,</ins> Literature and Insurgency. 1914.</p> + + +<p class="noindent">3. <span class="smcap">Drama</span></p> + +<p class="hanging2">Andrews, Charlton. The Drama Today. 1913.</p> + +<p class="hanging2">Baker, George Pierce. Dramatic Technique. 1912.</p> + +<p class="hanging2">Beegle, Mary Porter, and Crawford, Jack R. Community Drama and Pageantry. +1916.</p> + +<p class="hanging2">Burleigh, Louise. The Community Theatre in Theory and in Practice. 1917. +(Bibliography.)</p> + +<p class="hanging2">Chandler, F. W. Aspects of Modern Drama. 1914.</p> + +<p class="hanging2">Cheney, Sheldon. The Art Theatre. 1917.</p> + +<p class="hanging2">—— —— The New Movement in the Theatre. 1914.</p> + +<p class="hanging2">—— —— The Out-Of-Door Theatre. 1918.</p> +<p class="noindent"><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></p> +<p class="hanging2">Clark, Barrett H. The British and American Drama of Today. 1915, 1921.</p> + +<p class="hanging2">Dickinson, Thomas H. The Case of American Drama. 1915.</p> + +<p class="hanging2">—— —— The Insurgent Theatre. 1917.</p> + +<p class="hanging2">Eaton, Walter Prichard. At the New Theatre and Others. 1910.</p> + +<p class="hanging2">—— —— Plays and Players: Leaves from a Critic’s Notebook. 1916.</p> + +<p class="hanging2">Goldman, Emma. The Social Significance of the Modern Drama. 1914.</p> + +<p class="hanging2">Grau, Robert. The Theatre of Science. 1914.</p> + +<p class="hanging2">Hamilton, Clayton. Studies in Stagecraft. 1914.</p> + +<p class="hanging2">Henderson, Archibald. The Changing Drama. 1914.</p> + +<p class="hanging2">Lewis, B. Roland. The Technique of the One-Act Play. 1918.</p> + +<p class="hanging2">Lewisohn, Ludwig. The Modern Drama. 1915.</p> + +<p class="hanging2">Mackay, Constance D’Arcy. The Little Theatre in the United States. 1917.</p> + +<p class="hanging2">Mackaye, Percy. The Civic Theatre. 1912.</p> + +<p class="hanging2">—— —— Community Drama. 1917.</p> + +<p class="hanging2">—— —— The Playhouse and the Play. 1909.</p> + +<p class="hanging2">Macgowan, K. The Theatre of Tomorrow. 1921.</p> + +<p class="hanging2">Matthews, Brander. A Book about the Theatre. 1916.</p> + +<p class="hanging2">Moderwell, Hiram Kelly. The Theatre of Today. 1914.</p> + +<p class="hanging2">Moses, Montrose J. The American Dramatist. 1917.</p> + +<p class="hanging2">Nathan, George Jean. Another Book on the Theatre. 1915.</p> + +<p class="hanging2">Phelps, William Lyon. The Twentieth Century Theatre. 1918.</p> + + +<p class="noindent">4. <span class="smcap">Novel</span></p> + +<p class="hanging2">Cooper, Frederic Taber. Some American Story-Tellers. 1911.</p> + +<p class="hanging2">Gordon, G. The Men Who Make our Novels. 1919.</p> + +<p class="hanging2">Overton, Grant. The Women Who Make our Novels. 1918.</p> + +<p class="hanging2">Phelps, William Lyon. The Advance of the English Novel. 1916.</p> + +<p class="hanging2">Van Doren, Carl. The American Novel. 1921.</p> + +<p class="hanging2">Wilkinson, H. Social Thought in American Fiction (1910-17). 1919.</p> + + +<p class="noindent">5. <span class="smcap">Poetry</span></p> + +<p class="hanging2">Aiken, <a name="corr4" id="corr4"></a><ins class="correction" title="Conrad.">Conrad,</ins> Scepticisms. Notes on Contemporary Poetry. 1919.</p> + +<p class="hanging2">Caswell, E. S. Canadian Singers and Their Songs. 1920.</p> + +<p class="hanging2">Cook, H. W. Our Poets of Today. 1918.</p> + +<p class="hanging2">Lowell, Amy. Tendencies in Modern American Poetry. 1917.</p> + +<p class="hanging2">Lowes, John Livingston. Convention and Revolt in Poetry. 1919.</p> + +<p class="hanging2">Peckham, E. H. Present-Day American Poetry. 1917.</p> + +<p class="hanging2">Phelps, William Lyon. The Advance of English Poetry in the Twentieth +Century. 1918.</p> + +<p class="hanging2">Rittenhouse, Jessie B. The Younger American Poets. 1904.</p> +<p class="noindent"><span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span></p> +<p class="hanging2">Untermeyer, Louis. The New Era in American Poetry. 1919.</p> + +<p class="hanging2">Wilkinson, Marguerite. New Voices. 1919.</p> + + +<p class="noindent">6. <span class="smcap">Biographical and Personal</span></p> + +<p class="hanging2">Halsey, F. W. American Authors and Their Homes. Personal Descriptions and +Interviews (Illustrated). 1901.</p> + +<p class="hanging2">—— —— Women Authors of our Day in their Homes (Illustrated.) 1903.</p> + +<p class="hanging2">Harkins, E. F. Famous Authors. (Men.) 1901.</p> + +<p class="hanging2">—— —— Famous Authors. (Women.) 1901.</p> + + + +<hr style="width: 65%;" /> +<p class="noindent"><span class='pagenum'><a name="Page_xv" id="Page_xv">[xv]</a></span></p> + +<h2 class="chapterhead"><a name="ANTHOLOGIES" id="ANTHOLOGIES"></a>ANTHOLOGIES</h2> + + +<p class="hanging">Andrews, C. E. From the Front; Trench Poetry. Appleton, 1918.</p> + +<p class="hanging">Anthology of American Humor in Verse. Duffield, 1917.</p> + +<p class="hanging">American and British from the Yale Review. (Foreword by J. G. Fletcher.) +1920-21.</p> + +<p class="hanging">Armstrong, H. F. Book of New York Verse. Putnam, 1917.</p> + +<p class="hanging">Blanden, C. G., and Mathison, M. Chicago Anthology. Roadside Press, 1916.</p> + +<p class="hanging">Braithwaite, W. S. Anthology of Magazine Verse and Yearbook of</p> + +<p class="hanging">American Poetry. Small, Maynard, 1914- ——.</p> + +<p class="hanging">—— —— Golden Treasury of Magazine Verse. Small, Maynard, 1918.</p> + +<p class="hanging">Clarke, G. H. Treasury of War Poetry. Houghton Mifflin: First Series, +1917; Second Series, 1919.</p> + +<p class="hanging">Cook, H. W. Our Poets of Today. Moffat, Yard, 1918.</p> + +<p class="hanging">Cronyn, George W. The Path on the Rainbow (North American Indian Songs +and Chants.) Boni & Liveright, 1918.</p> + +<p class="hanging">Des Imagistes: 1914. Poetry Bookshop, London, 1914.</p> + +<p class="hanging">Edgar, W. C. The Bellman Book of Verse, 1906-19. Bellman Co., 1919.</p> + +<p class="hanging">Erskine, John. Contemporary Verse Anthology. (War poetry.) Dutton, 1920.</p> + +<p class="hanging">Kreymborg, Alfred. Others. Knopf, 1916, 1917, 1919.</p> + +<p class="hanging">Le Gallienne, Richard. Modern Book of American Verse. Boni & Liveright, +1919.</p> + +<p class="hanging">Miscellany of American <a name="corr5" id="corr5"></a><ins class="correction" title="Poetry.">Poetry,</ins> A. Harcourt, Brace, 1920.</p> + +<p class="hanging">Monroe, Harriet, and Henderson, Alice Corbin. The New Poetry. Macmillan, +1917; revised edition, 1920.</p> + +<p class="hanging">O’Brien, Edward J. A Masque of Poets. Dodd, Mead, 1918.</p> + +<p class="hanging">Richards, G. M. High Tide; Songs of Joy and Vision. Houghton Mifflin, +1918.</p> + +<p class="hanging">—— —— The Melody of Earth. (Nature and Garden Poems from Present-day +Poets.) Houghton Mifflin, 1920.</p> + +<p class="hanging">—— —— Star Points; Songs of Joy, Faith, and Promise. Houghton +Mifflin, 1921.</p> + +<p class="hanging">Rittenhouse, Jessie B. The Little Book of Modern Verse. Houghton Mifflin, +1913-19.</p> + +<p class="hanging">—— —— The Second Book of Modern Verse. Houghton Mifflin, 1919.</p> + +<p class="hanging">Some Imagist Poets: 1915, 1916, 1917. Constable.</p> + +<p class="hanging">Stork, Charles <a name="corr6" id="corr6"></a><ins class="correction" title="Wharton.">Wharton,</ins> Contemporary Verse Anthology. Favorite Poems +Selected from the Magazine of Contemporary Verse. 1916-20. Dutton, +1920.</p> + +<p class="hanging">Untermeyer, Louis. Modern American Poetry. Harcourt, Brace, 1920; +enlarged, 1921.</p> + + +<hr style="width: 65%;" /> +<p class="noindent"><span class='pagenum'><a name="Page_xvi" id="Page_xvi">[xvi]</a></span></p> + +<h2 class="chapterhead"><a name="COLLECTIONS_OF_PLAYS" id="COLLECTIONS_OF_PLAYS"></a>COLLECTIONS OF PLAYS</h2> + + +<p class="hanging"><a name="baker" id="baker"></a>Baker, George Pierce. Harvard Plays. Brentano.</p> + +<p class="hanging2">I. 47 Workshop Plays. First Series. 1918. (Rachel L. Field, Hubert +Osborne, Eugene Pillot, William L. Prosser.)</p> + +<p class="hanging2">II. Plays of the Harvard Dramatic Club. First Series. 1918. (Winifred +Hawkridge, H. Brock, Rita C. Smith, K. Andrews.)</p> + +<p class="hanging2">III. Plays of the Harvard Dramatic Club. Second Series. 1919. (Louise +W. Bray, E. W. Bates, F. Bishop, C. Kinkead.)</p> + +<p class="hanging2">IV. 47 Workshop Plays. Second Series, 1920. (Kenneth Raesback, Norman +C. Lindau, Eleanor Holmes Hinkley, Doris F. Halnan.)</p> + +<p class="hanging">Baker, George Pierce. Modern American Plays. Harcourt, Brace, 1920. +(Belasco, Sheldon, Thomas).</p> + +<p class="hanging">Cohen, Helen Louise. One-Act Plays by Modern Authors. Harcourt, Brace, +1921. (Mackaye, Marks, Peabody, R. E. Rogers, Tarkington, Stark +Young.)</p> + +<p class="hanging">—— —— Longer Plays by Modern Authors. Harcourt, Brace, 1922. (Thomas, +Tarkington.)</p> + +<p class="hanging"><a name="Cook" id="Cook"></a>Cook, G. C. and Shay, F. Provincetown Plays. Stewart Kidd.</p> + +<p class="hanging">—— —— First Series (Louise Bryant, Dell, O’Neill), 1916.</p> + +<p class="hanging">—— —— Second Series (Neith Boyce and Hutchins Hapgood, G. C. Cook and +Susan Glaspell, John Reed), 1916.</p> + +<p class="hanging">—— —— Third Series (Neith Boyce, Kreymborg, O’Neill), 1917. (Boyce +and Hapgood, Cook and Glaspell, Dell, P. King, Millay, O’Neill, +Oppenheim, Alice Rostetter, W. D. Steele, Wellman), 1921.</p> + +<p class="hanging">Dickinson, Thomas H. Chief Contemporary Dramatists. Houghton Mifflin, +1915. (Mackaye, Thomas.)</p> + +<p class="hanging">—— —— Second Series (G. C. Hazelton and Benrimo, Peabody, Walter).</p> + +<p class="hanging"><a name="Dickinson" id="Dickinson"></a>Dickinson, Thomas H. Wisconsin Plays. Huebsch.</p> + +<p class="hanging">—— —— First Series (Thomas H. Dickinson, Gale, William Ellery +Leonard), 1914.</p> + +<p class="hanging">—— —— Second Series (M. Ilsley, H. M. Jones, Laura Sherry), 1918.</p> + +<p class="hanging">47 Workshop, Plays of the. <i>See</i> <a href="#baker">Baker</a>.</p> + +<p class="hanging">Harvard Dramatic Club, Plays of the. <i>See</i> <a href="#baker">Baker</a>.</p> + +<p class="hanging">Knickerbocker, Edwin Van B. Plays for Classroom Interpretation. Holt, +1921.</p> + +<p class="noindent"><span class='pagenum'><a name="Page_xvii" id="Page_xvii">[xvii]</a></span></p> + +<p class="hanging">Lewis, B. Roland. Contemporary One-Act Plays. 1922. (Bibliographies.)<br /> +(Middleton, Althea Thurston, Mackaye, Eugene Pillot, Bosworth +Crocker, Kreymborg, Paul Greene, Arthur Hopkins, Jeannette Marks, +Oscar M. Wolff, David Pinski, Beulah Bornstead.)</p> + +<p class="hanging">Mayorga, Margaret Gardner. Representative One-Act Plays by American +Authors. Little, Brown, 1919. (Full bibliographies). (Mary Aldis, +Cook and Glaspell, Sada Cowan, Bosworth Crocker, Elva De Pue, Beulah +Marie Dix, Hortense Flexner, Esther E. Galbraith, Alice Gerstenberg, +Doris F. Halnan, Ben Hecht and Kenneth Sawyer Goodman, Phœbe +Hoffman, Kreymborg, Mackaye, Marks, Middleton, O’Neill, Eugene +Pillot, Frances Pemberton Spenser, Thomas Wood Stevens and Kenneth +Sawyer Goodman, Walker, Wellman, Wilde, Oscar M. Wolff.)</p> + +<p class="hanging">More Portmanteau Plays. Stewart Kidd, 1919. (Stuart Walker.)</p> + +<p class="hanging">Morningside Plays. Shay, 1917. (Elva de Pue, Caroline Briggs, Elmer L. +Reizenstein, Zella Macdonald).</p> + +<p class="hanging">Moses, Montrose J. Representative Plays by American Dramatists. Dutton, +1918-21. Vol. III. (Belasco, Thomas, Walter.)</p> + +<p class="hanging">Pierce, John Alexander. The Masterpieces of Modern Drama. English and +American. (Summarized and quoted.) 1915. (Thomas [2], Walter, +Mackaye, Belasco.)</p> + +<p class="hanging">Portmanteau Plays. Stewart Kidd, 1918. (Stuart Walker.)</p> + +<p class="hanging">Provincetown Plays. <i>See</i> <a href="#Cook">Cook</a>.</p> + +<p class="hanging">Quinn, A. H. Representative American Plays. Century, 1917. (Crothers, +Mackaye, Sheldon, Thomas).</p> + +<p class="hanging">Shay, Frank, and Loving, P. Fifty Contemporary One-Act Plays, 1920.</p> + +<p class="hanging">Small Stages, Plays for. Duffield, 1915. (Mary Aldis.)</p> + +<p class="hanging">Smith, Alice Mary. Short Plays by Representative Authors. Macmillan, +1920. (Constance D’Arcy Mackay, Mary Macmillan, Marks, Torrence, +Walker.)</p> + +<p class="hanging">Stage, Guild Plays and Masques. (Kenneth Sawyer Goodman, Thomas Wood +Stevens.)</p> + +<p class="hanging">Washington Square Plays. Drama League Series. Doubleday, Page, 1916. +(Lewis Beach, Alice Gerstenberg, Edward Goodman, Moeller.)</p> + +<p class="hanging">Wisconsin Plays. <i>See</i> <a href="#Dickinson">Dickinson</a>.</p> + + + +<hr style="width: 65%;" /> +<p class="noindent"><span class='pagenum'><a name="Page_xviii" id="Page_xviii">[xviii]</a></span></p> + +<h2 class="chapterhead"><a name="COLLECTIONS_OF_SHORT_STORIES" id="COLLECTIONS_OF_SHORT_STORIES"></a>COLLECTIONS OF SHORT STORIES</h2> + + +<p class="hanging">Heydrick, B. A. Americans All. Harcourt, Brace, 1920.</p> + +<p class="hanging">Howells, W. D. Great Modern American Stories. Boni & Liveright, 1920. +(Does not include much recent work.)</p> + +<p class="hanging">Laselle, Mary Augusta. Short Stories of the New America. Holt, 1919.</p> + +<p class="hanging">Law, F. H. Modern Short Stories. Century, 1918.</p> + +<p class="hanging">O’Brien, Edward J. H. Best short stories for 1915, 1916, etc. Published +annually. Small, Maynard.</p> + +<p class="hanging">Thomas, Charles Swain. Atlantic Narratives. Atlantic, 1918.</p> + +<p class="hanging">Wick, Jean. The Stories Editors Buy and Why. Small, Maynard, 1921.</p> + +<p class="hanging">Williams, Blanche Colton. Our Short Story Writers. Moffat, Yard, 1920.</p> + + + +<h2 class="chapterhead"><a name="COLLECTIONS_OF_ESSAYS" id="COLLECTIONS_OF_ESSAYS"></a>COLLECTIONS OF ESSAYS</h2> + +<p class="hanging">Kilmer, Joyce. Literature in the Making. Harper, 1917.</p> + +<p class="hanging">Morley, <a name="corr7" id="corr7"></a><ins class="correction" title="Christopher.">Christopher,</ins> Modern Essays. Harcourt, Brace, 1921.</p> + +<p class="hanging">Tanner, W. M. Essays and Essay-Writing. Atlantic, 1917.</p> + +<p class="hanging">Thomas, Charles Swain. Atlantic Classics, First and Second Series. +Atlantic, 1918.</p> + + + +<hr style="width: 65%;" /> +<p class="noindent"><span class='pagenum'><a name="Page_xix" id="Page_xix">[xix]</a></span></p> + +<h2 class="chapterhead"><a name="BIBLIOGRAPHIES" id="BIBLIOGRAPHIES"></a>BIBLIOGRAPHIES</h2> + + +<p class="noindent center">OF SHORT PLAYS</p> + + +<p class="hanging">Boston Public Library. One-Act Plays in English. 1900-20.</p> + +<p class="hanging">Brown University Library. Plays of Today. 1921. (100 of the best modern +dramas.)</p> + +<p class="hanging">Chicago Public Library. Actable One-Act Plays. 1916.</p> + +<p class="hanging">University of Utah. The One-Act Play in Colleges and High Schools. 1920.</p> + +<p class="hanging">Worcester, Massachusetts, Free Public Library. Selected List of One-Act +Plays. 1921.</p> + + +<p class="hanging">Boynton, Percy H. History of American Literature. 1919.</p> + +<p class="hanging">Cheney, Sheldon. The Art Theatre. 1917. (Appendix.)</p> + +<p class="hanging">Clapp, John Mantel. Plays for Amateurs. 1915. (Drama League of America.)</p> + +<p class="hanging">Clark, Barrett H. How to Produce Amateur Plays. 1917.</p> + +<p class="hanging">Dickinson, Thomas H. The Insurgent Theatre. 1917. (Appendix.)</p> + +<p class="hanging">Drummond, A. M. Fifty One-Act Plays. 1915. (Quarterly Journal of Public +Speaking, I, 234.)</p> + +<p class="hanging">—— —— One-Act Plays for Schools and Colleges. 1918. (Education, IV, +372.)</p> + +<p class="hanging">Johnson, Gertrude Elizabeth. Choosing a Play. Century, 1920.</p> + +<p class="hanging">Lewis, B. Roland. Contemporary One-Act Plays. 1922.</p> + +<p class="hanging">Mackay, Constance <a name="corr8" id="corr8"></a><ins class="correction" title="D’Arcy.">D’Arcy,</ins> The Little Theatre in the United States. 1917. +Appendix.</p> + +<p class="hanging">Mayorga, Margaret <a name="corr9" id="corr9"></a><ins class="correction" title="Gardner.">Gardner,</ins> Representative One-Act Plays by American +Authors. 1919.</p> + +<p class="hanging">Plays for Amateurs; a Selected List Prepared by the Little Theatre +Department of the New York Drama League. Wilson, 1921.</p> + +<p class="hanging">Riley, Alice C. D. The One-Act Play Study Course. 1918. (Drama League +Monthly, Feb.-Apr.)</p> + +<p class="hanging">Shay, <a name="corr10" id="corr10"></a><ins class="correction" title="Frank.">Frank,</ins> Plays and Books of the Little Theatre, 1921.</p> + +<p class="hanging">Shay, Frank, and Loving, P. Fifty Contemporary One-act Plays, 1920.</p> + +<p class="hanging">Stratton, <a name="corr11" id="corr11"></a><ins class="correction" title="Clarence.">Clarence,</ins> Producing in Little Theatres, 1921. (Appendix lists +200 plays for amateurs.)</p> + + +<p class="noindent center" style="margin-top: 1.5em;">OF SHORT STORIES</p> + +<p class="hanging">Hannigan, F. J. Standard Index to Short Stories, 1900-1914. 1918.</p> + +<p class="hanging">O’Brien, E. J. H. Best Short Stories for 1915, 1916, etc. (Published +annually.)</p> + +<p class="noindent"><span class='pagenum'><a name="Page_xx" id="Page_xx">[xx]</a></span> </p> + + + +<hr style="width: 65%;" /> + +<p class="noindent"><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span> </p> + +<h2 class="chapterhead"><a name="CONTEMPORARY_AMERICAN_LITERATURE" id="CONTEMPORARY_AMERICAN_LITERATURE"></a>CONTEMPORARY AMERICAN<br /> +LITERATURE</h2> + +<p class="noindent center"><a name="ALPHABETICAL_LIST_OF_AUTHORS" id="ALPHABETICAL_LIST_OF_AUTHORS"></a>ALPHABETICAL LIST OF AUTHORS</p> + + +<p class="author"><a name="Adams_F" id="Adams_F"></a><b>Franklin Pierce Adams</b>—(Illinois, 1881)—humorous poet, “columnist.”</p> + +<p>Editor of “The Conning Tower” in the <i>New York World</i>.</p> + +<p>For bibliography, cf. <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Adams_H" id="Adams_H"></a><b>Henry (Brooks) Adams</b>—man of letters.</p> + +<p>Born in Boston, 1838. Great-grandson of John Adams and grandson of John +Quincy Adams, presidents of the United States. Brother of Charles Francis +and Brooks Adams. A. B., Harvard, 1858, LL. D., Western Reserve, 1892.</p> + +<p>Secretary to his father, Charles Francis Adams, American Minister to +England, 1861-8. Assistant professor at Harvard, 1870-7, and editor of +<i>North American Review</i>, 1870-6.</p> + +<p>Lived in Washington from 1877 until his death in 1918, but traveled +extensively and knew many famous people.</p> + +<p>In memory of his wife, he commissioned Saint Gaudens to make for her tomb +in Rock Creek Cemetery, Washington, the statue sometimes called +<i>Silence</i>, which is one of the sculptor’s most beautiful works.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. <i>The Education of Henry Adams</i> is autobiographic.</p> + +<p>The persistent irony of the presentation should be corrected by reading +Brooks Adams’s account of his brother.</p> + +<p>2. <i>Mont Saint Michel and Chartres</i> is an attempt to interpret the spirit +of mediæval architecture, both secular and ecclesiastical. To appreciate +it fully, familiarity with the subject is necessary.</p> + +<p>The novels are worth study as satires.<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"> +<li class="leftpad">Democracy. 1880. (Novel.)</li> +<li class="leftpad">Esther. 1884. (Novel; under pseudonym, “Frances Snow Compton.”)</li> +<li class="leftpad">Historical Essays. 1891.</li> +<li class="leftpad">Mont Saint Michel and Chartres. 1904.</li> +<li class="leftpad">The Education of Henry Adams. 1918.</li> +<li class="leftpad">The Degradation of the Democratic Dogma. 1919.</li> +<li class="leftpad">Letters to a Niece and Prayer to the Virgin of Chartres. 1920.</li> +<li class="leftpad">Also in: A Cycle of Adams Letters, 1861-1865. Edited by Worthington Chauncey Ford. 1920.</li> +</ul> + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cambridge.</li> +<li> </li> +<li class="leftpad">Ath. 1919, 1: 361; 1919, 2: 633; 1920, 1: 243, 665.</li> +<li class="leftpad">Atlan. 125 (’20): 623; 127 (’21): 140.</li> +<li class="leftpad">Bookm. (Lond.) 57 (’19): 30.</li> +<li class="leftpad">Cur. Op. 66 (’19): 108.</li> +<li class="leftpad">Dial, 65 (’18): 468.</li> +<li class="leftpad">Dublin Rev. 164 (’19): 218.</li> +<li class="leftpad">Harv. Grad. M. 26 (’18): 540.</li> +<li class="leftpad">Lond. Times, May 30, 1919: 290.</li> +<li class="leftpad">Nation, 106 (’18): 674.</li> +<li class="leftpad">New Repub. 15 (’18): 106.</li> +<li class="leftpad">New Statesman, 16 (’21): 711.</li> +<li class="leftpad">19th Cent. 85 (’19): 981.</li> +<li class="leftpad">Pol. Sci. Q. 34 (’19): 305.</li> +<li class="leftpad">Scrib. M. 69 (’21): 576 (portrait).</li> +<li class="leftpad">Spec. 122 (’19): 231.</li> +<li class="leftpad">World’s Work, 4 (’02): 2324.</li> +<li class="leftpad">Yale Rev. n. s. 8 (’19): 580; n. s. 9 (’20): 271, 890.</li> +</ul> + + + +<p class="author"><a name="Ade_G" id="Ade_G"></a><b>George Ade</b>—humorist, dramatist.</p> + +<p>Born at Kentland, Indiana, 1866. B. S., Purdue University, 1887. Newspaper +work at Lafayette, Indiana, 1887-90. On the <i>Chicago Record</i>, 1890-1900.</p> + +<p>Although some of his earlier plays were successful and promised a career +as dramatist, his reputation now rests chiefly upon his humorous modern +fables.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Fables in Slang. 1900.</li> +<li class="leftpad">More Fables. 1900.</li> +<li class="leftpad">Forty Modern Fables. 1901.</li> +<li class="leftpad">The County Chairman. 1903. (Play.)</li> +<li class="leftpad">The College Widow. 1904. (Play.)</li> +<li class="leftpad">Ade’s Fables. 1914.</li> +<li class="leftpad">Hand-Made Fables. 1920.</li> +</ul> + +<p>For complete bibliography, see <i>Cambridge</i>, III (IV), 640, 763.<span class='pagenum'><a name="Page_3" id="Page_3">[3]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Moses.</li> +<li> </li> +<li class="leftpad">Am. M. 73 (’11): 71 (portrait), 73.</li> +<li class="leftpad">Bookm. 51 (’20): 568; 54 (’21): 116.</li> +<li class="leftpad">Harp. W. 47 (’03): 411 (portrait), 426.</li> +<li class="leftpad">No. Am. 176 (’03): 739. (Howells.)</li> +<li class="leftpad">Rev. 2 (’20): 461.</li> +</ul> + + + +<p class="author"><a name="Aiken_C" id="Aiken_C"></a><b>Conrad Potter Aiken</b>—poet, critic.</p> + +<p>Born at Savannah, Georgia, 1889. A. B., Harvard, 1912. Has lived abroad, +in London, Rome, and Windermere.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. A good introduction to Mr. Aiken’s verse is his own explanation of his +theory in <i>Poetry</i>, 14 (’19); 152ff. To readers to whom this is not +accessible, the following extracts may furnish some clue as to his aim +and method:</p> + +<div class="blockquot"><p>What I had from the outset been somewhat doubtfully hankering for +was some way of getting contrapuntal effects in poetry—the effects +of contrasting and conflicting tones and themes, a kind of +underlying simultaneity in dissimilarity. It seemed to me that by +using a large medium, dividing it into several main parts, and +subdividing these parts into short movements in various veins and +forms, this was rendered possible. I do not wish to press the +musical analogies too closely. I am aware that the word symphony, as +a musical term, has a very definite meaning, and I am aware that it +is only with considerable license that I use the term for such poems +as <i>Senlin</i> or <i>Forslin</i>, which have three and five parts +respectively, and do not in any orthodox way develop their themes. +But the effect obtained is, very roughly speaking, that of the +symphony, or symphonic poem. Granted that one has chosen a theme—or +been chosen by a theme!—which will permit rapid changes of tone, +which will not insist on a tone too static, it will be seen that +there is no limit to the variety of effects obtainable: for not only +can one use all the simpler poetic tones...; but, since one is using +them as parts of a larger design, one can also obtain novel effects +by placing them in juxtaposition as consecutive movements....</p> + +<p>All this, I must emphasize, is no less a matter of emotional tone +than of form; the two things cannot well be separated. For such +symphonic effects one employs what one might term emotion-mass with +just as deliberate a regard for its position in the total design as +one would employ a variation of form. One should regard this or that +emotional theme as a musical unit having such-and-such a tone +quality, and use <span class='pagenum'><a name="Page_4" id="Page_4">[4]</a></span>it only when that particular tone-quality is +wanted. Here I flatly give myself away as being in reality in quest +of a sort of absolute poetry, a poetry in which the intention is not +so much to arouse an emotion merely, or to persuade of a reality, as +to employ such emotion or sense of reality (tangentially struck) +with the same cool detachment with which a composer employs notes or +chords. Not content to present emotions or things or sensations for +their own sakes—as is the case with most poetry—this method takes +only the most delicately evocative aspects of them, makes of them a +keyboard, and plays upon them a music of which the chief +characteristic is its elusiveness, its fleetingness, and its +richness in the shimmering overtones of hint and suggestion. Such a +poetry, in other words, will not so much present an idea as use its +resonance.</p></div> + +<p>2. An interesting comparison may be made between the work of Mr. Aiken, +and that of Mr. T. S. Eliot (<a href="#Eliot_T">q. v.</a>), of whom he is an admirer. See also +Sidney Lanier’s latest poems.</p> + +<p>3. Another interesting study is the influence of Freud upon the poetry of +Mr. Aiken.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Earth Triumphant and Other Tales. 1914.</li> +<li class="leftpad">Turns and Movies. 1916.</li> +<li class="leftpad">The Jig of Forslin. 1916.</li> +<li class="leftpad">Nocturne of Remembered Spring. 1917.</li> +<li class="leftpad">The Charnel Rose; Senlin: a Biography, and other Poems. 1918.</li> +<li class="leftpad">Scepticisms: Notes on Contemporary Poetry. 1919.</li> +<li class="leftpad">The House of Dust. 1920.</li> +<li class="leftpad">Punch, the Immortal Liar. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Ath. 1919, 2: 798, 840; 1920, 1: 10.</li> +<li class="leftpad">Bookm. 47 (’18): 269; 51 (’20): 194.</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 26.</li> +<li class="leftpad">Dial, 64 (’18): 291 (J. G. Fletcher); 66 (’19): 558 (J. G. Fletcher); +68 (’20): 491; 70 (’21): 343, 700.</li> +<li class="leftpad">Egoist, 5 (’18): 60.</li> +<li class="leftpad">Nation, 111 (’20): 509.</li> +<li class="leftpad">Poetry, 9 (’16): 99; 10 (’17): 162; 13 (’18): 102; 14 (’19): 152; +15 (’20): 283; 17 (’21): 220.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span></p> + + + +<p class="author"><a name="Aikman_H" id="Aikman_H"></a><b>“Henry G. Aikman” (Harold H. Armstrong)</b>—novelist. Born in 1879. His +books dealing with the psychology of the young man have attracted +attention.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Groper. 1919.</li> +<li class="leftpad">Zell. 1921.</li> +</ul> + +<p>For reviews, see <i>Book Review Digest</i>, 1919, 1921.</p> + + + +<p class="author"><a name="Akins_Z" id="Akins_Z"></a><b>Zoë Akins</b> (Missouri, 1886)—dramatist.</p> + +<p>Attracted attention by her <i>Papa</i>, 1913, produced, 1919. Followed up this +success by <i>Déclassée</i>, also produced 1919 (quoted with illustrations in +<i>Current Opinion</i>, 68 [’20]: 187); and <i>Daddy’s Gone A-Hunting</i>, produced +1921.</p> + +<p>For complete bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Aldington_M" id="Aldington_M"></a><b>Mrs. Richard Aldington</b> (Hilda Doolittle, “H. D.”)—poet.</p> + +<p>Born at Bethlehem, Pennsylvania, 1886. Studied at Bryn Mawr, 1904-5, but +ill health compelled her to give up college work. In 1911, she went +abroad and remained there. In 1913, she married Richard Aldington, the +English poet (cf. Manly and Rickert, <i>Contemporary British Poetry</i>).</p> + +<p>“H. D.’s” work is commonly regarded as the most perfect embodiment of the +Imagist theory.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Sea Garden. 1916.</li> +<li class="leftpad">Hymen. 1921.</li> +<li class="leftpad">Also in: Des Imagistes. 1914.</li> +<li style="font-size: 90%; padding-left: 3.6em;">Some Imagist Poets. 1915, 1916.</li> +<li style="font-size: 90%; padding-left: 3.6em;">The Egoist. (<i>Passim.</i>)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Lowell.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. (Lond.) 51 (’17): 132.</li> +<li class="leftpad">Chapbook, 2 (’20): No. 9, p. 22. (Flint.)</li> +<li class="leftpad">Dial, 72 (’22): 203. (May Sinclair.)</li> +<li class="leftpad">Egoist, 2 (’15): 72 (Flint); 88 (May Sinclair).</li> +<li class="leftpad">Little Review, 5 (’18): Dec., p. 14. (Pound.)</li> +<li class="leftpad">Lond. Times, Oct. 5, 1916: 479.</li> +<li class="leftpad">Poetry, 20 (’20): 333.</li> +<li class="leftpad">Poetry Journal, 7 (’17): 171.</li> +</ul> +<p><span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span></p> + + + +<p class="author"><a name="Allen_J" id="Allen_J"></a><b>James Lane Allen</b>—novelist.</p> + +<p>Born near Lexington, Kentucky, 1849, of Scotch-Irish Revolutionary +ancestry. A. B., A. M., Transylvania University; and honorary higher +degrees. Taught in various schools and colleges. Since 1886 has given his +time entirely to writing. Nature lover. Describes the Kentucky life that +he knows.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Flute and Violin and Other Kentucky Tales and Romances. 1891.</li> +<li class="leftpad">The Blue Grass Region of Kentucky and Other Kentucky Articles. 1892.</li> +<li class="leftpad">John Gray—a Novel. 1893.</li> +<li class="star">*A Kentucky Cardinal. 1895.</li> +<li class="leftpad">Aftermath. 1896.</li> +<li class="leftpad">A Summer in Arcady. 1896.</li> +<li class="leftpad">The Choir Invisible. 1897. (Novel; play, 1899.)</li> +<li class="leftpad">Two Gentlemen of Kentucky. 1899.</li> +<li class="leftpad">The Reign of Law. A Tale of the Kentucky Hemp Fields. 1900.</li> +<li class="star">*The Mettle of the Pasture. 1903.</li> +<li class="leftpad">The Bride of the Mistletoe. 1909.</li> +<li class="leftpad">The Doctor’s Christmas Eve. 1910.</li> +<li class="leftpad">The Heroine in Bronze, or A Portrait of a Girl. 1912.</li> +<li class="leftpad">The Last Christmas Tree. 1914.</li> +<li class="leftpad">The Sword of Youth. 1915.</li> +<li class="leftpad">A Cathedral Singer. 1916.</li> +<li class="leftpad">The Kentucky Warbler. 1918.</li> +<li class="leftpad">The Emblems of Fidelity. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Harkins.</li> +<li class="leftpad">Pattee.</li> +<li class="leftpad">Toulmin.</li> +<li> </li> +<li class="leftpad">Acad. 59 (’00): 35; 76 (’09): 800; 88 (’15): 234.</li> +<li class="leftpad">Bk. Buyer, 20 (’00): 350, 374.</li> +<li class="leftpad">Bookm. 32 (’10-11): 360, 640.</li> +<li class="leftpad">Cur. Lit. 29 (’00): 147; 35 (’03): 129 (portrait).</li> +<li class="leftpad">Lamp, 27 (’03): 117, 119 (portrait).</li> +<li class="leftpad">Mentor, 6 (’18): 2 (portrait).</li> +<li class="leftpad">Outlook, 96 (’10): 811.</li> +</ul> + + + +<p class="author"><a name="Anderson_S" id="Anderson_S"></a><b>Sherwood Anderson</b>—short-story writer, novelist.</p> + +<p>Born at Camden, Ohio, 1876. Of Scotch-Irish ancestry. Father a journeyman +harness-maker. Public school education. At the age of sixteen or +seventeen came to Chicago<span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span> and worked four or five years as a laborer. +Soldier in the Spanish-American War. Later, in the advertising business.</p> + +<p>In 1921, received the prize of $2,000 offered by <i>The Dial</i> to further +the work of the American author considered to be most promising.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. The autobiographical element in Mr. Anderson’s work is marked and +should never be forgotten in judging his work. The conventional element +is easily discoverable as patched on, particularly in the long books.</p> + +<p>2. To realize the qualities that make some critics regard Mr. Anderson as +perhaps our most promising novelist, examples should be noted of the +following qualities which he possesses to a striking degree: (1) +independence of literary traditions and methods; (2) a keen eye for +details; (3) a passionate desire to interpret life; (4) a strong sense of +the value of individual lives of little seeming importance.</p> + +<p>3. Are Mr. Anderson’s defects due to the limitations of his experience, +or do you notice certain temperamental defects which he is not likely to +outgrow?</p> + +<p>4. Mr. Anderson’s experiments in form are interesting to study. Compare +the prosiness of his verse with his efforts to use poetic cadence in <i>The +Triumph of the Egg</i>. Does it suggest to you the possibility of developing +a form intermediate between prose and free verse?</p> + +<p>5. Does Mr. Anderson succeed best as novelist or as short-story writer? +Why?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Windy McPherson’s Son. 1916. (Novel.)</li> +<li class="leftpad">Marching Men. 1917. (Novel.)</li> +<li class="leftpad">Mid-American Chants. 1918. (Poems.)</li> +<li class="leftpad">Winesburg, Ohio. 1919.</li> +<li class="leftpad">Poor White. 1920. (Novel.)</li> +<li class="leftpad">The Triumph of the Egg. 1921.</li> +</ul> +<p><span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 45 (’17): 302 (portrait), 307.</li> +<li class="leftpad">Dial, 72 (’22): 29, 79.</li> +<li class="leftpad">Freeman, 2 (’21) 1403; 4 (’21): 281.</li> +<li class="leftpad">New Repub. 9 (’17): 333; 24 (’20): 330; 28 (’21): 383.</li> +<li class="leftpad">New Statesman, 8 (’17): 330.</li> +<li class="leftpad">Poetry, 12 (’18): 155.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Andrews_M" id="Andrews_M"></a><b>Mary Raymond Shipman Andrews</b>—(<b>Mrs. William Shankland +Andrews</b>)—short-story writer, novelist.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*The Perfect Tribute. 1906.</li> +<li class="leftpad">The Militants. 1907.</li> +<li class="star">*The Lifted Bandage. 1910.</li> +<li class="leftpad">The Counsel Assigned. 1912.</li> +<li class="leftpad">The Marshal. 1912.</li> +<li class="leftpad">The Three Things. 1915.</li> +<li class="leftpad">Joy in the Morning. 1919.</li> +<li class="leftpad">His Soul Goes Marching On. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 27 (’08): 155.</li> +<li class="leftpad">Nation, 85 (’07): 58.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1912, 1915, 1919.</li> +</ul> + + + +<p class="author"><a name="Antin_M" id="Antin_M"></a><b>Mary Antin (Mrs. Amadeus W. Grabau)</b>—writer.</p> + +<p>Born at Polotzk, Russia, 1881. Came to America in 1894. Educated in +American schools. Studied at Teachers’ College, Columbia, 1901-2, and at +Barnard College, 1902-4.</p> + +<p>Her second book attracted attention for its fresh and sympathetic +treatment of the experiences of immigrants coming to this country.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">From Polotzk to Boston. 1899.</li> +<li class="star">*The Promised Land. 1912.</li> +<li class="leftpad">They Who Knock at Our Gates. 1914.</li> +</ul> +<p><span class='pagenum'><a name="Page_9" id="Page_9">[9]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Acad. 83 (’12): 637.</li> +<li class="leftpad">Am. M. 77 (’14): Mar., p. 64 (portrait).</li> +<li class="leftpad">Bookm. 35 (’12): 584.</li> +<li class="leftpad">J. Educ. 81 (’15): 91.</li> +<li class="leftpad">Lond. Times, Oct. 10, 1912: 420.</li> +<li class="leftpad">Outlook, 104 (’13): 473 (portrait).</li> +</ul> + + + +<p class="author"><a name="Arensberg_W" id="Arensberg_W"></a><b>Walter Conrad Arensberg</b>—poet.</p> + +<p>Illustrates in his <i>Poems</i>, 1914, and <i>Idols</i>, 1916, conversion from the +old forms of verse to the new. Cf. also <i>Others</i>, 1916.</p> + +<p>For studies, cf. Untermeyer; also <i>Dial</i>, 69 (’20): 61 <i>Poetry</i>, 8 (’16): +208.</p> + + + +<p class="author"><a name="Atherton_G" id="Atherton_G"></a><b>Gertrude Franklin Atherton (Mrs. George H. Bowen Atherton)</b>—novelist.</p> + +<p>Born at San Francisco, 1859. Great-grandniece of Benjamin Franklin. +Educated in private schools. Has lived much abroad.</p> + +<p>Mrs. Atherton’s work is very uneven, but is interesting as reflecting +different aspects of social and political life in this country.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Doomswoman. 1892.</li> +<li class="leftpad">Patience Sparhawk and Her Times. 1897.</li> +<li class="star">*American Wives and English Husbands. 1898. (Revised edition, 1919; +under the title <i>Transplanted</i>.)</li> +<li class="leftpad">The Californians. 1898.</li> +<li class="star">*Senator North. 1900.</li> +<li class="leftpad">The Aristocrats. 1901.</li> +<li class="star">*The Conqueror. 1902.</li> +<li class="leftpad">The Splendid Idle Forties. 1902.</li> +<li class="leftpad">Rezanov. 1906.</li> +<li class="star">*Ancestors. 1907.</li> +<li class="leftpad">Perch of the Devil. 1914.</li> +<li class="leftpad">California—an Intimate History. 1914.</li> +<li class="leftpad">The White Morning. 1918.</li> +<li class="leftpad">Sisters-in-law. 1921.</li> +<li class="leftpad">Sleeping Fires. 1922.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_10" id="Page_10">[10]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Courtney, W. L. The Feminine Note in Fiction. 1904.</li> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Harkins. (Women.)</li> +<li class="leftpad">Underwood.</li> +<li> </li> +<li class="leftpad">Bookm. 12 (’01): 541, 542 (portrait); 30 (’09): 356.</li> +<li class="leftpad">Forum, 58 (’17): 585.</li> +</ul> + + + +<p class="author"><a name="Austin_M" id="Austin_M"></a><b>Mary Hunter Austin (Mrs. Stafford W. Austin)</b>—novelist, dramatist.</p> + +<p>Born at Carlinville, Illinois, 1868. At the age of nineteen went to live +in California. B. S., Blackburn University, 1888. Lived on the edge of the +Mohave Desert where she is said to have worked like an Indian woman, +housekeeping and gardening. Studied the desert, its form, its weather, +its lights, its plants. Also studied Indian lore extensively, +contributing the chapter on Aboriginal Literature to the <i>Cambridge +History of American Literature</i> (IV [Later National Literature, III], +610ff.).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Land of Little Rain. 1903.</li> +<li class="star">*The Basket Woman: Fanciful Tales for Children. 1904.</li> +<li class="leftpad">Isidro. 1905.</li> +<li class="leftpad">The Flock. 1906.</li> +<li class="leftpad">Santa Lucia. 1908.</li> +<li class="leftpad">Lost Borders. 1909.</li> +<li class="star">*The Arrow Maker. 1911. (Play.) (Also in <i>Drama</i>, 1915.)</li> +<li class="star">*A Woman of Genius. 1912.</li> +<li class="leftpad">The Green Bough. 1913.</li> +<li class="leftpad">The Lovely Lady. 1913.</li> +<li class="leftpad">Love and the Soul-Maker. 1914.</li> +<li class="leftpad">The Man Jesus. 1915.</li> +<li class="leftpad">The Ford. 1917.</li> +<li class="leftpad">Outland. 1919. (Originally published under the pseudonym, “Gordon +Stairs,” London, 1910.)</li> +<li class="leftpad">No. 26 Jayne Street. 1920.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Am. M. 72 (’11): 178 (portrait).</li> +<li class="leftpad">Bookm. 35 (’12): 586 (portrait).</li> +<li class="leftpad">Cur. Lit. 53 (’12): 698 (portrait.)</li> +<li class="leftpad">Freeman, 1 (’20): 311.</li> +<li class="leftpad">New Repub. 24 (’20): 151.</li> +<li class="leftpad">R. of Rs. 47 (’13): 241 (portrait).</li> +<li class="leftpad">Review, 3 (’20): 73.</li> +<li class="leftpad">Sunset, 43 (’19): 49 (portrait).</li> +</ul> + + + +<p class="author"><a name="Bacheller_I" id="Bacheller_I"></a><b>Irving (Addison) Bacheller</b> (New York, 1859)—novelist.</p> + +<p>His outstanding books are:</p> + + +<ul class="bib"><li class="leftpad">Eben Holden. 1900.</li> +<li class="leftpad">A Man for the Ages. 1919. (Lincoln, the hero.)</li> +</ul> + +<p>For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Bacon_J" id="Bacon_J"></a><b>Josephine Dodge Daskam Bacon (Mrs. Selden Bacon)</b>—novelist.</p> + +<p>Born at Stamford, Connecticut, 1876. A. B., Smith College, 1898.</p> + +<p>Mrs. Bacon has made a special study of child life.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Smith College Stories. 1900.</li> +<li class="leftpad">The Imp and the Angel. 1901.</li> +<li class="leftpad">Fables for the Fair. 1901.</li> +<li class="leftpad">The Madness of Philip. 1902.</li> +<li class="leftpad">Middle Aged Love Stories. 1903.</li> +<li class="star">*Memoirs of a Baby. 1904.</li> +<li class="leftpad">The Domestic Adventurers. 1907.</li> +<li class="star">*Biography of a Boy. 1910.</li> +<li class="leftpad">While Caroline Was Growing. 1911.</li> +<li class="leftpad">Margarita’s Soul. 1909. (Under the pseudonym “Ingraham Lovell.”)</li> +<li class="leftpad">Open Market. 1915.</li> +<li class="leftpad">When Binks Came. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 69 (’10): 765, 766 (portrait).</li> +<li class="leftpad">Bk. Buyer, 20 (’00): 191 (portrait).</li> +<li class="leftpad">Bookm. 27 (’08): 159.</li> +<li class="leftpad">Critic, 40 (’02): 332 (portrait), 335.</li> +<li class="leftpad">Outlook, 78 (’04): 288 (portrait).</li> +</ul> + +<p><span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span></p> + + +<p class="author"><a name="Baker_R" id="Baker_R"></a><b>Ray Stannard Baker (“David Grayson”)</b>—man of letters.</p> + +<p>Born at Lansing, Michigan, 1870. B. S., Michigan Agricultural College, +1889. Studied law and literature at University of Michigan; LL. D., 1917. +On the <i>Chicago Record</i>, 1892-7. Managing editor of McClure’s Syndicate, +1897-8, and associate editor of <i>McClure’s Magazine</i>, 1899-1905. On the +<i>American Magazine</i>, 1906-15. Director of Press Bureau of the American +Commission to Negotiate Peace at Paris, 1919.</p> + +<p>His studies of country life under the pseudonym “David Grayson” are +widely popular.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Adventures in Contentment. 1907.</li> +<li class="leftpad">Adventures in Friendship. 1910.</li> +<li class="leftpad">The Friendly Road. 1913.</li> +<li class="leftpad">Hempfield. 1915.</li> +<li class="leftpad">Great Possessions. 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Acad. 86 (’14): 137.</li> +<li class="leftpad">Am. M. 78 (’14)138.</li> +<li class="leftpad">Bookm. 43 (’16): 1 (portrait), 394.</li> +<li class="leftpad">Bookm. (Lond.) 39 (’11): 290; 47 (’14): 107.</li> +<li class="leftpad">McClure’s, 24 (’04): 108, 110 (portrait).</li> +</ul> + + + +<p class="author"><a name="Bangs_J" id="Bangs_J"></a><b>John Kendrick Bangs</b> (New York, 1862-1922)—humorist.</p> + +<p>Published some sixty volumes of prose sketches, verses, stories, and +plays, most of which belong to the nineteenth century. Characteristic +volumes are:</p> + + +<ul class="bib"><li class="leftpad">Coffee and Repartee. 1893.</li> +<li class="leftpad">A House Boat on the Styx. 1895.</li> +<li class="leftpad">The Bycyclers and Other Farces. 1896.</li> +<li class="leftpad">A Rebellious Heroine. 1896.</li> +<li class="leftpad">Alice in Blunderland. 1907.</li> +<li class="leftpad">Autobiography of Methuselah. 1909.</li> +<li class="leftpad">The Foothills of Parnassus. 1914.</li> +</ul> + +<p>For complete bibliography, cf. <i>Who’s Who in America</i>.<span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey.</li> +<li class="leftpad">Harkins.</li> +<li> </li> +<li class="leftpad">Bk. Buyer, 20 (’00): 183 (portrait), 208.</li> +<li class="leftpad">Bookm. 15 (’02): 412 (portrait).</li> +<li class="leftpad">Critic, 42 (’03): 105 (portrait).</li> +<li class="leftpad">Harp. W. 46 (’02): 891; 51 (’07): 23, 28. (Portraits.)</li> +</ul> + + + +<p class="author"><a name="Beach_R" id="Beach_R"></a><b>Rex Ellingwood Beach</b> (Michigan, 1877)—novelist.</p> + +<p>Writer of novels of adventure, mainly about Alaska. For bibliography, see +<i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Beebe_W" id="Beebe_W"></a><b>(Charles) William Beebe</b>—Nature writer.</p> + +<p>Born at Brooklyn, 1877. B. S., Columbia, 1898; post-graduate work, 1898-9. +Honorary Curator of Ornithology, New York Zoölogical Society since 1899; +director of the British Guiana Zoölogical Station. Has traveled +extensively in Asia, South America, and Mexico, especially, for purposes +of observation.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Although Mr. Beebe is preëminently an ornithologist, he belongs to +literature by reason of the volumes of nature studies listed below. A +comparison of his books with those of the English ornithologist, W. H. +Hudson (cf. Manly and Rickert, <i>Contemporary British Literature</i>) is +illuminative of the merits of both.</p> + +<p>2. Another interesting comparison may be made between Mr. Beebe’s +descriptions of the jungle in <i>Jungle Peace</i> and H. M. Tomlinson’s in <i>Sea +and Jungle</i> (cf. Manly and Rickert, <i>op. cit.</i>).</p> + +<p>3. An analysis of the use of suggestion in appeal to the different senses +brings out one of the main sources of Mr. Beebe’s charm as a writer.</p> + +<p>4. Read aloud several fine passages to observe the prose rhythms.<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Two Bird Lovers in Mexico. 1905.</li> +<li class="leftpad">The Log of the Sun. 1906.</li> +<li class="leftpad">Our Search for a Wilderness. 1910. (With Mrs. Beebe.)</li> +<li class="leftpad">Tropical Wild Life in British Guiana. 1917.</li> +<li class="star">*Jungle Peace. 1918.</li> +<li class="leftpad">Edge of the Jungle. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Nation, 106 (’18): 213.</li> +<li class="leftpad">Science, n. s. 50 (’19): 473.</li> +<li class="leftpad">Spec. 95 (’05): 1128.</li> +<li class="leftpad">Travel, 38 (’21): 17 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1921.</li> +</ul> + + + +<p class="author"><a name="Belasco_D" id="Belasco_D"></a><b>David Belasco</b>—dramatist.</p> + +<p>Born at San Francisco, 1859. Stage manager of various theatres and +producer of many plays. Owner and manager of Belasco Theatre, New York +City.</p> + +<p>His most successful recent play, <i>The Return of Peter Grimm</i> (1911), is +printed by Baker, <i>Modern American Plays</i>, 1920, and by Moses, +<i>Representative Plays by American Dramatists</i>, 1918-21, III. For +bibliography of unpublished plays, cf. <i>Cambridge</i>, III (IV), 763.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Eaton, W. P. Plays and Players. 1916.</li> +<li class="leftpad">Moses.</li> +<li class="leftpad">Winter, William. Life of David Belasco. 1918.</li> +<li class="leftpad">Acad. 83 (’12): 673.</li> +<li class="leftpad">Nation, 100 (’10): 525.</li> +<li class="leftpad">New Repub. 8 (’16): 155.</li> +<li class="leftpad">Theatre Arts M. 5 (’21): 259=Outlook, 127 (’21): 418 (portrait).</li> +</ul> + + + +<p class="author"><a name="Benet_S" id="Benet_S"></a><b>Stephen Vincent Benét</b>—poet, novelist.</p> + +<p>Born at Bethlehem, Pennsylvania, 1898; brother of William Rose Benét +(<a href="#Benet_W">q. v.</a>) Graduate of Yale, 1919.</p> + +<p>Mr. Benét’s work at once attracted attention by its qualities of +exuberance and fancy. In 1921, he shared with Carl Sandburg (<a href="#Sandburg_C">q. v.</a>) the +prize of the Poetry Society of America.<span class='pagenum'><a name="Page_15" id="Page_15">[15]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Five Men and Pompey. 1915.</li> +<li class="leftpad">The Drug Shop. 1917.</li> +<li class="leftpad">Young Adventure. 1918.</li> +<li class="leftpad">Heavens and Earth. 1920.</li> +<li class="leftpad">The Beginning of Wisdom. 1921. (Novel.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 558 (Phelps); 54 (’21): 394.</li> +<li class="leftpad">Dial, 71 (’21): 597.</li> +<li class="leftpad">Poetry, 16 (’20): 53; 20 (’22): 340.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Benet_W" id="Benet_W"></a><b>William Rose Benét</b>—poet.</p> + +<p>Born at Fort Hamilton, New York Harbor, 1886. Ph. B., Sheffield Scientific +School, Yale, 1907. Free lance writer in California 1907-11. Reader for +the <i>Century Magazine</i>, 1911-18. In 1920, associate editor of the +<i>Literary Review</i> of the <i>New York Evening Post</i>.</p> + +<p>Mr. Benét’s verse has attracted attention for its pictorial imagination, +vigorous rhythms, and grotesque and lively fancy.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Merchants from Cathay. 1913.</li> +<li class="leftpad">The Falconer of God. 1914.</li> +<li class="leftpad">The Great White Wall. 1916.</li> +<li class="leftpad">The Burglar of the Zodiac. 1918.</li> +<li class="leftpad">Perpetual Light. 1919.</li> +<li class="leftpad">Moons of Grandeur. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. 47 (’18): 558; 53 (’21): 168.</li> +<li class="leftpad">Dial, 56 (’14): 67.</li> +<li class="leftpad">Poetry, 5 (’14): 91; 9 (’17): 322; 12 (’18): 216; 15 (’19): 48.</li> +<li class="leftpad">R. of Rs. 51 (’15): 759.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1914, 1917, 1918, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_16" id="Page_16">[16]</a></span></p> + + + +<p class="author"><a name="Bercovici_K" id="Bercovici_K"></a><b>Konrad Bercovici</b>—story writer.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Crimes of Charity. 1917. (With introduction by John Reed.)</li> +<li class="leftpad">Dust of New York. 1919. (Short stories.)</li> +<li class="leftpad">Ghiza and Other Romances of Gipsy Blood. 1921.</li> +</ul> + +<p>For reviews, see <i>Book Review Digest</i>, 1917, 1919, 1921.</p> + + + +<p class="author"><a name="Bjorkman_E" id="Bjorkman_E"></a><b>Edwin (August) Björkman</b>—critic.</p> + +<p>Born at Stockholm, Sweden, 1866. Educated in Stockholm high school. +Clerk, actor, and journalist in Sweden, 1881-91. Came to America, 1891. +On staffs of St. Paul and Minneapolis papers, 1892-7; on the <i>New York +Sun</i> and <i>New York Times</i>, 1897-1905. On the editorial staff of the <i>New +York Evening Post</i>, 1906. Department editor of the <i>World’s Work</i> and +editor of the <i>Modern Drama Series</i>, 1912—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Is There Anything New Under the Sun? 1911.</li> +<li class="leftpad">Gleams: A Fragmentary Interpretation of Man and His World. 1912.</li> +<li class="leftpad">Voices of To-morrow. 1913.</li> +<li class="leftpad">The Soul of a Child. 1922. (Novel.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Op. 55 (’13): 190 (portrait).</li> +<li class="leftpad">R. of Rs. 45 (’12): 115 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913.</li> +</ul> + + + +<p class="author"><a name="Bodenheim_M" id="Bodenheim_M"></a><b>Maxwell Bodenheim</b>—poet.</p> + +<p>Born at Natchez, Mississippi, 1892. Grammar school education. Served in +the U. S. Army, 1910-13. Studied law and art in Chicago.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>Mr. Bodenheim gets his effects by his management of detail. For this +reason, his use of picture-making words and suggestive phrases offers +material for special study. See the <i>New Republic</i>, 13 (’17): 211, for +his own statement of his creed.<span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Minna and Myself. 1918.</li> +<li class="leftpad">Advice. 1920.</li> +<li class="leftpad">Introducing Irony. 1922.</li> +<li class="leftpad">Also in: Poetry. (<i>Passim.</i>)</li> +<li style="font-size: 90%; padding-left: 3.6em;">The Little Review. (<i>Passim.</i>)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Dial, 66 (’19): 356; 69 (’20): 645.</li> +<li class="leftpad">Poetry, 13 (’19): 342.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Bradford_G" id="Bradford_G"></a><b>Gamaliel Bradford</b>—man of letters.</p> + +<p>Born at Boston, 1863. Studied at Harvard, 1882; no degree, because of ill +health. Has confined his attention almost entirely to literature since +1886. Specializes in character portraits.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Types of American Character. 1895.</li> +<li class="leftpad">A Pageant of Life. 1904.</li> +<li class="leftpad">The Private Tutor. 1904.</li> +<li class="leftpad">Between Two Masters. 1906.</li> +<li class="leftpad">Matthew Porter. 1908.</li> +<li class="leftpad">Lee, the American. 1912.</li> +<li class="leftpad">Confederate Portraits. 1914.</li> +<li class="leftpad">Union Portraits. 1916.</li> +<li class="leftpad">Portraits of Women. 1916.</li> +<li class="leftpad">A Naturalist of Souls. 1917.</li> +<li class="leftpad">Portraits of American Women. 1919.</li> +<li class="leftpad">The Prophet of Joy. 1920. (Poems.)</li> +<li class="leftpad">Shadow Verses. 1920.</li> +<li class="leftpad">American Portraits, 1875-1900. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 41 (’15): 586 (portrait); 52 (’20): 170.</li> +<li class="leftpad">Nation, 112 (’21): 86.</li> +<li class="leftpad">New Repub. 9 (’16): supp. p. 3.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span></p> + + + +<p class="author"><a name="Broadhurst_G" id="Broadhurst_G"></a><b>George H. Broadhurst</b> (1866)—dramatist.</p> + +<p>Of his plays the following have been published:</p> + + +<ul class="bib"><li class="leftpad">What Happened to Jones. 1897.</li> +<li class="leftpad">The Man of the Hour. 1908.</li> +<li class="leftpad">Why Smith Left Home. 1912.</li> +<li class="leftpad">The Law of the Land. 1914.</li> +<li class="leftpad">Innocent. 1914.</li> +<li class="leftpad">Bought and Paid for. 1916.</li> +</ul> + +<p>For bibliography of unpublished plays, see <i>Cambridge</i>, III (IV), 773.</p> + + + +<p class="author"><a name="Brody_A" id="Brody_A"></a><b>Alter Brody</b>—poet.</p> + +<p>Born in Russia, 1895, of a Russian-Jewish family. Came to New York when +he was eight years old. Very little education. Translated for Jewish and +American newspapers. His first poems appeared in <i>The Seven Arts</i> (cf. +<a href="#Oppenheim_J">James Oppenheim</a>).</p> + +<p>His one book, <i>A Family Album</i>, 1918, is interesting for its realistic +pictures of New York as seen through the temperament of a Russian Jew.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Poetry, 14 (’19): 280.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918.</li> +</ul> + + + +<p class="author"><a name="Brooks_C" id="Brooks_C"></a><b>Charles (Stephen) Brooks</b>—essayist.</p> + +<p>Born in 1878. Graduate of Yale. Business man in Cleveland. Essay writing +an avocation.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Journeys to Bagdad. 1915.</li> +<li class="leftpad">“There’s Pippins and Cheese to Come.” 1917.</li> +<li class="leftpad">Chimney-Pot Papers. 1919.</li> +<li class="leftpad">Luca Sarto. 1920. (Historical novel.)</li> +<li class="leftpad">Hints to Pilgrims. 1921.</li> +<li class="leftpad">Frightful Plays! 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 439 (portrait).</li> +<li class="leftpad">Nation, 109 (’19): 178.</li> +<li class="leftpad">Review, 2 (’20): 463.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1917, 1919, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p> + + + +<p class="author"><a name="Brooks_V" id="Brooks_V"></a><b>Van Wyck Brooks</b>—critic.</p> + +<p>Born at Plainfield, New Jersey, 1886. A. B., Harvard, 1907. Taught at +Leland Stanford, 1911-3. With the Century Company since 1915.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Wine of the Puritans. 1909.</li> +<li class="leftpad">The Malady of the Ideal. 1913.</li> +<li class="leftpad">John Addington Symonds—a Biographical Study. 1914.</li> +<li class="leftpad">The World of H. G. Wells. 1915.</li> +<li class="leftpad">America’s Coming-of-Age. 1915.</li> +<li class="leftpad">Letters and Leadership. 1918.</li> +<li class="leftpad">The Ordeal of Mark Twain. 1919.</li> +<li class="leftpad">The History of a Literary Radical; a Biography of Randolph Bourne, 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 41 (’15): 132 (portrait); 52 (’21): 333.</li> +<li class="leftpad">Dial, 69 (’20): 293.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1914, 1915, 1918, 1920.</li> +</ul> + + + +<p class="author"><a name="Broun_H" id="Broun_H"></a><b>Heywood (Campbell) Broun</b>—critic, essayist.</p> + +<p>Born at Brooklyn, New York, 1888. Studied at Harvard, 1906-10. On +<i>Morning Telegraph</i>, New York, 1908-9, 1911-12; <i>New York Tribune</i>, +1912-21. Now with <i>New York World</i>. War correspondent in France, 1917.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A. E. F.—With General Pershing and the American Forces. 1918.</li> +<li class="leftpad">Seeing Things at Night. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 53 (’21): 443.</li> +<li class="leftpad">Cur. Op. 67 (’19): 315.</li> +<li class="leftpad">Dial, 65 (’18): 125.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1921.</li> +</ul> + + + +<p class="author"><a name="Brown_A" id="Brown_A"></a><b>Alice Brown</b>—short-story writer, novelist, dramatist.</p> + +<p>Born on a farm near Hampton Falls, New Hampshire, 1857. Graduated from +Robinson Seminary, Exeter, New Hampshire, 1876. Lived on a farm many +years and loves outdoor life. Many years on staff of <i>Youth’s +Companion</i>.</p> +<p><span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span></p> + +<p>Her stories of New England life should be compared with those of Sarah +Orne Jewett and Mary Wilkins Freeman (<a href="#Freeman_M">q. v.</a>). In 1915, she won the +Winthrop Ames $10,000 prize for her play, <i>Children of Earth</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Fools of Nature. 1887.</li> +<li class="star">*Meadow-Grass. 1895. (Short stories.)</li> +<li class="leftpad">Robert Louis Stevenson—A Study. 1895. (With Louise Imogene Guiney.)</li> +<li class="leftpad">By Oak and Thorn. 1896. (English travels.)</li> +<li class="leftpad">The Road to Castaly. 1896. (Poems.)</li> +<li class="leftpad">The Day of His Youth. 1897.</li> +<li class="star">*Tiverton Tales. 1899. (Short stories.)</li> +<li class="leftpad">King’s End. 1901.</li> +<li class="leftpad">Margaret Warrener. 1901.</li> +<li class="leftpad">Judgment. 1903.</li> +<li class="leftpad">The Mannerings. 1903.</li> +<li class="leftpad">The Merrylinks. 1903.</li> +<li class="leftpad">High Noon. 1904. (Short stories.)</li> +<li class="leftpad">Paradise. 1905.</li> +<li class="leftpad">The County Road. 1906.</li> +<li class="leftpad">The Court of Love. 1906.</li> +<li class="leftpad">Rose MacLeod. 1908.</li> +<li class="leftpad">The Story of Thyrza. 1909.</li> +<li class="leftpad">Country Neighbors. 1910. (Short stories.)</li> +<li class="leftpad">John Winterbourne’s Family. 1910.</li> +<li class="leftpad">The One-Footed Fairy. 1911. (Short stories.)</li> +<li class="leftpad">The Secret of the Clan. 1912.</li> +<li class="leftpad">Vanishing Points. 1913. (Short stories.)</li> +<li class="leftpad">Robin Hood’s Barn. 1913.</li> +<li class="leftpad">My Love and I. 1913. (Under the pseudonym “Martin Redfield.”)</li> +<li class="star">*Children of Earth. 1915. (Play.)</li> +<li class="leftpad">The Prisoner. 1916.</li> +<li class="leftpad">Bromley Neighborhood. 1917.</li> +<li class="leftpad">The Flying Teuton. 1918. (Short stories.)</li> +<li class="leftpad">The Black Drop. 1919.</li> +<li class="leftpad">Homespun and Gold. 1920. (Short stories.)</li> +<li class="leftpad">The Wind between the Worlds. 1920. (Short stories.)</li> +<li class="leftpad">Louise Imogene Guiney. 1921.</li> +<li class="leftpad">One Act Plays. 1921.</li> +<li class="leftpad">Old Crow. 1022. (Novel.)</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_21" id="Page_21">[21]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li class="leftpad">Pattee.</li> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Acad. 76 (’09): 110.</li> +<li class="leftpad">Atlan. 98 (’06): 55.</li> +<li class="leftpad">Cur. Op. 57 (’14): 28.</li> +<li class="leftpad">Lit. Digest, 48 (’14): 1435.</li> +<li class="leftpad">Outlook, 123 (’19): 514 (portrait).</li> +<li class="leftpad">R. of Rs. 39 (’09): 761; 43 (’11): 121. (Portraits.)</li> +<li class="leftpad">Spec. 102 (’09): 785.</li> +</ul> + + + +<p class="author"><a name="Bullard_A" id="Bullard_A"></a><b>Arthur Bullard (“Albert Edwards”)</b>—novelist.</p> + +<p>Born at St. Joseph, Missouri, 1869. Studied about two years at Hamilton +College. Settlement worker, probation officer of Prison Association of +New York, 1903-6. Since 1906, has traveled widely. In Russia and Siberia, +1917-9. Foreign correspondent for different magazines both before and +during the War. Socialist.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*A Man’s World. 1912.</li> +<li class="leftpad">Comrade Yetta. 1913.</li> +<li class="leftpad">The Barbary Coast. 1913. (Travels.)</li> +<li class="leftpad">The Stranger. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 37 (’13): 518 (portrait).</li> +<li class="leftpad">Cur. Lit. 53 (’12): 698, 699 (portrait).</li> +<li class="leftpad">New Repub. 21 (’20): 361; 24 (’20): 25.</li> +<li class="leftpad">R. of Rs. 47 (’13): 244 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913, 1916, 1920.</li> +</ul> + + + +<p class="author"><a name="Burgess_G" id="Burgess_G"></a><b>(Frank) Gelett Burgess</b> (Massachusetts, 1866)—humorist.</p> + +<p>Inventor of the “Goops” and of “Bromide” (<i>Are You a Bromide?</i> 1907). The +humor of his illustrations contributes greatly to the success of his +writing. For bibliography, cf. <i>Who’s Who in America</i>.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 53 (’21): 488.</li> +<li class="leftpad">Overland, n. s. 60 (’12): 377.</li> +<li class="leftpad">R. of Rs. 35 (’07): 116 (portrait).</li> +</ul> +<p><span class='pagenum'><a name="Page_22" id="Page_22">[22]</a></span></p> + + + +<p class="author"><a name="Burnett_F" id="Burnett_F"></a><b>Frances Hodgson Burnett (Mrs. Stephen Townsend)</b>—novelist.</p> + +<p>Born at Manchester, England, 1849, but went to live at Knoxville, +Tennessee, 1865. She began to write for magazines in 1867.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">That Lass o’ Lowrie’s. 1877.</li> +<li class="leftpad">Through One Administration. 1883.</li> +<li class="leftpad">Little Lord Fauntleroy. 1886. (Dramatized.)</li> +<li class="leftpad">Editha’s Burglar. 1888.</li> +<li class="leftpad">The One I Knew the Best of All. 1893. (Autobiographical.)</li> +<li class="leftpad">A Lady of Quality. 1896. (Dramatized; with Stephen Townsend.)</li> +<li class="leftpad">T. Tembaron. 1913.</li> +<li class="leftpad">The White People. 1917.</li> +<li class="leftpad">The Head of the House of Coombe. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Harkins. (Women.)</li> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Am. M. 70 (’10): 748 (portrait).</li> +<li class="leftpad">Bookm. 20 (’04): 276 (portrait).</li> +<li class="leftpad">Cur. Lit. 37 (’04): 321 (portrait).</li> +<li class="leftpad">Good Housekeeping, 74 (’22): Feb., p. 27 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915-1917.</li> +</ul> + + + +<p class="author"><a name="Burroughs_J" id="Burroughs_J"></a><b>John Burroughs</b>—Nature writer, essayist, poet.</p> + +<p>Born at Roxbury, New York, 1837. Academy education with honorary higher +degrees. Taught for about eight years; clerk in the Treasury, 1864-73; +national bank examiner, 1873-84. From 1874 lived on a farm, after 1884 +dividing his time between market gardening and literature. He died in +1921.</p> + +<p>Mr. Burroughs’ cottage in the woods not far from West Park, New York, +appropriately called “Slabsides,” has become famous and an effort is +being made to keep it for the nation.</p> + +<p>Mr. Burroughs continued to write and publish to the time of his death.<span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Notes on Walt Whitman as Poet and Person. 1867.</li> +<li class="leftpad">Wake Robin. 1871.</li> +<li class="leftpad">Winter Sunshine. 1875.</li> +<li class="leftpad">Birds and Poets. 1877.</li> +<li class="leftpad">Locusts and Wild Honey. 1879.</li> +<li class="leftpad">Pepacton. 1881.</li> +<li class="leftpad">Fresh Fields. 1884.</li> +<li class="leftpad">Signs and Seasons. 1886.</li> +<li class="leftpad">Indoor Studies. 1889.</li> +<li class="leftpad">Riverby. 1894.</li> +<li class="leftpad">Whitman, a Study. 1896.</li> +<li class="leftpad">The Light of Day. 1900.</li> +<li class="leftpad">Squirrels and Other Fur Bearers. 1900.</li> +<li class="leftpad">Literary Values. 1904.</li> +<li class="leftpad">Far and Near. 1904.</li> +<li class="leftpad">Ways of Nature. 1905.</li> +<li class="leftpad">Bird and Bough. 1906. (Poems.)</li> +<li class="leftpad">Camping and Tramping with Roosevelt. 1907.</li> +<li class="leftpad">Leaf and Tendril. 1908.</li> +<li class="leftpad">Time and Change. 1912.</li> +<li class="leftpad">The Summit of the Years. 1913.</li> +<li class="leftpad">The Breath of Life. 1915.</li> +<li class="leftpad">Under the Apple Trees. 1916.</li> +<li class="leftpad">Field and Study. 1919.</li> +<li class="leftpad">Accepting the Universe. 1920.</li> +<li class="leftpad">My Boyhood: An Autobiography. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Barrus, Clara. Our Friend John Burroughs. 1914.</li> +<li class="leftpad">—— —— John Burroughs. Boy and Man. 1920.</li> +<li class="leftpad">Halsey.</li> +<li class="leftpad">James, Henry. Views and Reviews. 1908.</li> +<li class="leftpad">Loach, De, R. J. H. Rambles with John Burroughs. 1912.</li> +<li class="leftpad">Sharp, Dallas Lore. The Seer of Slabsides. 1921.</li> +<li> </li> +<li class="leftpad">Atlan. 106 (’10): 631; 128 (’21): 517.</li> +<li class="leftpad">Bookm. 49 (’19): 389.</li> +<li class="leftpad">Cent. 63 (’02): 860 (poem by Edwin Markam to John Burroughs); +80 (’10): 521; 101 (’21): 619; 102 (’21): 731. (Hamlin Garland.)</li> +<li class="leftpad">Craftsman, 8 (’05): 564; 22 (’12): 240, 357, 525, 635; 27 (’15): 590.</li> +<li class="leftpad">Critic, 47 (’05): 101 (portraits).</li> +<li class="leftpad">Cur. Lit. 45 (’08): 60; 49 (’10): 680; 50 (’11): 413 (portraits).</li> +<li class="leftpad">Cur. Op. 70 (’21): 644 (portrait), 667; 71 (’21): 74</li> +<li><span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span> +<span style="font-size: 0.9em; padding-left: 0.5em;">Dial, 32 (’02): 7.</span></li> +<li class="leftpad">Edin. R. 208 (’08): 343.</li> +<li class="leftpad">Lit. Digest, 48 (’14): 1441; 69 (’21): Apr. 16, p. 23.</li> +<li class="leftpad">Liv. Age, 248 (’06): 188. (W. H. Hudson.)</li> +<li class="leftpad">Nation, 112 (’21): 531.</li> +<li class="leftpad">New Repub. 26 (’21): 186.</li> +<li class="leftpad">No. Am. 214 (’21): 177.</li> +<li class="leftpad">Outlook, 66 (’00): 351 (portrait); 109 (’15): 224 (portraits); +127 (’21): 580 (portrait), 582; 129 (’21): 344.</li> +<li class="leftpad">R. of Rs. 63 (’21): 517 (portrait).</li> +<li class="leftpad">Review, 4 (’21): 338.</li> +</ul> + + + +<p class="author"><a name="Burton_R" id="Burton_R"></a><b>Richard (Eugene) Burton</b>—critic, poet.</p> + +<p>Born at Hartford, Connecticut, 1861. A. B., Trinity College, 1883; Ph. D., +Johns Hopkins, 1888. Three years of teaching, editorial work, and travel +abroad. Editor of the <i>Hartford Courant</i>, 1890-7. Associate editor of +<i>Warner’s Library of the World’s Best Literature</i>, 1897-9. Head of the +English department at the University of Minnesota, 1898-1902 and +1906—.</p> + +<p>Besides his critical work, he has written a novel, a play, and a number +of volumes of poetry. For complete bibliography, cf. <i>Who’s Who in +America</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Literary Likings. 1898.</li> +<li class="leftpad">Forces in Fiction. 1902.</li> +<li class="leftpad">Literary Leaders of America. 1904.</li> +<li class="leftpad">The New American Drama. 1913.</li> +<li class="leftpad">How to See a Play. 1914.</li> +<li class="leftpad">Bernard Shaw—The Man and the Mask. 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Bookm. 47 (’18): 348.</li> +<li class="leftpad">Chaut. 38 (’03): 82 (portrait).</li> +<li class="leftpad">Lond. Times, Mar. 17, 1910: 95.</li> +<li class="leftpad">R. of Rs. 55 (’17): 214 (portrait).</li> +</ul> + + + +<p class="author"><a name="Bynner_W" id="Bynner_W"></a><b>Witter Bynner</b>—poet, dramatist.</p> + +<p>Born at Brooklyn, 1881. A. B., Harvard, 1902. Assistant editor of +<i>McClure’s Magazine</i>, 1902-6. Literary adviser to various publishing +companies. Has recently traveled in the Orient. Under the pseudonyms +“Emanuel Morgan”<span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span> and “Anne Knish,” Bynner and Arthur Davison Ficke +(<a href="#Ficke_A">q. v.</a>) wrote <i>Spectra</i>, a burlesque of modern tendencies in poetry, which +some critics took seriously.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">An Ode to Harvard. 1907. (= Young Harvard, 1918.)</li> +<li class="leftpad">Tiger. 1913. (Play.)</li> +<li class="leftpad">The Little King. 1914. (Play.)</li> +<li class="leftpad">The New World. 1915.</li> +<li class="leftpad">Spectra. 1916. (Under pseudonym “Emanuel Morgan,” with Arthur Davison +Ficke, <a href="#Ficke_A">q. v.</a>)</li> +<li class="leftpad">Grenstone Poems. 1917.</li> +<li class="leftpad">A Canticle of Praise. 1919.</li> +<li class="leftpad">The Beloved Stranger. 1919.</li> +<li class="leftpad">A Canticle of Pan and Other Poems. 1920.</li> +<li class="leftpad">Pins for Wings. 1920. (Under pseudonym “Emanuel Morgan.”)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Acad. 86 (’14): 687.</li> +<li class="leftpad">Bookm. 47 (’18): 394.</li> +<li class="leftpad">Dial, 67 (’19): 302.</li> +<li class="leftpad">Forum, 55 (’16): 675.</li> +<li class="leftpad">Freeman, 1 (’20): 476.</li> +<li class="leftpad">Mentor, 7 (’19): supp. (portrait).</li> +<li class="leftpad">Nation, 109 (’19): 440.</li> +<li class="leftpad">New Repub. 9 (’16): supp. p. 13. (Review of <i>Spectra</i>, Bynner.)</li> +<li class="leftpad">Poetry, 7 (’15): 147; 12 (’18): 169; 15 (’20): 281.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1914, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Cabell_J" id="Cabell_J"></a><b>James Branch Cabell</b>—novelist, critic.</p> + +<p>Born at Richmond, Virginia, 1879, of an old Southern family. A. B., +William and Mary College, 1898, where he taught French and Greek, 1896-7. +Newspaper work from 1899-1901. Since then he has devoted his time almost +entirely to the study and writing of literature. His study of genealogy +and history has an important bearing upon his creative work.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Before reading Mr. Cabell’s stories, read his <i>Beyond Life</i>, which +explains his theory of romance. He maintains that art should be based on +the dream of life as it should be, not<span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span> as it is; that enduring +literature is not “reportorial work”; that there is vital falsity in +being true to life because “facts out of relation to the rest of life +become lies,” and that art therefore “must become more or less an +allegory.”</p> + +<p>2. Mr. Cabell’s fiction falls into two divisions:</p> + +<p> +<span style="margin-left: 1em;">(1) Romances of the middle ages.</span><br /> +<span style="margin-left: 1em;">(2) Comedies of present-day Virginia.</span></p> + + +<p>Both elements are found in <i>The Cream of the Jest</i> (cf. with Du Maurier’s +<i>Peter Ibbetson</i>). The romances illustrate different aspects of his +theory of chivalry; the modern comedies, his theory of gallantry (cf. +<i>Beyond Life</i>).</p> + +<p>3. In his romances he has created an imaginary province of France, the +people of which bear names and use idioms drawn from widely diverse and +incongruous sources. His effort to create mediæval atmosphere by the use +of archaisms does not preclude modern idiom and slang. Through all this +work, elaborate pretense of non-existent sources of the tales and +frequent allusions to fictitious authors are a part of the method. After +reading some of these stories, consider the following criticism from the +<i>London Times</i> quoted by Mr. Cabell himself at the end of <i>Beyond Life</i>: +“It requires a nicer touch than Mr. Cabell’s, to reproduce the atmosphere +of the Middle Ages ... the artifice is more apparent than the art....”</p> + +<p>4. An interesting study is to isolate the authors for whom Mr. Cabell +expresses particular admiration and those for whom he expresses contempt +in <i>Beyond Life</i> and to deduce from his attitudes his peculiar literary +qualities.</p> + +<p>5. Mr. Cabell’s style is notable for the elaboration of its rhythm, its +careful avoidance of <i>clichés</i>, its preference for rare, archaic words +and its allusiveness. Consider it from the point of view of sincerity, +simplicity, clarity, and charm. Does it intensify or dull your interest +in what he has to say? Study, for example, the following exposition of +his theory of art:</p> + +<div class="blockquot"><p>For the creative artist must remember that his book is structurally +different from life, in that, were there nothing else, his book +begins and <span class='pagenum'><a name="Page_27" id="Page_27">[27]</a></span>ends at a definite point, whereas the canons of heredity +and religion forbid us to believe that life can ever do anything of +the sort. He must remember that his art traces in ancestry from the +tribal huntsman telling tales about the cave-fire; and so, strives +to emulate not human life, but human speech, with its natural +elisions and falsifications. He must remember, too, that his one +concern with the one all-prevalent truth in normal existence is +jealously to exclude it from his book.... For “living” is to be +conscious of an incessant series of less than momentary sensations, +of about equal poignancy, for the most part, and of nearly equal +unimportance. Art attempts to marshal the shambling procession into +trimness, to usurp the rôle of memory and convention in assigning to +some of these sensations an especial prominence, and, in the old +phrase, to lend perspective to the forest we cannot see because of +the trees. Art, as long ago observed my friend Mrs. Kennaston, is an +expurgated edition of nature: at art’s touch, too, “the drossy +particles fall off and mingle with the dust” (<i>Beyond Life</i>, p. +249).</p></div> + +<p>In summing up Mr. Cabell’s work, consider the following:</p> + +<p> +<span style="margin-left: 1em;">(1) Has he a definite philosophy?</span><br /> +<span style="margin-left: 1em;">(2) Has he a genuine sense of character or do his characters +repeat the same personality?</span><br /> +<span style="margin-left: 1em;">(3) Is he a sincere artist or “a self-conscious attitudinizer?”</span><br /> +<span style="margin-left: 1em;">(4) Is he likely ever to hold the high place in American +literature which by some critics is denied him today? If so, +on what basis?</span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Eagle’s Shadow. 1904.</li> +<li class="leftpad">The Line of Love. 1905.</li> +<li class="leftpad">Gallantry. 1907.</li> +<li class="leftpad">Chivalry. 1909.</li> +<li class="leftpad">The Cords of Vanity. 1909.</li> +<li class="leftpad">The Soul of Melicent. 1913.</li> +<li class="leftpad">The Rivet in Grandfather’s Neck. 1915.</li> +<li class="leftpad">The Certain Hour. 1916.</li> +<li class="leftpad">From the Hidden Way. 1916. (Verse.)</li> +<li class="leftpad">The Cream of the Jest. 1917.</li> +<li class="leftpad">Jurgen. 1919.</li> +<li class="leftpad">Beyond Life. 1919. (Essays.)</li> +<li class="leftpad">The Cords of Vanity. 1920. (Revised.)</li> +<li class="leftpad">Domnei. 1920. (New version of <i>The Soul of Melicent</i>.)</li> +<li class="leftpad">The Judging of Jurgen. 1920.</li> +<li class="leftpad">Figures of Earth. 1921.</li> +<li class="leftpad">Taboo. 1921.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_28" id="Page_28">[28]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Walpole, Hugh. The Art of James Branch Cabell. 1920.</li> +<li> </li> +<li class="leftpad">Ath. 1919, 2: 1339. (Conrad Aiken.)</li> +<li class="leftpad">Bookm. 52 (’20): 200.</li> +<li class="leftpad">Cur. Op. 66 (’19): 254; 70 (’21): 537. (Portraits.)</li> +<li class="leftpad">Dial, 64 (’18): 392; 66 (’19): 225.</li> +<li class="leftpad">Harp. W. 49 (’05): 1598 (portrait).</li> +<li class="leftpad">Lond. Times, Nov. 24, 1921: 767.</li> +<li class="leftpad">Nation, 111 (’20): 343; 112 (’21): 914. (Carl Van Doren.)</li> +<li class="leftpad">New Repub. 26 (’21): 187.</li> +<li class="leftpad">Yale R. n. s. 9 (’20): 684. (Walpole.)</li> +</ul> + + + +<p class="author"><a name="Cable_G" id="Cable_G"></a><b>George Washington Cable</b>—novelist.</p> + +<p>Born at New Orleans, 1844. Educated in public schools, but has honorary +higher degrees. Served in the Confederate army, 1863-5. Reporter on the +New Orleans <i>Picayune</i> and accountant with a firm of cotton factors, +1865-79. Since 1879, has devoted his time to literature.</p> + +<p>Mr. Cable became at once famous for his studies of Louisiana life in <i>Old +Creole Days</i>, and his pictures of this life have given him a permanent +place in American literature. His stories should be read in connection +with those of Kate Chopin and of Grace King (<a href="#King_G">q. v.</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*Old Creole Days. 1879.</li> +<li class="star">*The Grandissimes. A Story of Creole Life. 1880.</li> +<li class="star">*Madame Delphine. 1881.</li> +<li class="leftpad">The Creoles of Louisiana. 1884.</li> +<li class="leftpad">The Silent South. 1885. (Articles.)</li> +<li class="leftpad">Dr. Sevier. 1885.</li> +<li class="leftpad">Bonaventure. A Prose Pastoral of Louisiana. 1888.</li> +<li class="leftpad">Strange True Stories of Louisiana. 1889.</li> +<li class="leftpad">The Negro Question. 1890. (Articles.)</li> +<li class="leftpad">John March, Southerner. 1894.</li> +<li class="leftpad">Strong Hearts. 1899.</li> +<li class="leftpad">The Cavalier, 1901.</li> +<li class="leftpad">Bylow Hill. 1902.</li> +<li class="leftpad">Kincaid’s Battery. 1908.</li> +<li class="leftpad">Posson Jone and Père Raphael. 1909.</li> +<li class="leftpad">The Amateur Garden. 1914.</li> +<li class="leftpad">Gideon’s Band. 1914.</li> +<li class="leftpad">The Flower of the Chapdelaines. 1918.</li> +<li class="star">*Lovers of Louisiana. 1918.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Harkins.</li> +<li class="leftpad">Pattee.</li> +<li class="leftpad">Toulmin.</li> +<li> </li> +<li class="leftpad">Countryside M. 23 (’16): 274 (portrait).</li> +<li class="leftpad">Critic, 47 (’05): 426.</li> +<li class="leftpad">Harp. W. 45 (’01): 1082 (portrait).</li> +<li class="leftpad">Outlook, 69 (’01): 425; 93 (’09): 689. (Portraits.)</li> +<li class="leftpad">So. Atlan. Q. 18 (’19): 145.</li> +</ul> + + + +<p class="author"><a name="Cahan_A" id="Cahan_A"></a><b>Abraham Cahan</b>—novelist.</p> + +<p>Of Lithuanian-Jewish ancestry. Became editor of the <i>Arbeiter Zeitung</i>, +1891, and of <i>The Jewish Daily Forward</i>, 1897. A journalist who has done +most of his work in Yiddish, but who has also written one remarkable +novel in English: <i>The Rise of David Levinsky</i>, 1917.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cambridge.</li> +<li class="leftpad">Van Doren.</li> +<li> </li> +<li class="leftpad">Dial, 63 (’17): 521.</li> +<li class="leftpad">Nation, 105 (’17): 432.</li> +<li class="leftpad">New Repub. 14 (’17): 31.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917.</li> +</ul> + + + +<p class="author"><a name="Carman_B" id="Carman_B"></a><b>(William) Bliss Carman</b>—poet.</p> + +<p>Born at Fredericton, New Brunswick, Canada, 1861. His ancestors lived in +Connecticut at the time of the Revolution. A. B., University of New +Brunswick, 1881; A. M., 1884. Studied at the University of Edinburgh, +1882-3, and at Harvard, 1886-8. Studied law two years. LL. D., University +of New Brunswick, 1906. Came to live in the United States, 1889. Has been +teacher, editor, and civil engineer.</p> + +<p>In collaboration with Mary Perry King, Mr. Carman has produced several +poem-dances (<i>Daughters of Dawn</i>, 1913, and <i>Earth Deities</i>, 1914), which +it is interesting to compare with Mr. Lindsay’s development of the idea +of the poem-game.</p> + +<p>Mr. Carman’s most admired work is to be found in the <i>Vagabondia</i> +volumes, in three of which he collaborated with Richard Hovey (1894, +1896, 1900). His <i>Collected Poems</i> were published in 1905, and his +<i>Echoes from Vagabondia</i>, 1912.<span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Rittenhouse.</li> +<li class="leftpad">Bookm. 11 (’00): 519, 521 (portrait).</li> +<li> </li> +<li class="leftpad">Canad. M. 40 (’13): 455 (portrait); 47 (’16): 425 (portrait); +56 (’21): 521.</li> +<li class="leftpad">Critic, 40 (’02): 155 (portrait), 161; 42 (’03): 397 (portrait).</li> +<li class="leftpad">Ind. 57 (’04): 1131, 1132 (portrait); 65 (’08): 1335 (portrait).</li> +<li class="leftpad">Lit. Digest, 50 (’15): 113.</li> +<li class="leftpad">R. of Rs. 46 (’12): 619 (portrait).</li> +</ul> + + + +<p class="author"><a name="Cather_W" id="Cather_W"></a><b>Willa Sibert Cather</b>—novelist, short-story writer.</p> + +<p>Born at Winchester, Virginia, 1875. A. B., University of Nebraska, 1895; +Litt. D., 1917. On staff of <i>Pittsburgh Daily Leader</i>, 1897-1901. +Associate editor of <i>McClure’s Magazine</i>, 1906-12.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Miss Cather’s special field is the pioneer life of immigrants in the +Middle West. Points to be considered are: (1) her realism; (2) her +detachment or objectivity; (3) her sympathy.</p> + +<p>2. In what other respects does she stand out among the leading women +novelists of today?</p> + +<p>3. What is the value of her material?</p> + +<p>4. Compare her studies with those of Cahan (<a href="#Cahan_A">q. v.</a>), Cournos (<a href="#Cournos_J">q. v.</a>), and +Tobenkin (<a href="#Tobenkin_E">q. v.</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">April Twilights. 1903. (Poems.)</li> +<li class="leftpad">The Troll Garden. 1905. (Short stories.)</li> +<li class="leftpad">Alexander’s Bridge. 1912.</li> +<li class="leftpad">The Bohemian Girl. 1912.</li> +<li class="star">*O Pioneers. 1913.</li> +<li class="leftpad">The Song of the Lark. 1915.</li> +<li class="star">*My Antonia. 1918.</li> +<li class="leftpad">Youth and the Bright Medusa. 1920. (Short Stories.)</li> +<li class="leftpad">One of Ours. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 21 (’05): 456 (portrait); 27 (’08): 152 (portrait); +53 (’21): 212 (portrait).</li> +<li class="leftpad">Lond. Times, June 23, 1921: 403.</li> +<li class="leftpad">Nation, 113 (’21): 92.</li> +<li class="leftpad">New Repub. 25 (’21): 233.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1918, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span></p> + + + +<p class="author"><a name="Chester_G" id="Chester_G"></a><b>George Randolph Chester</b> (Ohio, 1869)—novelist, short-story writer. The +inventor of the <i>Get-Rich-Quick-Wallingford</i> type of fiction.</p> + +<p>For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Churchill_W" id="Churchill_W"></a><b>Winston Churchill</b>—novelist.</p> + +<p>Born at St. Louis, 1871. Graduate of U. S. Naval Academy, 1894. Honorary +higher degrees. Member of New Hampshire Legislature 1903, 1905. Fought +boss and corporation control and was barely defeated for governor of the +state, 1908. Lives at Cornish, New Hampshire.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>As an aid to analysis of Mr. Churchill’s work, consider Mr. Carl Van +Doren’s article in the <i>Nation</i>, of which the most striking passages are +quoted below:</p> + +<div class="blockquot"><p>To reflect a little upon this combination of heroic color and moral +earnestness is to discover how much Mr. Churchill owes to the +element injected into American life by Theodore Roosevelt.... Like +him Mr. Churchill has habitually moved along the main lines of +national feeling—believing in America and democracy with a fealty +unshaken by any adverse evidence and delighting in the American +pageant with a gusto rarely modified by the exercise of any critical +intelligence. Morally he has been strenuous and eager; +intellectually he has been naïve and belated.</p> + +<hr style='width: 45%;' /> + +<p>Once taken by an idea for a novel, he has always burned with it as +if it were as new to the world as to him. Here lies, without much +question, the secret of that genuine earnestness which pervades all +his books: he writes out of the contagious passion of a recent +convert or a still excited discoverer. Here lies, too, without much +question, the secret of Mr. Churchill’s success in holding his +audiences: a sort of unconscious politician among novelists, he +gathers his premonitions at happy moments, when the drift is already +setting in. Never once has Mr. Churchill like a philosopher or a +seer, run off alone.</p> + +<hr style='width: 45%;' /> + +<p>Even for those, however, who perceive that he belongs intellectually +to a middle class which is neither very subtle nor very profound on +the one hand nor very shrewd or very downright on the other, it is +impossible to withhold from Mr. Churchill the respect due a sincere, +<span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span>scrupulous, and upright man who has served the truth and his art +according to his lights.... The sounds which have reached him from +among the people have come from those who eagerly aspire to better +things arrived at by orderly progress, from those who desire in some +lawful way to outgrow the injustices and inequalities of civil +existence and by fit methods to free the human spirit from all that +clogs and stifles it. But as they aspire and intend better than they +think, so, in concert with them, does Mr. Churchill.</p></div> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*The Celebrity. 1898.</li> +<li class="leftpad">Richard Carvel. 1899.</li> +<li class="leftpad">The Crisis. 1901.</li> +<li class="leftpad">Mr. Keegan’s Elopement. 1903.</li> +<li class="leftpad">The Crossing. 1904.</li> +<li class="leftpad">The Title-Mart. 1905. (Play.)</li> +<li class="star">*Coniston. 1906.</li> +<li class="star">*Mr. Crewe’s Career. 1908.</li> +<li class="leftpad">A Modern Chronicle. 1910.</li> +<li class="star">*The Inside of the Cup. 1913.</li> +<li class="leftpad">A Far Country. 1915.</li> +<li class="leftpad">The Dwelling Place of Light. 1917.</li> +<li class="leftpad">A Traveller in War-Time. 1918.</li> +<li class="leftpad">Dr. Jonathan. 1919. (Play.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Harkins.</li> +<li class="leftpad">Underwood.</li> +<li> </li> +<li class="leftpad">Bookm. 27 (’08): 729 (portrait); 31 (’10): 246 (portrait); +41 (’15): 607.</li> +<li class="leftpad">Bookm. (Lond.) 34 (’08): 152 (portrait).</li> +<li class="leftpad">Collier’s, 52 (’13): Dec. 27, p. 5 (portrait).</li> +<li class="leftpad">Cur. Lit. 27 (’00): 108; 52 (’12): 196 (portrait).</li> +<li class="leftpad">Cur. Op. 55 (’13): 122, 341 (portrait).</li> +<li class="leftpad">Ind. 53 (’01): 2097; 61 (’06): 96. (Portraits.)</li> +<li class="leftpad">Lit. Digest, 47 (’13): 250, 426, 1278.</li> +<li class="leftpad">Nation, 112 (’21): 619. (Carl Van Doren.)</li> +<li class="leftpad">Outlook, 90 (’08): 93.</li> +<li class="leftpad">R. of Rs. 24 (’01): 588 (portrait); 30 (’04): 123 (portrait); +34 (’06): 142 (portrait); 37 (’08): 763 (portrait); 48 (’13): 46; +58 (’18): 328 (portrait).</li> +<li class="leftpad">Spec. 93 (’04): 124.</li> +<li class="leftpad">World’s Work, 17 (’08): 10959 (portrait), 11016.</li> +</ul> +<p><span class='pagenum'><a name="Page_33" id="Page_33">[33]</a></span></p> + + + +<p class="author"><a name="Clark_B" id="Clark_B"></a><b>(Charles) Badger Clark</b> (Iowa, 1883)—poet.</p> + +<p>Deals with cowboy life. For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Cleghorn_S" id="Cleghorn_S"></a><b>Sarah Norcliffe Cleghorn</b>—novelist, poet.</p> + +<p>Born at Norfolk, Virginia, 1876, but since childhood has lived in +Vermont. Studied at Radcliffe, 1895-6. In 1915 some of her lyrics were +published in a volume of short-stories called <i>Hillsboro People</i>, by her +friend, Dorothy Canfield Fisher (<a href="#Fisher_D">q. v.</a>).</p> + +<p>Socialist, pacifist, and anti-vivisectionist. Strong propagandist element +in her work. <i>The Spinster</i> is said to contain much autobiography.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Turnpike Lady. 1907. (Novel.)</li> +<li class="leftpad">The Spinster. 1916. (Novel.)</li> +<li class="leftpad">Fellow-Captains. 1916. (With Dorothy Canfield Fisher.) (Essays.)</li> +<li class="leftpad">Portraits and Protests. 1917. (Poems.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Nation, 112 (’21): 512.</li> +<li class="leftpad">New Eng. M. n. s. 39 (’08): 236 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1917.</li> +</ul> + + +<p class="author"><a name="Cobb_I" id="Cobb_I"></a><b>Irvin S(hrewsbury) Cobb</b> (Kentucky, 1876)—short-story writer, humorist, +dramatist.</p> + +<p>His reputation is built upon his stories of Kentucky life and his +humorous criticisms of contemporary manners. For bibliography, see <i>Who’s +Who in America</i>.</p> + + + +<p class="author"><a name="Cohen_O" id="Cohen_O"></a><b>Octavus Roy Cohen</b> (South Carolina, 1891)—short-story writer. The +discoverer of the Southern negro in town life. For bibliography, see +<i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Comfort_W" id="Comfort_W"></a><b>Will Levington Comfort</b> (Michigan, 1878)—novelist.</p> + +<p>Work consists mainly of romances of Oriental adventure. His book, <i>Child +and Country</i>, 1916, is on education (cf. <i>Book Review Digest</i>, 1916).<span class='pagenum'><a name="Page_34" id="Page_34">[34]</a></span></p> + + + +<p class="author"><a name="Conkling_G" id="Conkling_G"></a><b>Grace Walcott Hazard Conkling (Mrs. Roscoe Platt Conkling)</b>—poet.</p> + +<p>Born in New York City, 1878. Graduate of Smith College, 1899. Studied +music and languages at the University of Heidelberg, 1902-3, and in +Paris, 1903-4. Lived also in Mexico. Has taught in various schools, and +since 1914 has been a teacher of English at Smith College, where she has +roused much interest in poetry. Mother of Hilda Conkling (<a href="#Conkling_H">q. v.</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Afternoons of April. 1915. (Collected poems.)</li> +<li class="leftpad">Wilderness Songs. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Poetry, 7 (’15): 152.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1920.</li> +</ul> + + + +<p class="author"><a name="Conkling_H" id="Conkling_H"></a><b>Hilda Conkling</b>—poet.</p> + +<p>Born at Catskill-on-Hudson, New York, 1910, daughter of Grace Hazard +Conkling (<a href="#Conkling_G">q. v.</a>). She began to talk her poems to her mother at the age of +four. Her mother took them down without change, merely arranging the line +divisions. Her earliest expression was in the form of a chant to an +imaginary companion to whom she gave the name “Mary Cobweb” (cf. Poetry, +14 [’19]: 344).</p> + +<p>Hilda Conkling’s name is included in this list, not because her poems are +remarkable for a child, but because they show actual achievement and the +highest quality of imagination.</p> + +<p>Her work is to be found in <i>Poetry</i>, 8 (’16): 191; and 10 (’17): 197, and +one volume has been published, <i>Poems by a Little Girl</i>, 1920 (with +introduction by Amy Lowell).</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 51 (’20):314.</li> +<li class="leftpad">Cur. Op. 68 (’20): 852.</li> +<li class="leftpad">Dial, 69 (’20): 186.</li> +<li class="leftpad">Lit. Digest, 65 (’20): June 5, p. 50.</li> +<li class="leftpad">Poetry, 16 (’20): 222.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920.</li> +</ul> + + + +<p class="author"><a name="Connolly_J" id="Connolly_J"></a><b>James Brendan Connolly</b> (Massachusetts)—short-story writer. Writes +realistic sea stories. For bibliography, see <i>Who’s Who in America</i>.</p> + +<p><span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span></p> + + +<p class="author"><a name="Cook_G" id="Cook_G"></a><b>George Cram Cook</b> (Iowa, 1873)—dramatist.</p> + +<p>Director of the Provincetown Players since 1915. With Susan Glaspell +(<a href="#Glaspell_S">q. v.</a>) wrote <i>Suppressed Desires</i> (1915) and <i>Tickless Time</i> (1920).</p> + +<ul class="bib"> +<li class="leftpad">Other plays are: The Athenian Women. 1917.</li> +<li style="padding-left: 7em;">Spring. 1921. (Cf. <i>Literary Review</i> of the <i>New York +Evening Post</i>, Feb. 11, 1922, p. 419.)</li> +</ul> + +<p>For complete bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Corbin_A" id="Corbin_A"></a><b>Alice Corbin (Mrs. William Penhallow Henderson)</b>—poet, critic.</p> + +<p>Born at St. Louis, Missouri. Lived many years in Santa Fé, New Mexico, +which has furnished material for many of her poems. Associate editor of +<i>Poetry</i> since its foundation in 1912.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Spinning Woman of the Sky. 1912. (Poems.)</li> +<li class="leftpad">The New Poetry, An Anthology. 1917. (Compiled with Harriet Monroe, <a href="#Monroe_H">q. v.</a>)</li> +<li class="leftpad">Red Earth. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 391.</li> +<li class="leftpad">Freeman, 4 (’22): 468.</li> +<li class="leftpad">New Repub. 28 (’21): 304.</li> +<li class="leftpad">Poetry, 9 (’16-’17): 144, 232.</li> +</ul> + + + +<p class="author"><a name="Cournos_J" id="Cournos_J"></a><b>John Cournos</b>—novelist.</p> + +<p>Mr. Cournos’ studies of the immigrant in America in <i>The Mask,</i> 1920, and +<i>The Wall</i>, 1921, attracted attention.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 51 (’20): 76.</li> +<li class="leftpad">Dial, 68 (’20): 496.</li> +<li class="leftpad">Freeman, 4 (’21): 238.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Crapsey_A" id="Crapsey_A"></a><b>Adelaide Crapsey</b>—poet.</p> + +<p>Born at Rochester, New York, 1878. A. B., Vassar, 1902. Taught English at +Kemper Hall, Kenosha, Wisconsin, 1903.<span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span> In 1905, studied archæology in +Rome. Instructor in poetics at Smith College, 1911; but stopped teaching +because of failing health. Died at Saranac Lake, 1914.</p> + +<p>She had begun an investigation into the structure of English verse, which +she was unable to finish. Her poems were nearly all written after her +breakdown in 1913, and reflect the tragic experience through which she +was passing.</p> + +<p>Some of them are written in a form of her own invention, the “cinquain” +(five unrhymed lines, having two, four, six, eight, and two syllables).</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Miss Crapsey’s theories of versification should be remembered in +studying her forms.</p> + +<p>2. What is to be said of her verbal economy?</p> + +<p>3. A comparison of her verses with those of Emily Dickinson has been +suggested. Carried out in detail, it suggests interesting points of +difference as well as of resemblance.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems. 1915.</li> +<li class="leftpad">Study in English Metrics. 1918.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. 50 (’20): 496.</li> +<li class="leftpad">Poetry, 10 (’17): 316.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1918.</li> +</ul> + + + +<p class="author"><a name="Cromwell_G" id="Cromwell_G"></a><b>Gladys Cromwell</b>—poet.</p> + +<p>Born in New York City, 1885. Educated in New York private schools and +lived much abroad. In 1918, with her twin sister, she went into Red Cross +Canteen work and was stationed at Chalons. As a result of depression due +to nerve strain, both sisters committed suicide by jumping overboard from +the steamer on which they were coming home. For their War service the +French Government later awarded them the Croix de Guerre. Miss Cromwell’s +<i>Poems</i> in 1919<span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span> divided with Mr. Neihardt’s (<a href="#Neihardt_J">q. v.</a>) <i>Song of Three +Friends</i> the annual prize of the Poetry Society of America.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Gates of Utterance. 1915.</li> +<li class="leftpad">Poems. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Ath. 1920, 1: 289.</li> +<li class="leftpad">Bookm. 51 (’20): 216.</li> +<li class="leftpad">Dial, 68 (’20): 534.</li> +<li class="leftpad">Lond. Times, April 15, 1920: 243.</li> +<li class="leftpad">New Repub. 18 (’19): 189; 22 (’20): 65.</li> +<li class="leftpad">Poetry, 13 (’19): 326; 16 (’20): 105.</li> +</ul> + + + +<p class="author"><a name="Crothers_R" id="Crothers_R"></a><b>Rachel Crothers</b>—dramatist.</p> + +<p>Born at Bloomington, Illinois. Graduate of the Illinois State Normal +School, Normal, Illinois, 1892.</p> + +<p>Miss Crothers directs her plays and sometimes acts in them.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Criss Cross. 1904.</li> +<li class="leftpad">The Rector. 1906.</li> +<li class="leftpad">A Man’s World. 1915.</li> +<li class="leftpad">The Three of Us. 1916.</li> +<li class="leftpad">The Herfords. (Quinn, <i>Representative American Plays</i>, under the +title <i>He and She</i>, 1917.)</li> +</ul> + +<p>For bibliography of unpublished plays, cf. <i>Cambridge</i>, III (IV), 765.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Eaton, W. P. At the New Theatre. 1910.</li> +<li class="leftpad">Moses.</li> +<li> </li> +<li class="leftpad">New Repub. 9 (’16): 217.</li> +<li class="leftpad">Touchstone, 4 (’18): 25 (portrait).</li> +<li class="leftpad">World Today, 15 (’08): 729 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915.</li> +</ul> + + + +<p class="author"><a name="Crothers_S" id="Crothers_S"></a><b>Samuel McChord Crothers</b>—essayist.</p> + +<p>Born at Oswego, Illinois, 1857. A. B., Wittenberg College, 1873, +Princeton, 1874. Studied at Union Theological Seminary, 1874-7, and at +Harvard Divinity School, 1881-2.<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> Higher honorary degrees. Ordained +Presbyterian minister, 1877. Pastorates in Nevada and California. Became +a Unitarian, 1882. Pastor in Brattleboro, Vermont, 1882-6; in St. Paul, +Minnesota, 1886-94; and of the First Church, Cambridge, since 1894. +Preacher to Harvard University.</p> + +<p>Dr. Crothers’s essays are rich with suave and scholarly humor, and are +written in a style suggestive of Lamb’s.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Gentle Reader. 1903.</li> +<li class="leftpad">The Understanding Heart. 1903.</li> +<li class="leftpad">The Pardoner’s Wallet. 1905.</li> +<li class="leftpad">The Endless Life. 1905.</li> +<li class="leftpad">By the <a name="corr12" id="corr12"></a><ins class="correction" title="Christmas">Chrismas</ins> Fire. 1908.</li> +<li class="leftpad">Oliver Wendell Holmes and His Fellow Boarders. 1909.</li> +<li class="leftpad">Among Friends. 1910.</li> +<li class="leftpad">Humanly Speaking. 1912.</li> +<li class="leftpad">Three Lords of Destiny. 1913.</li> +<li class="leftpad">Meditations on Votes for Women. 1914.</li> +<li class="leftpad">The Pleasures of an Absentee Landlord. 1916.</li> +<li class="leftpad">The Dame School of Experience. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Bookm. 32 (’11): 631.</li> +<li class="leftpad">Critic, 48 (’06): 200 (portrait).</li> +<li class="leftpad">Cur. Op. 63 (’17): 406 (portrait).</li> +<li class="leftpad">Outlook, 102 (’12): 645 (portrait), 648.</li> +<li class="leftpad">So. Atlan. Q. 8 (’09): 150.</li> +</ul> + + + +<p class="author"><a name="Curwood_J" id="Curwood_J"></a><b>James Oliver Curwood</b> (Michigan, 1878)—novelist.</p> + +<p>His material deals with primitive life in Canada. For bibliography, see +<i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Daly_T" id="Daly_T"></a><b>Thomas Augustine Daly</b>—poet.</p> + +<p>Born at Philadelphia, 1871. Left college without a degree. Honorary +higher degrees. In 1889 became a newspaper man, and since 1891 has been +connected as reviewer, editorial writer, and “columnist” with +Philadelphia newspapers; associate editor of the <i>Evening Ledger</i>, +1915-8.</p> + +<p>Mr. Daly has written good poetry in English, but is best<span class='pagenum'><a name="Page_39" id="Page_39">[39]</a></span> known for the +dialect verses which he has published in the columns edited by him. His +most popular verses are in the Irish and Italian dialects.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Canzoni. 1906.</li> +<li class="leftpad">Carmina. 1909.</li> +<li class="leftpad">Madrigali. 1912.</li> +<li class="leftpad">Songs of Wedlock. 1916.</li> +<li class="leftpad">McAroni Ballads. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Am. M. 70 (’10): 750 (portrait); 89 (’20): June, p. 16.</li> +<li class="leftpad">Dublin R. 155 (4 s., 46) (’14): 116.</li> +<li class="leftpad">Outlook, 103 (’13): 261.</li> +<li class="leftpad">Poetry, 16 (’20): 278.</li> +</ul> + + + +<p class="author"><a name="Dargan_O" id="Dargan_O"></a><b>Olive Tilford Dargan (Mrs. Pegram Dargan)</b>—poet, dramatist.</p> + +<p>Born in Kentucky. Educated at the University of Nashville and at +Radcliffe. Taught in Arkansas, Missouri, Texas, and Canada until she +married. Traveled abroad, 1910-14. Winner of $500 prize offered by the +Southern Society of New York for best book by Southern writer, 1916.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Semiramis and Other Plays. (Carlotta, The Poet.) 1904.</li> +<li class="leftpad">Lords and Lovers and Other Dramas. (The Shepherd, The Siege.) 1906.</li> +<li class="leftpad">The Mortal Gods and Other Dramas. (A Son of Hermes, Kidmir.) 1912.</li> +<li class="leftpad">The Welsh Pony. 1913. (Privately printed.)</li> +<li class="leftpad">Path Flower and Other Poems. 1914.</li> +<li class="leftpad">The Cycle’s Rim. 1916.</li> +<li class="leftpad">The Flutter of the Goldleaf and Other Plays. 1922. (With Frederick +Peterson.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 37 (’13): 123 (portrait).</li> +<li class="leftpad">Outlook, 85 (’07): 328.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913, 1914, 1916.</li> +</ul> +<p><span class='pagenum'><a name="Page_40" id="Page_40">[40]</a></span></p> + + + +<p class="author"><a name="Davies_M" id="Davies_M"></a><b>Mary Carolyn Davies</b>—poet.</p> + +<p>Born at Sprague, Washington, and educated in and near Portland, Oregon. +As a freshman at the University of California, she won the Emily +Chamberlin Cook prize for poetry, 1912, and also the Bohemian Club prize.</p> + +<p>The poems of Miss Davies express “the girl consciousness” (Kreymborg).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Drums in Our Street. 1918. (Poems.)</li> +<li class="leftpad">The Slave with Two Faces. 1918. (Play.)</li> +<li class="leftpad">Youth Riding. 1919. (Lyrics.)</li> +<li class="leftpad">A Little Freckled Person. 1919. (Child Verse.)</li> +<li class="leftpad">The Husband Test. 1921.</li> +<li class="leftpad">Also in: Others, 1916, 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Poetry, 12 (’18): 218.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919.</li> +</ul> + + + +<p class="author"><b>Fannie Stearns Davis.</b> See <b><a href="#Gifford_F">Fannie Stearns Davis Gifford</a></b></p> + + + +<p class="author"><a name="Deland_M" id="Deland_M"></a><b>Margaret Wade Deland (Mrs. Lorin F. Deland)</b>—novelist, short-story +writer.</p> + +<p>Born at a village called Manchester, now a part of Alleghany, +Pennsylvania, 1857. Educated in private schools, and studied drawing and +design at Cooper Institute. Later, taught design in a girls’ school in +New York City.</p> + +<p>Mrs. Deland’s father was a Presbyterian and her mother an Episcopalian +(cf. <i>John Ward, Preacher</i>), and her home town is the “Old Chester” of +her books.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Old Garden and Other Verses. 1887.</li> +<li class="star">*John Ward, Preacher. 1888.</li> +<li class="leftpad">Florida Days. 1889.</li> +<li class="leftpad">Sidney. 1890.</li> +<li class="leftpad">The Story of a Child. 1892.</li> +<li class="leftpad">Mr. Tommy Dove and Other Stories. 1893.</li> +<li class="leftpad">Philip and His Wife. 1894.</li> +<li class="leftpad">The Wisdom of Fools. 1897. (Short stories.)</li> +<li class="star">*Old Chester Tales. 1898.</li> +<li><span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span> +<span style="font-size: 90%">*Dr. Lavendar’s People. 1903. (Short stories.)</span></li> +<li class="leftpad">The Common Way. 1904.</li> +<li class="leftpad">The Awakening of Helena Richie. 1906.</li> +<li class="leftpad">An Encore. 1907.</li> +<li class="leftpad">R. J.’s Mother and Some Other People. 1908.</li> +<li class="leftpad">The Way to Peace. 1910.</li> +<li class="leftpad">The Iron Woman. 1911.</li> +<li class="leftpad">The Voice. 1912.</li> +<li class="leftpad">Partners. 1913.</li> +<li class="leftpad">The Hands of Esau. 1914.</li> +<li class="leftpad">Around Old Chester. 1915. (Short stories.)</li> +<li class="leftpad">The Rising Tide. 1916.</li> +<li class="leftpad">The Promises of Alice. 1919.</li> +<li class="leftpad">Small Things. 1919.</li> +<li class="leftpad">An Old Chester Secret. 1920.</li> +<li class="leftpad">The Vehement Flame. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Overton.</li> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Bookm. 25 (’07): 511 (portrait).</li> +<li class="leftpad">Critic, 44 (’04): 107 (portrait).</li> +<li class="leftpad">Cur. Op. 65 (’18): 178 (portrait).</li> +<li class="leftpad">Harp. 123 (’11): 963.</li> +<li class="leftpad">Harp. W. 50 (’06): 859, 1110. (Portraits.)</li> +<li class="leftpad">Ind. 61 (’06): 337 (portrait).</li> +<li class="leftpad">Outlook, 64 (’00): 407; 84 (’06): 730 (portrait); 99 (’11): 628.</li> +</ul> + + + +<p class="author"><a name="Dell_F" id="Dell_F"></a><b>Floyd Dell</b>—novelist.</p> + +<p>Born in Barry, Illinois, 1887. Left school at sixteen for factory work. +Literary editor of the <i>Chicago Evening Post</i>. Literary editor of <i>The +Masses</i> and now of <i>The Liberator</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Women as World Builders. 1913.</li> +<li class="leftpad">Were You Ever a Child? 1919. (Education.)</li> +<li class="leftpad">The Angel Intrudes, a Play in One Act. 1918.</li> +<li class="leftpad">Moon-Calf. 1920. Novel.</li> +<li class="leftpad">The Briary Bush. 1921. (Novel.)</li> +<li class="leftpad">Sweet and Twenty. 1921. (Comedy in One Act.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 53 (’21); 245.</li> +<li class="leftpad">Freeman, 2 (’21); 403.</li> +<li class="leftpad">Nation, 111 (’20): 670.</li> +<li class="leftpad">New Repub. 25 (’20): 49; 29 (’21): 78.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1920, 1921.</li> +</ul> +<p><span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> + + + +<p class="author"><a name="Deutsch_B" id="Deutsch_B"></a><b>Babette Deutsch (Mrs. Avrahm Yarmolinsky)</b>—poet, critic.</p> + +<p>Born in New York City, 1895. A. B., Barnard, 1917. Later, worked at the +School for Social Research. She attracted attention by her first volume +of poems, <i>Banners</i>, 1919.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Poetry, 15 (’19): 166.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1921.</li> +</ul> + + + +<p class="author"><a name="Dos_Passos_J" id="Dos_Passos_J"></a><b>John (Roderigo) Dos Passos</b>—novelist.</p> + +<p>Mr. Dos Passos’ presentation (<i>Three Soldiers</i>) of the experiences of +privates in the U. S. Army during the War roused violent discussion.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">One Man’s Initiation. 1917. 1920.</li> +<li class="leftpad">Three Soldiers. 1921.</li> +<li class="leftpad">Rosinante to the Road Again. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 54 (’21): 393.</li> +<li class="leftpad">Cur. Op. 71 (’21): 624 (portrait).</li> +<li class="leftpad">Dial, 71 (’21): 606.</li> +<li class="leftpad">Freeman, 4 (’21): 282.</li> +<li class="leftpad">Lit. Digest, 71 (’21): 29 (portrait).</li> +<li class="leftpad">Lond. Mercury, 5 (’22): 319.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1921.</li> +</ul> + + + +<p class="author"><a name="Dreiser_T" id="Dreiser_T"></a><b>Theodore Dreiser</b>—novelist, dramatist.</p> + +<p>Born at Terre Haute, Indiana, 1871, of German ancestry. Educated in the +public schools of Warsaw, Indiana, and at the University of Indiana. +Newspaper work in Chicago and St. Louis, 1892-5. Editor of <i>Every Month</i> +(literary and musical magazine), 1895-8. Editorial positions on +<i>McClure’s</i>, <i>Century</i>, <i>Cosmopolitan</i>, and various other magazines, +finally becoming editor-in-chief of the Butterick Publications +(<i>Delineator</i>, <i>Designer</i>, <i>New Idea</i>, <i>English Delineator</i>), 1907-10. +Organized the National Child Rescue Campaign, 1907.</p> + + +<p class="noindent"><span class="smcap">Suggestions For Reading</span></p> + +<p>1. As Mr. Dreiser is considered by many critics the novelist of biggest +stature as yet produced by America, the nature<span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span> and sources of his +strength and of his weakness deserve careful analysis. Observe (1) that +his attitude toward life and his general method derive from Zola; (2) +that his materials are drawn from his extensive and varied experience as +a journalist; (3) that these two facts are exemplified in brief in his +biographical studies, <i>Twelve Men</i>, which are “human documents.”</p> + +<p>2. Note the dates of <i>Sister Carrie</i> and of <i>Jennie Gerhardt</i>, and work +out Dreiser’s loss and gain during the long period of silence between +them.</p> + +<p>3. <i>Hey, Rub-a-Dub-Dub</i> (cf. <i>Nation</i>, 109 [’19]: 278) should be read by +every student of Dreiser, for its revelation of his attitude toward +humanity, which contributes largely to the greatness of his work, and of +his failure to think out a point of view, which is a fundamental +weakness. Note his admission: “I am one of those curious persons who +cannot make up their minds about anything.”</p> + +<p>4. With what types of material does Mr. Dreiser succeed best? Why?</p> + +<p>5. Discuss Mr. Dreiser’s style in connection with the following topics: +(1) economy; (2) realism; (3) suggestion; (4) taste; (5) rhythmic beauty. +What deeply rooted defect is suggested by the following description of +the Woolworth Building in New York:—“lifts its defiant spear of clay +into the very maw of heaven”?</p> + +<p>6. How far does Mr. Dreiser represent American life? Do you think his +work will be for some time the best that we can do in literature?</p> + +<p>7. Read Mr. Van Doren’s article (listed below) for suggestion of other +points for discussion. The following passage is especially significant:</p> + +<div class="blockquot"><p>Not the incurable awkwardness of his style nor his occasional +merciless verbosity nor his too frequent interpositions of crude +argument can destroy the effect which he produces at his best—that +of a noble spirit brooding over a world which in spite of many +condemnations he deeply, somberly loves. Something peasantlike in +his genius may blind him a little to the finer shades of character +and set him astray in his reports of cultivated society. His +conscience about telling the plain <span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>truth may suffer at times from a +dogmatic tolerance which refuses to draw lines between good and evil +or between beautiful and ugly or between wise and foolish. But he +gains, on the whole, more than he loses by the magnitude of his +cosmic philosophizing.... From somewhere sound accents of an +authority not sufficiently explained by the mere accuracy of his +versions of life. Though it may indeed be difficult for a thinker of +the widest views to contract himself to the dimensions needed for +realistic art, and though he may often fail when he attempts it, +when he does succeed he has the opportunity, which the mere +worldling lacks, of ennobling his art with some of the great lights +of the poets.</p></div> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*Sister Carrie. 1900.</li> +<li class="star">*Jennie Gerhardt. 1911.</li> +<li class="leftpad">The Financier. 1912.</li> +<li class="leftpad">A Traveller at Forty. 1913. (Travel sketches.)</li> +<li class="leftpad">The Titan. 1914.</li> +<li class="leftpad">The Genius. 1915.</li> +<li class="leftpad">Plays of the Natural and the Supernatural. 1916.</li> +<li class="leftpad">A Hoosier Holiday. 1916. (Travel sketches.)</li> +<li class="leftpad">Free and Other Stories. 1918.</li> +<li class="leftpad">The Hand of the Potter. 1918. (Tragedy.)</li> +<li class="leftpad">Twelve Men. 1919. (Biographical studies.)</li> +<li class="leftpad">Hey-rub-a-dub-dub. 1920.</li> +<li class="leftpad">A Book about Myself. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Mencken, H. L., Prefaces.</li> +<li class="leftpad">Sherman, Stuart P., On Contemporary Literature, 1917.</li> +<li> </li> +<li class="leftpad">Acad. 85 (’13): 133. (Frank Harris.)</li> +<li class="leftpad">Bookm. 34 (’11): 221 (portrait); 38 (’14): 673; 53 (’21): 27 (portrait).</li> +<li class="leftpad">Cur. Lit. 53 (’12): 696 (portrait).</li> +<li class="leftpad">Cur. Op. 62 (’17): 344 (portrait); 63 (’17): 191; 66 (’19): 175.</li> +<li class="leftpad">Dial, 62 (’17): 343, 507.</li> +<li class="leftpad">Egoist, 3 (’16): 159.</li> +<li class="leftpad">Ind. 71 (’11): 1267 (portrait).</li> +<li class="leftpad">Lond. Times, June 23, 1921: 403.</li> +<li class="leftpad">Nation, 101 (’15): 648 (Stuart P. Sherman); 112 (’21): 400. (Carl Van +Doren.)</li> +<li class="leftpad">New Repub. 2 (’15): supp. Apr. 17, Pt. II, p. 7.</li> +<li class="leftpad">No. Am. 207 (’18): 902.</li> +<li class="leftpad">Review, 2 (’20): 380. (Paul Elmer More.)</li> +<li class="leftpad">R. of Rs. 47 (’13): 242 (portrait).</li> +<li class="leftpad">Spec. 118 (’17): 139.</li> +</ul> + + + +<p class="author"><a name="Du_Bois_W" id="Du_Bois_W"></a><b>William Edward Burghardt Du Bois</b>—man of letters.</p> + +<p>Born at Great Barrington, Massachusetts, 1865. Of negro descent but with +large admixture of white blood. A. B.,<span class='pagenum'><a name="Page_45" id="Page_45">[45]</a></span> Fisk University, 1888; Harvard, +1890; A. M., 1891; Ph. D., 1895. Studied at the University of Berlin. +Professor of economics and history, Atlanta University, 1896-1910. +Director of publicity of the National Association for the Advancement of +Colored People and editor of the <i>Crisis</i>, 1910—.</p> + +<p>Mr. Du Bois is a distinguished economist and primarily a propagandist for +the equal rights and education of the negro, but he belongs to literature +as the author of <i>Darkwater</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Souls of Black Folk. 1903.</li> +<li class="leftpad">John Brown. 1909.</li> +<li class="leftpad">The Quest of the Silver Fleece. 1911.</li> +<li class="star">*Darkwater. 1920. (Stories, sketches, essays.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 66 (’08): May, pp. 61 (portrait), 65.</li> +<li class="leftpad">Freeman, 1 (’20): 95.</li> +<li class="leftpad">Lit. Digest, 65 (’20): May 1, p. 86.</li> +<li class="leftpad">Nation, 110 (’20): 726.</li> +<li class="leftpad">New Repub. 22 (’20): 189.</li> +<li class="leftpad">World Today, 12 (’07): 6 (portrait).</li> +<li class="leftpad">World’s Work, 41 (’20): 159 (portrait).</li> +</ul> + + + +<p class="author"><a name="Dunne_F" id="Dunne_F"></a><b>Finley Peter Dunne</b>—humorist.</p> + +<p>Born at Chicago, 1867. Educated in Chicago public schools. Began +newspaper work as reporter, 1885. On <i>Chicago Evening Post</i> and <i>Chicago +Times Herald</i>, 1892-7. Editor of the <i>Chicago Journal</i>, 1897-1900. Since +1900 has lived and worked in New York.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Mr. Dooley in Peace and in War. 1898.</li> +<li class="leftpad">Mr. Dooley in the Hearts of His Countrymen. 1899.</li> +<li class="leftpad">Mr. Dooley’s Philosophy. 1900.</li> +<li class="leftpad">Mr. Dooley’s Opinions. 1901.</li> +<li class="leftpad">Observations by Mr. Dooley. 1902.</li> +<li class="leftpad">Dissertations by Mr. Dooley. 1906.</li> +<li class="leftpad">Mr. Dooley Says. 1910.</li> +<li class="leftpad">Mr. Dooley on Making a Will and Other Necessary Evils. 1919.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_46" id="Page_46">[46]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 62 (’06): 571 (portrait); 65 (’07): 173.</li> +<li class="leftpad">Bookm. 51 (’20): 674.</li> +<li class="leftpad">Cent. 63 (’01): 63 (portrait).</li> +<li class="leftpad">Cur. Lit. 38 (’05): 29 (portrait).</li> +<li class="leftpad">Harp. W. 47 (’03): 331 (portrait), 346.</li> +<li class="leftpad">Ind. 62 (’07): 741 (portrait).</li> +<li class="leftpad">Lit. Digest, 44 (’12): 427 (portrait).</li> +<li class="leftpad">No. Am. 176 (’03): 743. (Howells.)</li> +<li class="leftpad">New Repub. 20 (’19): 235.</li> +<li class="leftpad">Outlook, 123 (’19): 94 (portrait).</li> +<li class="leftpad">Spec. 90 (’03): 258; 125 (’20): 146.</li> +</ul> + + + +<p class="author"><a name="Eastman_C" id="Eastman_C"></a><b>Charles Alexander Eastman (Ohiyesa)</b>—writer.</p> + +<p>Born at Redwood Falls, Minnesota, 1858, of Santee Sioux ancestry, his +father being a full-blood Indian, and his mother a half-breed. B. S., +Dartmouth, 1887; M. D., Boston University, 1890. Government physician, +Pine Ridge Agency, 1890-3. Indian secretary, Y. M. C. A., 1894-7. Attorney +for Santee Sioux at Washington, 1897-1900. Government physician, Crow +Creek, South Dakota, 1900-3. Appointed to revise Sioux family names, +1903-9.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Indian Boyhood. 1902.</li> +<li class="leftpad">Old Indian Days. 1907.</li> +<li class="leftpad">The Soul of the Indian. 1911.</li> +<li class="leftpad">The Indian Today. 1915.</li> +<li class="leftpad">From the Deep Woods to Civilization. 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bk. Buyer, 24 (’02): 21 (portrait).</li> +<li class="leftpad">Chaut. 35 (’02): 335 (portrait), 339.</li> +<li class="leftpad">Outlook, 65 (’00): 83 (portrait).</li> +<li class="leftpad">R. of Rs. 33 (’06): 700 (portrait), 703.</li> +</ul> + + + +<p class="author"><a name="Eastman_M" id="Eastman_M"></a><b>Max Eastman</b>—poet, essayist, critic.</p> + +<p>Born at Canandaigua, New York, 1883. Both his parents were +Congregationalist preachers. A. B., Williams College, 1905. From 1907 to +1911, associate in philosophy at Columbia. In 1911, began to give his +entire time to studying and writing about the problems of economic +inequality. In 1913,<span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span> became editor of <i>The Masses</i>, a periodical which +voiced his theories, and which in 1917 became <i>The Liberator</i>.</p> + +<p>In his <i>Enjoyment of Poetry</i>, Mr. Eastman shows in an interesting way how +poetry can be made to contribute to the enrichment of life.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Child of the Amazons and Other Poems. 1913.</li> +<li class="leftpad">The Enjoyment of Poetry. 1913.</li> +<li class="leftpad">Journalism Versus Art. 1916.</li> +<li class="leftpad">Understanding Germany. 1916.</li> +<li class="leftpad">The Colors of Life. 1918.</li> +<li class="leftpad">The Sense of Humor. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Countryside M. 23 (’16): 273 (portrait).</li> +<li class="leftpad">Cur. Op. 55 (’13): 126 (portrait).</li> +<li class="leftpad">Dial, 65 (’18): 611 (Louis Untermeyer); 66 (’19): 146. (Arturo +Giovannitti.)</li> +<li class="leftpad">Harp. W. 57 (’13): June 7, p. 20.</li> +<li class="leftpad">Lit. Digest, 54 (’17): 71 (portrait).</li> +<li class="leftpad">New Repub. 9 (’17): 303. (Hackett.)</li> +<li class="leftpad">Poetry, 2 (’13): 140; 3 (’13): 31; 13 (’19): 322.</li> +<li class="leftpad">Survey, 30 (’13): 489.</li> +</ul> + + + +<p class="author"><a name="Eaton_W" id="Eaton_W"></a><b>Walter Prichard Eaton</b>—critic, essayist.</p> + +<p>Born at Malden, Massachusetts, 1878. A. B., Harvard, 1900. Dramatic critic +on the <i>New York Tribune</i>, 1902-7, and the <i>New York Sun</i>, 1907-8, and on +the <i>American Magazine</i>, 1909-18.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The American Stage of Today. 1908.</li> +<li class="leftpad">At the New Theatre and Others. 1910.</li> +<li class="leftpad">Barn Doors and Byways. 1913.</li> +<li class="leftpad">The Man Who Found Christmas. 1913.</li> +<li class="leftpad">The Idyl of Twin Fires. 1915.</li> +<li class="leftpad">New York. 1915.</li> +<li class="leftpad">Plays and Players. 1916.</li> +<li class="leftpad">Green Trails and Upland Pastures. 1917.</li> +<li class="leftpad">Newark. 1917.</li> +<li class="leftpad">Echoes and Realities. 1918. (Poems.)</li> +<li class="leftpad">In Berkshire Fields. 1919.</li> +<li class="leftpad">On the Edge of the Wilderness. 1920.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 28 (’09): 412; 29 (’09): 473. (Portraits).</li> +<li class="leftpad">Country Life, 25 (’14): Jan., p. 110 (portrait).</li> +<li class="leftpad">Lit. Digest, 53, (’16): 1711 (portrait).</li> +</ul> + + + +<p class="author"><b>“Albert Edwards.”</b> See <i><a href="#Bullard_A">Arthur Bullard</a></i>.</p> + + + +<p class="author"><a name="Eliot_T" id="Eliot_T"></a><b>T(homas) S(tearns) Eliot</b>—poet, critic.</p> + +<p>Born at St. Louis, Missouri, 1888. A. B., Harvard, 1909; A. M., 1910. +Studied at the Sorbonne, Paris, and at Merton College, Oxford. Teacher +and lecturer in London since 1913.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Is Mr. Eliot’s poetry derived from a keen sense of life experienced or +from literature? What echoes of earlier poets do you find in his work?</p> + +<p>2. Does the adjective <i>distinguished</i> apply to his work? What are the +sources of his distinction? What evidences of fresh vision of old things +do you find? of unexpected and true associations and contrasts? of a +delicate sense for essential details that make a picture? of the power of +suggestive condensation? of ability to get an emotional effect through +irony?</p> + +<p>3. Consider the following quotation from Mr. Eliot as illuminative of his +method of work: “The contemplation of the horrid or sordid by the artist +is the necessary and negative aspect of the impulse toward beauty.”</p> + +<p>4. It is interesting to make a special study of Mr. Eliot’s management of +verse.</p> + +<p>5. What, if any, temperamental defect is likely to interfere with his +development?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems. 1920.</li> +<li class="leftpad">The Sacred Wood. Essays on Poetry and Criticism. 1921.</li> +<li class="leftpad">The Waste Land. 1922.</li> +<li class="leftpad">Also in: The Little Review, 4 (’17): May, June, September.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Ath. 1920, 1: 239.</li> +<li class="leftpad">Dial, 68 (’20): 781; 70 (’21): 336.</li> +<li class="leftpad">Freeman, 1 (’20): 381; 2 (’21): 593. (Conrad Aiken.)</li> +<li class="leftpad">Lond. Times, June 13, 1919: 322; Dec. 2, 1920: 795.</li> +<li class="leftpad">Nation, 110 (’20): 856.</li> +<li class="leftpad">Poetry, 10 (’17): 264; 16 (’20): 157; 17 (’21): 345.</li> +<li class="leftpad">New Statesman, 16 (’21): 418.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Erskine_J" id="Erskine_J"></a><b>John Erskine</b>—essayist, poet.</p> + +<p>Born in New York City, 1879. A. B., Columbia, 1900; A. M., 1901; Ph. D., +1903. Taught English at Amherst and Columbia. Since 1916, professor at +Columbia. Co-editor of the <i>Cambridge History of American Literature</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Moral Obligation to be Intelligent, and Other Essays. 1915.</li> +<li class="leftpad">The Shadowed Hour. 1917. (Poems.)</li> +<li class="leftpad">Democracy and Ideals, a Definition. 1920.</li> +<li class="leftpad">The Kinds of Poetry, and Other Essays. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Dial, 70 (’21): 347.</li> +<li class="leftpad">Outlook, 126 (’20): 377 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920.</li> +</ul> + + + +<p class="author"><a name="Faulks_T" id="Faulks_T"></a><b>Theodosia Faulks (Theodosia Garrison: Mrs. Frederic J. Faulks)</b>—poet.</p> + +<p>Born at Newark, New Jersey, 1874. Educated in private schools.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Joy o’ Life and Other Poems. 1909.</li> +<li class="leftpad">Earth Cry and Other Poems. 1910.</li> +<li class="leftpad">The Dreamers. 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 16 (’02): 16 (portrait); 47 (’18): 398.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917, 1921.</li> +</ul> +<p><span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span></p> + + + +<p class="author"><a name="Ferber_E" id="Ferber_E"></a><b>Edna Ferber</b>—short-story writer, novelist.</p> + +<p>Born at Kalamazoo, Michigan, 1887. Educated in the public and high +schools of Appleton, Wisconsin. Began newspaper work at seventeen as +reporter on the <i>Appleton Daily Crescent</i>. Later, employed on the +<i>Milwaukee Journal</i> and the <i>Chicago Tribune</i>.</p> + +<p>Miss Ferber’s special contribution to American Literature thus far has +been through her studies of American women in business.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Dawn O’Hara. 1911.</li> +<li class="leftpad">Buttered Side Down. 1912.</li> +<li class="leftpad">Roast Beef Medium. 1913.</li> +<li class="leftpad">Personality Plus. 1914.</li> +<li class="leftpad">Emma McChesney & Co. 1915.</li> +<li class="leftpad">Fanny Herself. 1917.</li> +<li class="leftpad">Cheerful—By Request. 1918.</li> +<li class="leftpad">Half Portions. 1920.</li> +<li class="leftpad">$1200 a Year. 1920. (Comedy.)</li> +<li class="leftpad">The Girls. 1921. (Novel.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 54 (’21): 393; 54 (’22): 434 (portrait), 582.</li> +<li class="leftpad">Cur. Op. 54 (’13): 491 (portrait).</li> +<li class="leftpad">New Repub. 29 (’22): 158. (Hackett.)</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917, 1918, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Ficke_A" id="Ficke_A"></a><b>Arthur Davison Ficke</b>—poet.</p> + +<p>Born at Davenport, Iowa, 1883. A. B., Harvard, 1904. Studied at the +College of Law, State University of Iowa. Taught English at State +University of Iowa, 1905-7. Admitted to the bar, 1908. Under the name +“Anne Knish” joined Witter Bynner (<a href="#Bynner_W">q. v.</a>) under the pseudonym “Emanuel +Morgan” in writing <i>Spectra</i>. Mr. Ficke’s knowledge of art, especially +Japanese art, has an important bearing upon his work.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">From the Isles. 1907.</li> +<li class="leftpad">The Happy Princess. 1907.</li> +<li><span class='pagenum'><a name="Page_51" id="Page_51">[51]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Earth Passion. 1908.</span></li> +<li class="leftpad">The Breaking of Bonds. 1910.</li> +<li class="leftpad">Twelve Japanese Painters. 1913.</li> +<li class="leftpad">Mr. Faust. 1913.</li> +<li class="star">*Sonnets of a Portrait Painter. 1914.</li> +<li class="leftpad">The Man on the Hilltop. 1915.</li> +<li class="leftpad">Chats on Japanese Prints. 1915.</li> +<li class="leftpad">Spectra. 1916. (Under pseudonym “Anne Knish,” with Witter Bynner, <a href="#Bynner_W">q. v.</a>)</li> +<li class="leftpad">An April Elegy. 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Forum, 55 (’16): 240, 675.</li> +<li class="leftpad">Poetry, 4 (’14): 29; 6 (’15): 39, 247; 10 (’17): 323; 12 (’18): 169.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915.</li> +</ul> + + + +<p class="author"><a name="Fisher_D" id="Fisher_D"></a><b>Dorothy Canfield Fisher (Dorothea Frances Canfield Fisher, Mrs. John +Redwood Fisher)</b>—novelist.</p> + +<p>Born at Lawrence, Kansas, 1879. Ph. B., Ohio State University, 1899; +Ph. D., Columbia, 1904. Secretary of Horace Mann School, 1902-5. Studied +and traveled widely in Europe and speaks several languages. Spent several +years in France, doing war work.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Squirrel-Cage. 1912.</li> +<li class="leftpad">Hillsboro People. 1915. (Short stories, with poems by Sarah Cleghorn, +<a href="#Cleghorn_S">q. v.</a>)</li> +<li class="star">*The Bent Twig. 1915.</li> +<li class="leftpad">The Real Motive. 1916.</li> +<li class="leftpad">Fellow-Captains. 1916. (With Sarah Cleghorn, <a href="#Cleghorn_S">q. v.</a>) (Essays.)</li> +<li class="leftpad">Self-Reliance. 1916.</li> +<li class="leftpad">Understood Betsy. 1917.</li> +<li class="leftpad">Home Fires in France. 1918.</li> +<li class="leftpad">The Day of Glory. 1919.</li> +<li class="star">*The Brimming Cup. 1921.</li> +<li class="leftpad">Rough-Hewn. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 42 (’16): 599; 48 (’18): 105; 53 (’21): 453.</li> +<li class="leftpad">Dial, 65 (’18): 320.</li> +<li class="leftpad">Lit. Digest, 69 (’21): June 11, p. 57.</li> +<li class="leftpad">New Repub. 5 (’16): 314.</li> +<li class="leftpad">R. of Rs. 45 (’12): 759 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1917-9, 1921.</li> +</ul> +<p><span class='pagenum'><a name="Page_52" id="Page_52">[52]</a></span></p> + + + +<p class="author"><a name="Fitzgerald_F" id="Fitzgerald_F"></a><b>F(rancis) Scott (Key) Fitzgerald</b>—novelist, short-story writer.</p> + +<p>Born in 1896.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">This Side of Paradise. 1920.</li> +<li class="leftpad">Flappers and Philosophers. 1920. (Short stories.)</li> +<li class="leftpad">The Beautiful and Damned. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Lond. Times, June 23, 1921: 402.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920.</li> +</ul> + + + +<p class="author"><a name="Fletcher_J" id="Fletcher_J"></a><b>John Gould Fletcher</b>—poet, critic.</p> + +<p>Born at Little Rock, Arkansas, 1886. Studied at Phillips Academy, +Andover, Massachusetts, and at Harvard, 1903-7. Has lived much in +England.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Read the prefaces to <i>Irradiations</i> and <i>Goblins and Pagodas</i> for Mr. +Fletcher’s theory of poetry before you read the poems themselves. Has he +succeeded in making the arts of painting and music do service to poetry?</p> + +<p>2. After reading the poems, consider the justice or injustice of Mr. +Aiken’s criticism: “It is a sort of absolute poetry, a poetry of detached +waver and brilliance, a beautiful flowering of language alone—a +parthenogenesis, as if language were fertilized by itself rather than by +thought or feeling. Remove the magic of phrase and sound and there is +nothing left: no thread of continuity, no thought, no story, no emotion. +But the magic of phrase and sound is powerful, and it takes one into a +fantastic world.”</p> + +<p>3. Do you find any poems to which the quotation given above does not +apply? Are these of more or of less value than the others?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Irradiations—Sand and Spray. 1915.</li> +<li class="leftpad">Goblins and Pagodas. 1916.</li> +<li class="leftpad">Japanese Prints. 1917.</li> +<li><span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Tree of Life. 1918.</span></li> +<li class="leftpad">Breakers and Granite. 1921.</li> +<li class="leftpad">Paul Gauguin; His Life and Art. 1921.</li> +</ul> + +<p>For bibliography of editions out of print, see <i>A Miscellany of American +Poetry</i>. 1920.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Lowell.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. 41 (’15): 236 (portrait).</li> +<li class="leftpad">Dial, 66 (’19): 189.</li> +<li class="leftpad">Egoist, 2 (’15): 73, 79, 177 (portrait); 3 (’16): 173.</li> +<li class="leftpad">New Repub. 3 (’15): 75, 154, 204; 5 (’15): 280; 9 (’16): supp. p. 11.</li> +<li class="leftpad">Poetry, 7 (’15): 44, 88; 9 (’16): 43; 13 (’19); 340; 19 (’21): 155.</li> +<li class="leftpad">Sat. Rev. 126 (’18): 1039.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1918, 1919, 1921.</li> +</ul> + + + +<p class="author"><a name="Ford_S" id="Ford_S"></a><b>Sewell Ford</b> (Maine, 1868)—short-story writer.</p> + +<p>The creator of Shorty McCabe and Torchy. For bibliography, see <i>Who’s Who +in America</i>.</p> + + + +<p class="author"><a name="Fox_J" id="Fox_J"></a><b>John (William) Fox, Jr.</b>—novelist.</p> + +<p>Born in Kentucky, 1862, of a pioneer family. Pupil of James Lane Allen +(<a href="#Allen_J">q. v.</a>), whose influence on his work should be noted. Also associated in +friendship with Roosevelt and with Thomas Nelson Page. War correspondent +during the Spanish and Japanese wars. Died in 1919.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*The Little Shepherd of Kingdom Come. 1903.</li> +<li class="leftpad">Following the Sun Flag. 1905.</li> +<li class="leftpad">A Knight of the Cumberland. 1906.</li> +<li class="star">*The Trail of the Lonesome Pine. 1908.</li> +<li class="leftpad">The Heart of the Hills. 1913.</li> +<li class="leftpad">In Happy Valley, 1917.</li> +<li class="leftpad">Erskine Dale; Pioneer. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 32 (’10): 363.</li> +<li class="leftpad">Nation, 109 (’19): 72.</li> +<li class="leftpad">Outlook, 90 (’08): 700; 126 (’20): 333. (Portraits.)</li> +<li class="leftpad">Scrib. M. 66 (’19): 674. (Thomas Nelson Page.)</li> +</ul> +<p><span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span></p> + + + +<p class="author"><a name="Frank_W" id="Frank_W"></a><b>Waldo David Frank</b>—novelist.</p> + +<p>Born in 1889. His criticism of America (1919) roused much discussion.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Unwelcome Man. A Novel. 1917.</li> +<li class="leftpad">Our America. 1919.</li> +<li class="leftpad">Dark Mother. 1920.</li> +<li class="leftpad">Rahab. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Op. 68 (’20): 80 (portrait).</li> +<li class="leftpad">Dial, 62 (’17): 244 (Van Wyck Brooks); 70 (’21): 95.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917, 1919.</li> +</ul> + + + +<p class="author"><a name="Freeman_M" id="Freeman_M"></a><b>Mary E(leanor) Wilkins Freeman (Mrs. Charles M. Freeman)</b>—short-story +writer, novelist, dramatist.</p> + +<p>Born at Randolph, Massachusetts, 1862. Educated there and at Mount +Holyoke Seminary, 1874.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*A Humble Romance and Other Stories. 1887.</li> +<li class="star">*A New England Nun and Other Stories. 1891.</li> +<li class="leftpad">A Pot of Gold and Other Stories. [1892.]</li> +<li class="leftpad">Young Lucretia. 1892.</li> +<li class="leftpad">Giles Corey, Yeoman. A Play. 1893.</li> +<li class="leftpad">Jane Field. A Novel. 1893.</li> +<li class="leftpad">Pembroke. A Novel. 1894.</li> +<li class="leftpad">Comfort Pease and Her Gold Ring. 1895.</li> +<li class="leftpad">Madelon. A Novel. 1896.</li> +<li class="leftpad">Jerome, a Poor Man. 1897.</li> +<li class="leftpad">Silence and Other Stories. 1898.</li> +<li class="leftpad">People of Our Neighborhood. 1898.</li> +<li class="leftpad">In Colonial Times. 1899.</li> +<li class="leftpad">Evelina’s Garden. 1899.</li> +<li class="leftpad">The Jamesons. 1899.</li> +<li class="leftpad">The Love of Parson Lord and Other Stories. 1900.</li> +<li class="leftpad">The Hearts Highway. A Romance of Virginia in the Seventeenth Century. +1900.</li> +<li class="leftpad">The Portion of Labor. 1901.</li> +<li class="leftpad">The Home-Coming of Jessica. 1901.</li> +<li class="leftpad">Understudies. 1901.</li> +<li class="leftpad">Six Trees. 1903.</li> +<li><span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Wind in the Rose Bush and Other Stories of the Supernatural. 1903.</span></li> +<li class="leftpad">The Givers. 1904.</li> +<li class="leftpad">The Debtor. A Novel. 1905.</li> +<li class="leftpad">“Doc.” Gordon. 1906.</li> +<li class="leftpad">By the Light of the Soul. 1906.</li> +<li class="leftpad">The Fair Lavinia. 1907.</li> +<li class="leftpad">The Shoulders of Atlas. A Novel. 1908.</li> +<li class="leftpad">The Winning Lady. 1909.</li> +<li class="leftpad">The Green Door. 1910.</li> +<li class="leftpad">The Butterfly House. 1912.</li> +<li class="leftpad">The Yates Pride. 1912.</li> +<li class="leftpad">The Copy-Cat and Other Stories. 1914.</li> +<li class="leftpad">An Alabaster Box. 1917. (With Florence Morse Kingsley.)</li> +<li class="leftpad">Edgewater People. 1918.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Harkins. (Women.)</li> +<li class="leftpad">Overton.</li> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Atlan. 83 (’99): 665.</li> +<li class="leftpad">Bk. Buyer, 8 (’91): 53 (portrait); 23 (’01): 379.</li> +<li class="leftpad">Bookm. 24 (’06): 20 (portrait).</li> +<li class="leftpad">Bookm. (Lond.) 24 (’06): 20 (portrait).</li> +<li class="leftpad">Bk. News, 11 (’93): 227.</li> +<li class="leftpad">Citizen, 4 (’98): 27.</li> +<li class="leftpad">Critic, 20 (’92): 13; 22 (’93): 256 (portrait); 32 (’98): 155 +(portraits).</li> +<li class="leftpad">Harp. W. 47 (’03): 1879; 49 (’05): 1940. (Portraits.)</li> +</ul> + + + +<p class="author"><a name="French_A" id="French_A"></a><b>Alice French (“Octave Thanet”)</b>—novelist.</p> + +<p>Born at Andover, Massachusetts, and educated at Abbott Academy there; +Litt. D., University of Iowa, 1911.</p> + +<p>Upon going to live in the Middle West, Miss French became interested in +the local color of Iowa and Arkansas and in the labor conditions with +which she came in contact as a member of a family of manufacturers. The +sociological and propagandist elements are strong in her work.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Knitters in the Sun. 1887.</li> +<li class="leftpad">Stories of a Western Town. 1893.</li> +<li class="leftpad">The Man of the Hour. 1905.</li> +<li class="leftpad">The Lion’s Share. 1907.</li> +<li><span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">By Inheritance. 1910.</span></li> +<li class="leftpad">Stories That End Well. 1911.</li> +<li class="leftpad">A Step on the Stair. 1913.</li> +<li class="leftpad">And the Captain Answered. 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Harkins. (Women.)</li> +<li class="leftpad">Patee.</li> +<li> </li> +<li class="leftpad">Arena, 38 (’07): 683 (portrait), 691.</li> +<li class="leftpad">Cur. Lit. 28 (’00): 143.</li> +</ul> + + + +<p class="author"><a name="Frost_R" id="Frost_R"></a><b>Robert Lee Frost</b>—poet.</p> + +<p>Born at San Francisco, 1875. At the age of ten, he was taken to New +England where eight generations of his forefathers had lived. In 1892, he +spent a few months at Dartmouth College but disliking college routine, +decided to earn his living, and became a millhand in Lawrence, +Massachusetts. In 1897, two years after he had married, he entered +Harvard and studied there for two years; but he finally gave up the idea +of a degree and turned to various kinds of work, teaching, shoe-making, +and newspaper work. From 1900-11, he was farming at Derry, New Hampshire, +but with little success. At the same time, he was writing and offering +for publication poems which were invariably refused. He likewise taught +English at Derry, 1906-11, and psychology at Plymouth, 1911-2.</p> + +<p>In 1912, he sold his farm and with his wife and four children went to +England. He offered a collection of poems to an English publisher and +went to live in the little country town of Beaconsfield. The poems were +published and their merits were quickly recognized. In 1914, Mr. Frost +rented a small place at Ledbury, Gloucestershire, near the English poets, +Lascelles Abercrombie, and W. W. Gibson. With the publication of <i>North of +Boston</i> his reputation as a poet was established.</p> + +<p>In 1915, Mr. Frost returned to America and went to live near Franconia, +New Hampshire. From 1916 to 1919 he taught English at Amherst College. +But he found that college life was disturbing to his creative energy, and +in<span class='pagenum'><a name="Page_57" id="Page_57">[57]</a></span> 1920 he bought land in Vermont and again became a farmer. In 1921, +the University of Michigan, in recognition of his talents, offered him a +salary to live in Ann Arbor without teaching. This position he accepted, +but it is reported that he intends to return to farming to secure the +leisure necessary for his work.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Make a list of subjects that you have not found treated elsewhere in +poetry. Test the truth of the treatment by your own experience and decide +whether Mr. Frost has converted these commonplace experiences into a new +field of poetry.</p> + +<p>2. Read in succession the poems concerning New England life and decide +whether they seem more authentic and more valuable than the others. If +so, why?</p> + +<p>3. Is Mr. Frost’s realism photographic? Consider in this connection his +own statement: “There are two types of realist—the one who offers a good +deal of dirt with his potato to show that it is a real one; and the one +who is satisfied with the potato brushed clean.... To me the thing that +art does for life is to strip it to form.”</p> + +<p>In view of the last sentence it is interesting to consider the kinds of +details that Mr. Frost chooses for presentation and those that he omits.</p> + +<p>4. Read several of the long poems to discover his relative strength in +narrative and in dramatic presentation.</p> + +<p>5. Examine the vocabulary for naturalness, colloquialism, and +extraordinary occasional fitness of words.</p> + +<p>6. Try to sum up briefly Mr. Frost’s philosophy of life and his attitude +toward nature and people.</p> + +<p>7. What do you observe about the metrical forms, the beauty or lack of +beauty in the rhythm? Do many of the poems sing?</p> + +<p>8. What do you prophesy as to Mr. Frost’s future?<span class='pagenum'><a name="Page_58" id="Page_58">[58]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Boy’s Will. 1913.</li> +<li class="leftpad">North of Boston. 1914.</li> +<li class="leftpad">Mountain Interval. 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton</li> +<li class="leftpad">Lowell.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Atlan. 116 (’15): 214.</li> +<li class="leftpad">Bookm. 45 (’17): 430 (portrait); 47 (’18): 135.</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 5.</li> +<li class="leftpad">Cur. Op. 58 (’15): 427 (portrait).</li> +<li class="leftpad">Dial, 61 (’16): 528.</li> +<li class="leftpad">Ind. 86 (’16): 283; 88 (’16): 533. (Portraits.)</li> +<li class="leftpad">Lit. Digest, 66 (’20): June 17, p. 32 (portrait).</li> +<li class="leftpad">Nation, 109 (’19): 713.</li> +<li class="leftpad">New Repub. 9 (’16): 219; 12 (’17): 109.</li> +<li class="leftpad">Poetry, 2 (’13): 72; 5 (’14): 127; 9 (’17): 202.</li> +<li class="leftpad">R. of Rs. 51 (’15): 432 (portrait).</li> +<li class="leftpad">School and Soc. 7 (’18): 117.</li> +<li class="leftpad">Spec. 126 (’21): 114.</li> +<li class="leftpad">Survey, 45 (’20): 318.</li> +<li class="leftpad">Touchstone, 3 (’18): 70 (portrait).</li> +</ul> + + + +<p class="author"><a name="Fuller_H" id="Fuller_H"></a><b>Henry Blake Fuller</b>—novelist, short-story writer.</p> + +<p>Born in Chicago, 1857. Educated in Chicago public schools, graded and +high; and at a “classical academy” in Wisconsin. In Europe, ’79-’80, ’83, +’92, ’94, ’96-7. Literary editor <i>Chicago Post</i>, 1902. Editorials +<i>Chicago Record Herald</i>, 1910-11 and 1914; at present, <i>Literary Review</i> +of the <i>New York Evening Post</i>, for the <i>Freeman</i>, <i>New Republic</i>, +<i>Nation</i>, etc.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Compare Mr. Fuller’s stories of Europe with his studies of life in +Chicago. What is their relative success? What inferences do you draw?</p> + +<p>2. Considering dates, materials, and methods, where do you place Mr. +Fuller’s work in the development of the American novel?</p> + +<p>3. Before reading <i>On the Stairs</i>, cf. <i>Dial</i>, 64 (’18): 405.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*The Chevalier of Pensieri-Vani. 1891.</li> +<li class="leftpad">The Chatelaine of La Trinité. 1892.</li> +<li><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Cliff-Dwellers. 1893.</span></li> +<li class="leftpad">With the Procession. A Novel. 1895.</li> +<li class="leftpad">The Puppet-Booth. Twelve Plays. 1896.</li> +<li class="leftpad">From the Other Side. Stories of Transatlantic Travel. 1898.</li> +<li class="leftpad">The Last Refuge. A Sicilian Romance. 1900.</li> +<li class="leftpad">Under the Skylights. 1901.</li> +<li class="leftpad">Waldo Trench and Others. Stories of Americans in Italy. 1908.</li> +<li class="leftpad">Lines Long and Short. Biographical Sketches in Various Rhythms. 1917.</li> +<li class="leftpad">On the Stairs. 1918.</li> +<li class="leftpad">Bertram Cope’s Year. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bk. Buyer, 24 (’02): 185 (portrait).</li> +<li class="leftpad">Bookm. 38 (’13): 275; 47 (’18): 340.</li> +<li class="leftpad">Dial, 64 (’18): 405.</li> +<li class="leftpad">Poetry, 10 (’17): 155.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1920.</li> +</ul> + + + +<p class="author"><a name="Gale_Z" id="Gale_Z"></a><b>Zona Gale</b>—novelist, short-story writer, dramatist.</p> + +<p>Born at Portage, Wisconsin, 1874. B. L., University of Wisconsin, 1895; +M. L., 1899. On Milwaukee papers until 1901. Later on staff of the <i>New +York World</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Loves of Pelleas and Etarre. 1907.</li> +<li class="leftpad">Friendship Village. 1908.</li> +<li class="leftpad">Friendship Village Love Stories. 1909.</li> +<li class="leftpad">Mothers to Men. 1911.</li> +<li class="leftpad">When I Was a Little Girl. 1913.</li> +<li class="leftpad">Neighborhood Stories. 1914.</li> +<li class="leftpad">The Neighbors. 1914. (One-act play.)</li> +<li class="leftpad">A Daughter of the Morning. 1917.</li> +<li class="leftpad">Birth. 1918.</li> +<li class="star">*Miss Lulu Bett. 1920. (Play, 1921.)</li> +<li class="leftpad">The Secret Way. 1921. (Poems.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Acad. 75 (’08): 595.</li> +<li class="leftpad">Bookm. 13 (’01): 520 (portrait); 25 (’07): 567 (portrait); +53 (’21): 123.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1917-19, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span></p> + + + +<p class="author"><a name="Garland_H" id="Garland_H"></a><b>Hamlin Garland</b>—short-story writer, novelist.</p> + +<p>Born on a farm near West Salem, Wisconsin, 1860, of Scotch and New +England ancestry. During his boyhood, his father moved first to Iowa, +then to Dakota. As a boy, Mr. Garland helped his father with all the hard +work of making farmland out of prairie. While still in his teens, he was +able to do a man’s work. His schooling was desultory, but he finished the +course at Cedar Valley Seminary, Osage, Iowa, then taught, 1882-3. In +1883 he took up a claim in Dakota, but the next year went to Boston and +began his career as teacher and writer.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Read the autobiographical books, <i>A Son of the Middle Border</i> and <i>A +Daughter of the Middle Border</i>, to get the background of Mr. Garland’s +work. Then read his essays called <i>Crumbling Idols</i>, for the literary +theory on which his work was created.</p> + +<p>2. Two literary landmarks in Mr. Garland’s history are: Edward +Eggleston’s <i>The Hoosier Schoolmaster</i> (1871), and Joseph Kirkland’s +<i>Zury: the Meanest Man in Spring County</i> (1887). Read these and decide +how much they influenced <i>Main-Traveled Roads</i> and similar volumes of Mr. +Garland’s.</p> + +<p>3. Mr. Garland says that he presents farm life “not as the summer boarder +or the young lady novelist sees it—but as the working farmer endures +it.” Find evidence of this.</p> + +<p>4. Consider how far Mr. Garland’s success depends upon the richness of +his material, how far upon his philosophy of life and his honesty to his +own experience, and how far upon his technical skill as a writer.</p> + +<p>5. What are his most obvious limitations? What is the relative importance +of his novels and of his short stories?</p> + +<p>6. Consider separately: (1) his power of visualization; (2) his choice of +significant detail; (3) his originality or lack of it; (4) his range in +characterization; (5) his power of suggestion as over against his +vividness of delineation; (6) his economy—or lack of it—in expression. +Where does his main strength lie?<span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Under the Wheel. A Modern Play in Six Scenes. 1890.</li> +<li class="star">*Main-Traveled Roads. 1890.</li> +<li class="leftpad">Jason Edwards. 1891.</li> +<li class="leftpad">A Little Norsk. 1891.</li> +<li class="star">*Prairie Folks. 1892.</li> +<li class="leftpad">A Spoil of Office. A Story of the Modern West. 1892.</li> +<li class="leftpad">A Member of the Third House. 1892.</li> +<li class="leftpad">Crumbling Idols. 1893. (Essays.)</li> +<li class="leftpad">Prairie Songs. 1894.</li> +<li class="star">*Rose of Dutcher’s Coolly. 1895.</li> +<li class="leftpad">Wayside Courtships. 1897.</li> +<li class="leftpad">The Spirit of Sweetwater. 1898.</li> +<li class="leftpad">Boy Life on the Prairie. 1899. (Autobiographical.)</li> +<li class="leftpad">The Eagle’s Heart. 1900.</li> +<li class="leftpad">Her Mountain Lover. 1901.</li> +<li class="leftpad">The Captain of the Gray Horse Troop. A Novel. 1902.</li> +<li class="leftpad">Hesper. A Novel. 1903.</li> +<li class="leftpad">The Light of the Star. A Novel. 1904.</li> +<li class="leftpad">The Tyranny of the Dark. 1905. (Novel.)</li> +<li class="leftpad">The Long Trail. A Story of the Northwest Wilderness. 1907.</li> +<li class="leftpad">Money Magic. A Novel. 1907.</li> +<li class="leftpad">The Shadow World. 1908. (Novel.)</li> +<li class="leftpad">The Moccasin Ranch. A Story of Dakota. 1909.</li> +<li class="leftpad">Cavanagh, Forest Ranger. A Romance of the Mountain West. 1909.</li> +<li class="star">*Other Main-Traveled Roads. 1910.</li> +<li class="leftpad">Victor Ollnee’s Discipline, 1911. (Novel.)</li> +<li class="leftpad">The Forester’s Daughter. A Romance of the Bear-Tooth Range. 1914.</li> +<li class="leftpad">They of the High Trails. 1916.</li> +<li class="leftpad">A Son of the Middle Border. 1917. (Autobiographical.)</li> +<li class="leftpad">A Daughter of the Middle Border. 1921. (Autobiographical.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Harkins.</li> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Arena, 34 (’05): 112 (portrait), 206.</li> +<li class="leftpad">Bookm. 31 (’10): 226 (portrait), 309.</li> +<li class="leftpad">Chaut. 64 (’11): 322 (portrait).</li> +<li class="leftpad">Cur. Lit. 53 (’12): 589.</li> +<li class="leftpad">Cur. Op. 63 (’17): 412.</li> +<li class="leftpad">Lit. Digest, 55 (’17): Sept. 15, p. 28 (portrait).</li> +<li class="leftpad">No. Am. 196 (’12): 523.</li> +<li class="leftpad">R. of Rs. 25 (’02): 701 (portrait).</li> +<li class="leftpad">Sewanee R. 27 (’19): 411.</li> +<li class="leftpad">Touchstone, 2 (’17): 322.</li> +<li class="leftpad">World’s Work, 6 (’03): 3695.</li> +</ul> +<p><span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span></p> + + + +<p class="author"><a name="Gerould_K" id="Gerould_K"></a><b>Katharine Fullerton Gerould (Mrs. Gordon Hall Gerould)</b>—short-story +writer, novelist, essayist.</p> + +<p>Born at Brockton, Massachusetts, 1879. A. B., Radcliffe College, 1900; +A. M., 1901. Reader in English at Bryn Mawr College, 1901-10, except +1908-9 which she spent in England and France.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Mrs. Gerould belongs to the school of Henry James, but shows marked +individuality in her themes and in her dramatic power. A comparison of +some of her short stories with stories by Mr. James (<a href="#James_H">q. v.</a>) and by Mrs. +Wharton (<a href="#Wharton_E">q. v.</a>) is illuminating for the powers and limitations of all +three.</p> + +<p>2. Another interesting comparison is between Mrs. Gerould’s stories and +the collection entitled <i>Bliss</i> by the English writer, Katherine +Mansfield (Mrs. J. Middleton Murry); cf. Manly and Rickert, <i>Contemporary +British Literature</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*Vain Oblations. 1914.</li> +<li class="star">*The Great Tradition. 1915.</li> +<li class="leftpad">Hawaii, Scenes and Impressions. 1916.</li> +<li class="leftpad">A Change of Air. 1917.</li> +<li class="leftpad">Modes and Morals. 1919. (Essays.)</li> +<li class="leftpad">Lost Valley. 1921. (Novel.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 44 (’16): 31.</li> +<li class="leftpad">Cur. Lit. 58 (’15):353.</li> +<li class="leftpad">New Repub. 22 (’20): 97.</li> +<li class="leftpad">No. Am. 211 (’20): 564. (Lawrence Gilman.)</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1914-17, 1920.</li> +</ul> + + + +<p class="author"><a name="Gifford_F" id="Gifford_F"></a><b>Fannie Stearns Davis Gifford (Mrs. Augustus McKinstry Gifford)</b>—poet.</p> + +<p>Born at Cleveland, Ohio, 1884. A. B., Smith College, 1904. Taught English +at Kemper Hall, Kenosha, Wisconsin, 1906-7.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Myself and I. 1913.</li> +<li class="leftpad">Crack o’ Dawn. 1915.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_63" id="Page_63">[63]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 388.</li> +<li class="leftpad">Poetry, 2 (’13): 225; 6 (’15): 45.</li> +</ul> + + + +<p class="author"><a name="Giovannitti_A" id="Giovannitti_A"></a><b>Arturo Giovannitti</b>—poet.</p> + +<p>Born in the Abruzzi, Italy, 1884, of a family of good social standing, +his father and one of his brothers being doctors, and another brother a +lawyer. Educated in a local Italian college. Came to America in 1900, +full of enthusiasm for democracy. Worked in a coal mine. Later, studied +at Union Theological Seminary. Conducted Presbyterian missions in several +places.</p> + +<p>In 1906, he became a socialist and one of the leaders of the I. W. W. +During the Lawrence strikes he preached the doctrine of Syndicalism and +was arrested on the charge of inciting to riot. He also organized relief +work for the strikers.</p> + +<p>On an Italian newspaper; editor of <i>Il Proletario</i>, a socialist paper. +His first speech in English was made at the time of his trial and +produced a powerful effect upon his audience. During his imprisonment, he +studied English literature and wrote poems, of which the most famous is +“The Walker.” His chief concern is with the submerged, and he writes from +actual experience of having been “one of those who sleep in the park.”</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. What are the main features of the social creed at the root of +Giovannitti’s poetry?</p> + +<p>2. Is he a poet or a propagandist? Test his sincerity; his passion; his +truth to experience.</p> + +<p>3. What are his limitations as thinker and as poet?</p> + +<p>4. Compare and contrast his work with Whitman’s in ideas and in form.</p> + +<p>5. Do you find marks of greatness in him?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Arrows in the Gale. 1914. (With introduction by Helen Keller.)</li> +<li class="leftpad">Also in: Others. 1919.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_64" id="Page_64">[64]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Atlan, 111 (’13): 853.</li> +<li class="leftpad">Cur. Op. 54 (’13): 24 (portrait).</li> +<li class="leftpad">Forum, 52 (’14): 609.</li> +<li class="leftpad">Lit. Digest, 45 (’12): 441.</li> +<li class="leftpad">Outlook, 104 (’13): 504.</li> +<li class="leftpad">Poetry, 6 (’15): 36.</li> +<li class="leftpad">Survey, 29 (’12): 163 (portrait).</li> +</ul> + + + +<p class="author"><a name="Glasgow_E" id="Glasgow_E"></a><b>Ellen (Anderson Gholson) Glasgow</b>—novelist.</p> + +<p>Born at Richmond, Virginia, 1874. Privately educated. Her best work deals +with life in Virginia.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Descendant. 1897.</li> +<li class="leftpad">Phases of an Inferior Planet. 1898.</li> +<li class="leftpad">The Voice of the People. 1900.</li> +<li class="leftpad">The Battle-ground. 1902.</li> +<li class="leftpad">The Deliverance. 1904.</li> +<li class="leftpad">The Ancient Law. 1908.</li> +<li class="star">*The Romance of a Plain Man. 1909.</li> +<li class="star">*The Miller of Old Church. 1911.</li> +<li class="leftpad">Virginia. 1913.</li> +<li class="leftpad">Life and Gabriella. 1916.</li> +<li class="leftpad">The Builders. 1919.</li> +<li class="leftpad">Stranger Things Have Happened. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Harkins. (Women).</li> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 19 (’04): 14 (portrait), 43; 29 (’09): 613 (portrait), 619.</li> +<li class="leftpad">Critic, 44 (’04): 200 (portrait).</li> +<li class="leftpad">Cur. Lit. 32 (’02): 623.</li> +<li class="leftpad">Cur. Op. 55 (’13): 50 (portrait).</li> +<li class="leftpad">Outlook, 71 (’02): 213 (portrait).</li> +<li class="leftpad">World’s Work, 5 (’02): 2793 (portrait); 39 (’20): 492 (portrait).</li> +</ul> + + + +<p class="author"><a name="Glaspell_S" id="Glaspell_S"></a><b>Susan Glaspell (Mrs. George Cram Cook)</b>—dramatist, novelist.</p> + +<p>Born at Davenport, Iowa, 1882. Ph. B., Drake University and post-graduate +work at the University of Chicago. Statehouse and legislative reporter +for the <i>News</i> and the<span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span> <i>Capitol</i>, Des Moines. Connected with the Little +Theatre movement through the Provincetown Players.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Glory of the Conquered; the Story of a Great Love. 1909.</li> +<li class="leftpad">The Visioning. 1911. (Novel.)</li> +<li class="leftpad">Lifted Masks. 1912. (Short stories.)</li> +<li class="leftpad">Fidelity. 1915. (Novel.)</li> +<li class="leftpad">Suppressed Desires. 1915. (With George Cram Cook, <a href="#Cook_G">q. v.</a>)</li> +<li class="leftpad">Trifles. 1916.</li> +<li class="leftpad">People; and Close the Book. 1918.</li> +<li class="leftpad">Plays. 1920. (Trifles, The People, Close the Book, The Outside, Woman’s +Honor, Suppressed Desires, with George Cram Cook, Tickless Time, with +same; and Bernice, a three act play.)</li> +<li class="leftpad">Inheritors. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 33 (’11): 350 (portrait), 419; 46 (’18): 700 (portrait).</li> +<li class="leftpad">Cur. Op. 59 (’15): 48 (portrait).</li> +<li class="leftpad">Freeman, 1 (’20): 518.</li> +<li class="leftpad">Nation, 111 (’20): 509; 113 (’21): 708.</li> +<li class="leftpad">R. of Rs. 39 (’09): 760 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1920.</li> +</ul> + + + +<p class="author"><a name="Glass_M" id="Glass_M"></a><b>Montague (Marsden) Glass</b> (England, 1877)—short-story writer. The +creator of Potash and Perlmutter.</p> + +<p>For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Goodman_K" id="Goodman_K"></a><b>Kenneth Sawyer Goodman</b>—dramatist.</p> + +<p>Born in 1883. Lieutenant in the Navy, chief aide at Great Lakes Naval +Station. Coöperated with B. Iden Payne at Fine Arts Theatre, 1913. Died +in 1918.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Dust of the Road, a Play in One Act. 1912.</li> +<li class="leftpad">Holbein in Blackfriars; an Improbable Comedy. 1913. (With Thomas Wood +Stevens.)</li> +<li class="leftpad">Back of the Yards, a Play in One Act. 1914.</li> +<li class="leftpad">Barbara, a Play in One Act. 1914.</li> +<li class="leftpad">The Game of Chess; a Play in One Act. 1914.</li> +<li><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Ephraim and the Winged Bear; a Christmas-Eve Nightmare in One Act. 1914.</span></li> +<li class="leftpad">Dancing Dolls, a Fantastic Comedy in One Act. 1915.</li> +<li class="leftpad">A Man Can Only Do His Best; a Fantastic Comedy in One Act. 1915.</li> +<li class="star">*Quick Curtains. 1915. (Includes all the preceding plays.)</li> +<li class="leftpad">The Green Scarf; an Artificial Comedy in One Act. 1920.</li> +<li class="leftpad">The Hero of Santa Maria; a Ridiculous Tragedy in One Act, 1920. (With +Ben Hecht, <a href="#Hecht_B">q. v.</a>)</li> +<li class="leftpad">The Wonder Hat; a Harlequinade in One Act. 1920. (With Ben Hecht, <a href="#Hecht_B">q. v.</a>)</li> +</ul> + + + +<p class="author"><a name="Grant_R" id="Grant_R"></a><b>Robert Grant</b>—novelist.</p> + +<p>Born at Boston, 1852. A. B., Harvard, 1873; Ph. D., 1876; LL. B., 1879. +Judge since 1893. Overseer of Harvard, 1895—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Little Tin Gods on Wheels. 1879.</li> +<li class="leftpad">An Average Man. 1883.</li> +<li class="leftpad">The Reflections of a Married Man. 1892.</li> +<li class="leftpad">The Opinions of a Philosopher. 1893.</li> +<li class="leftpad">The Art of Living. 1895.</li> +<li class="leftpad">Unleavened Bread. 1900.</li> +<li class="leftpad">The Orchid. 1905.</li> +<li class="leftpad">The Chippendales. 1909.</li> +<li class="leftpad">The Convictions of a Grandfather. 1912.</li> +<li class="leftpad">Their Spirit. 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Harkins.</li> +<li> </li> +<li class="leftpad">Bookm. 11 (’00): 463.</li> +<li class="leftpad">Critic, 37 (’00): 3 (portrait); 46 (’05): 209 (portrait), 368.</li> +<li class="leftpad">Cur. Lit. 29 (’00): 418.</li> +<li class="leftpad">Ind. 58 (’05): 1006 (portrait), 1008; 60 (’06): 1047.</li> +<li class="leftpad">Outlook, 78 (’04): 867 (portrait); 92 (’09): 42.</li> +<li class="leftpad">R. of Rs. 31 (’05): 118 (portrait.)</li> +</ul> + + + +<p class="author"><b>“Grayson, David.”</b> See <a href="#Baker_R"><i>Ray Stannard Baker</i></a>.</p> + + + +<p class="author"><a name="Grey_Z" id="Grey_Z"></a><b>Zane Grey</b> (Ohio, 1875)—novelist.</p> + +<p>Writes of the West, from Idaho to Texas. For bibliography, see <i>Who’s Who +in America</i>.<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p> + + + +<p class="author"><a name="Guiterman_A" id="Guiterman_A"></a><b>Arthur Guiterman</b>—poet.</p> + +<p>Born of American parents in Vienna, Austria, 1871. B. A., College of the +City of New York, 1891. Editorial work on the <i>Woman’s Home Companion</i>, +<i>Literary Digest</i>, and other magazines, 1891-1906. Lecturer on magazine +and newspaper verse, New York School of Journalism, 1912-15.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Laughing Muse. 1915.</li> +<li class="leftpad">The Mirthful Lyre. 1918.</li> +<li class="leftpad">Ballads of Old New York. 1919.</li> +<li class="leftpad">Chips of Jade, or What They Say in China. 1920. (Includes <i>Betel Nuts, +or What They Say in Hindustan</i>.)</li> +<li class="leftpad">The Ballad-Maker’s Pack. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 42 (’15): 461.</li> +<li class="leftpad">Ind. 88 (’16): 312 (portrait).</li> +<li class="leftpad">Lit. Digest, 52 (’16): 241.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920.</li> +</ul> + + + +<p class="author"><a name="Hackett_F" id="Hackett_F"></a><b>Francis (O’Byrne) Hackett</b>—critic.</p> + +<p>Born in Kilkenny, Ireland, 1883. Son of a physician. Educated at +Clongowes Wood College, Kildare. Came to America in 1900. Began as office +boy and gradually worked his way up as critic and editorial writer. +Connected with the <i>Chicago Evening Post</i>, 1906-11. Associate editor of +the <i>New Republic</i>, 1914-22.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Ireland, A Study in Nationalism. 1918.</li> +<li class="leftpad">Horizons. 1918.</li> +<li class="leftpad">The Invisible Censor. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 312.</li> +<li class="leftpad">New Repub. 16 (’18): 308; 19 (’19): 88.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1921.</li> +</ul> +<p><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span></p> + + + +<p class="author"><a name="Hagedorn_H" id="Hagedorn_H"></a><b>Hermann Hagedorn, Jr.</b>—man of letters.</p> + +<p>Born in New York City, 1882. A. B., Harvard, 1907. Studied at University +of Berlin, 1907-8, and at Columbia, 1908-9. Instructor in English at +Harvard, 1909-11.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems and Ballads. 1912.</li> +<li class="leftpad">Faces in the Dawn. 1914. (Novel.)</li> +<li class="leftpad">Makers of Madness. 1914. (Play.)</li> +<li class="leftpad">The Great Maze—The Heart of Youth. 1916. (Poem and play.)</li> +<li class="leftpad">Barbara Picks a Husband. 1918. (Novel.)</li> +<li class="leftpad">Hymn of Free Peoples Triumphant. 1918.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 394.</li> +<li class="leftpad">Ind. 74 (’13): 53.</li> +<li class="leftpad">New Repub. 7 (’16): 234.</li> +<li class="leftpad">Outlook, 102 (’12): 207 (portrait); 103 (’13): 262.</li> +<li class="leftpad">Poetry, 9 (’16): 90.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913-4, 1916-21.</li> +</ul> + + + +<p class="author"><a name="Hamilton_C" id="Hamilton_C"></a><b>Clayton (Meeker) Hamilton</b>—critic, dramatist.</p> + +<p>Born at Brooklyn, New York, 1881. A. B., Polytechnic Institute of +Brooklyn, 1900; A. M., Columbia, 1901. Teacher of English and lecturer in +various schools and colleges, 1901-17. Dramatic critic and associate +editor of the <i>Forum</i>, 1907-09. Dramatic editor of <i>The Bookman</i>, +1910-18, and of other magazines. Has traveled widely.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Studies in Stage Craft. 1914.</li> +<li class="leftpad">The Big Idea. 1917. (With A. E. Thomas, <a href="#Thomas_A">q. v.</a>)</li> +<li class="leftpad">Problems of the Playwright. 1917.</li> +<li class="leftpad">Seen on the Stage. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 27 (’08): 340 (portrait); 42 (’16): 523 (portrait); 46 (’17): 257 +(portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1917.</li> +</ul> +<p><span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span></p> + + + +<p class="author"><a name="Hardy_A" id="Hardy_A"></a><b>Arthur Sherburne Hardy</b>—novelist.</p> + +<p>Born at Andover, Massachusetts, 1847. Graduate of U. S. Military Academy, +1869. Honorary higher degrees. Studied and taught civil engineering, +1874-78, and mathematics, 1878-93, at Dartmouth. Represented the United +States in Persia and in various countries of Europe as minister, +1897-1905.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">But Yet a Woman. 1883.</li> +<li class="star">*Passe Rose. 1889.</li> +<li class="leftpad">Aurélie. 1912.</li> +<li class="leftpad">Diane and Her Friends. 1914.</li> +<li class="leftpad">Helen. 1916.</li> +<li class="leftpad">No. 13, Rue du Bon Diable. 1917.</li> +<li class="leftpad">Peter. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bk. Buyer, 21 (’00): 96.</li> +<li class="leftpad">Nation, 99 (’14): 582.</li> +<li class="leftpad">R. of Rs. 27 (’03): 628 (portrait).</li> +</ul> + + + +<p class="author"><a name="Harris_F" id="Harris_F"></a><b>Frank Harris</b>—man of letters.</p> + +<p>Born in Galway, Ireland, 1854, but came to the United States in 1870. +Naturalized. Educated at the universities of Kansas, Paris, Heidelberg, +Strassburg, Göttingen, Berlin, Vienna, and Athens (no degrees). Admitted +to the Kansas bar, 1875. Later, returned to Europe and became editor of +the <i>Evening News</i> and <i>Fortnightly Review</i> and secured control of the +<i>Saturday Review</i>.</p> + +<p>Mr. Harris’s work belongs in a class by itself. It is valuable partly for +its content, as in the case of his intimate portraits of famous men whom +he has known, and partly for the force and brilliancy of the style.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Elder Conklin. 1892. (Novel.)</li> +<li class="leftpad">The Bomb—A Story of the Chicago Anarchists of 1886. 1909.</li> +<li class="leftpad">The Man Shakespeare. 1909.</li> +<li class="leftpad">Montes, the Matador. 1910. (Short stories.)</li> +<li><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Shakespeare and his Love. 1910.</span></li> +<li class="leftpad">The Women of Shakespeare. 1911.</li> +<li class="leftpad">Gravitation. 1912.</li> +<li class="leftpad">Unpathed Waters. 1913.</li> +<li class="leftpad">The Veils of Isis and Other Stories. 1914.</li> +<li class="star">*Contemporary Portraits. 1914.</li> +<li class="leftpad">Great Days. 1914. (Novel.)</li> +<li class="leftpad">Love in Youth. 1914.</li> +<li class="leftpad">England or Germany? 1915.</li> +<li class="leftpad">Oscar Wilde; His Life and Confessions. 1916.</li> +<li class="star">*Contemporary Portraits. Second Series. 1919.</li> +<li class="leftpad">A Mad Love. 1920.</li> +<li class="star">*Contemporary Portraits. Third Series. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 36 (’13): 498; 37 (’13): 592.</li> +<li class="leftpad">Bookm. (Lond.) 45 (’14): 226; 47 (’15): 160.</li> +<li class="leftpad">Cur. Op. 59 (’15): 196.</li> +<li class="leftpad">Eng. Rev. 9 (’11): 599.</li> +<li class="leftpad">Forum, 55 (’16): 189.</li> +<li class="leftpad">Lit. Digest, 46 (’13): 134 (portrait).</li> +<li class="leftpad">Lond. Times, Oct. 7, 1915: 341.</li> +<li class="leftpad">Nation, 101 (’10): 361.</li> +<li class="leftpad">New Repub. 29 (’21): 21. (Hackett.)</li> +<li class="leftpad">No. Am. 202 (’15): 915.</li> +<li class="leftpad">Sat. Rev. 90 (’00): 551.</li> +</ul> + + + +<p class="author"><a name="Harrison_H" id="Harrison_H"></a><b>Henry Sydnor Harrison</b>—novelist.</p> + +<p>Born at Sewanee, Tennessee, 1880. A. B., Columbia, 1900; A. M., 1913.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>Read the article by Robert Herrick listed below, and compare Harrison’s +work with that of Dickens, Sterne, and Meredith. Deal with each novelist +separately according to the influences noted by Mr. Herrick.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Captivating Mary Carstairs. 1911. (Under the pseudonym, “Henry Second.”)</li> +<li class="leftpad">Queed. 1911.</li> +<li class="leftpad">V. V.’s Eyes. 1913.</li> +<li class="leftpad">Angela’s Business. 1915.</li> +<li class="leftpad">When I Come Back. 1919.</li> +<li class="leftpad">Saint Teresa. 1922.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 39 (’14): 420 (portrait).</li> +<li class="leftpad">Columbia Univ. Quar. 15 (’13): 341 (portrait).</li> +<li class="leftpad">Cur. Op. 58 (’15): 352 (portrait).</li> +<li class="leftpad">Ind. 71 (’11): 533 (portrait).</li> +<li class="leftpad">Lit. Digest, 48 (’14): 905 (portrait).</li> +<li class="leftpad">New Repub. 2 (’15): 199. (Herrick.)</li> +<li class="leftpad">World’s Work, 26 (’13): 221.</li> +</ul> + + + +<p class="author"><a name="Hecht_B" id="Hecht_B"></a><b>Ben Hecht</b>—novelist, dramatist.</p> + +<p>Born in New York City, 1893. Traveled much until he was eight years old, +then lived in Racine, Wisconsin, and was educated in the Racine high +school. Went to Chicago, intending to join the Thomas Orchestra as +violinist, but instead, joined the staff of the Chicago <i>Journal</i> and +later that of the <i>Daily News</i>. War correspondent in Germany.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Hero of Santa Maria; a Ridiculous Tragedy in One Act. 1920. (With +Kenneth Sawyer Goodman, <a href="#Goodman_K">q. v.</a>)</li> +<li class="leftpad">The Wonder Hat; a Harlequinade in One Act. 1920. (With Kenneth Sawyer +Goodman, <a href="#Goodman_K">q. v.</a>)</li> +<li class="leftpad">Erik Dorn. 1921. (Novel.)</li> +<li class="leftpad">Also in: The Little Review. (<i>Passim.</i>)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Op. 71 (’21): 644.</li> +<li class="leftpad">Dial, 71 (’21): 597.</li> +<li class="leftpad">Freeman, 4 (’21): 282.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1921.</li> +</ul> + + + +<p class="author"><a name="Hergesheimer_J" id="Hergesheimer_J"></a><b>Joseph Hergesheimer</b>—novelist.</p> + +<p>Born at Philadelphia, 1880. Educated for a short time at a Quaker school +in Philadelphia and at the Pennsylvania Academy of Fine Arts.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Note Mr. Hergesheimer’s use of setting and atmosphere. What is the +relative importance of these to plot and character? Is the author’s main +interest in developing a story, in creating characters that live, or in +suggesting particular phases of life, each with its own physical and +emotional atmosphere?<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p> + +<p>2. What evidences of originality do you find in his books?</p> + +<p>3. Is the author a realist or a romanticist? Is it true, as has been +said, that he stands midway between the “unrelieved realism” of the new +school of writers and the “genteel moralism” of the old?</p> + +<p>4. Consider these two criticisms of Mr. Hergesheimer’s work: (1) He aims +to set down “relative truth ... the colors and scents and emotions of +existence”; and (2) he is at times as much concerned “with the stuffs as +with the stuff of life.”</p> + +<p>5. Make a special study of his style: (1) of his use of suggestion; (2) +of his choice of words; (3) of his feeling for rhythm. It is true that +there is both art and artifice in his methods?</p> + +<p>6. In what ways, if any, has he made actual contribution to American +literature? Can you prophesy as to his future?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Lay Anthony. 1914.</li> +<li class="leftpad">Mountain Blood. 1915.</li> +<li class="leftpad">The Three Black Pennys. 1917.</li> +<li class="leftpad">Gold and Iron. 1918. (Wild Oranges, Tubal Cain, The Dark Fleece.)</li> +<li class="star">*Java Head. 1919.</li> +<li class="leftpad">The Happy End. 1919. (Play.)</li> +<li class="star">*Linda Condon. 1919.</li> +<li class="leftpad">Hugh Walpole, an Appreciation. 1919.</li> +<li class="leftpad">San Cristóbal de la Habana. 1920.</li> +<li class="leftpad">Cytherea. 1922.</li> +<li class="leftpad">The Bright Shawl. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Ath. 1919, 2: 1339. (Conrad Aiken.)</li> +<li class="leftpad">Bookm. 50 (’19): 267. (James Branch Cabell.)</li> +<li class="leftpad">Bookm. (Lond.) 56 (’19): 65; 58 (’20): 193. (Portraits.)</li> +<li class="leftpad">Cur. Op. 66 (’19): 184; 68 (’20): 229; 71 (’21): 237. (Portraits.)</li> +<li class="leftpad">Dial, 66 (’19): 449.</li> +<li class="leftpad">Lond. Mercury, 1 (’20): 342.</li> +<li class="leftpad">Nation, 109 (’19): 404; 112 (’21): 741. (Carl Van Doren.)</li> +<li class="leftpad">Sat. Rev. 128 (’19): 343.</li> +<li class="leftpad">Spec. 125 (’20): 371.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919.</li> +</ul> +<p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> + + + +<p class="author"><a name="Herrick_R" id="Herrick_R"></a><b>Robert Herrick</b>—novelist.</p> + +<p>Born at Cambridge, Massachusetts, 1868. A. B., Harvard, 1890. Taught +English at the Massachusetts Institute of Technology, 1890-3, and at the +University of Chicago since then, becoming professor, 1905. More +important for interpretation of his work is the fact that he has +carefully studied modern English and Continental literatures and is +deeply interested in philosophy and the social sciences.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Much of Mr. Herrick’s work must be regarded as primarily social +criticism of American life. Does the interest tend to centre rather upon +the problems of the characters, growing out of their circumstances, or +upon the characters themselves?</p> + +<p>2. Is Mr. Herrick’s work more notable for scope and breadth or for +intensity?</p> + +<p>3. Note, especially in the novels previous to 1905, the conscientious +artistry, the compactness of structure, and the unity of tone commonly +associated with poetry. What other qualities characteristic of poetry +appear in Mr. Herrick’s work?</p> + +<p>4. With the structure of his earlier work compare that of the <i>Memoirs of +an American Citizen</i> as showing an attempt at greater breadth of canvas +and greater variety of tone. Trace this attempt further in his later +work.</p> + +<p>5. What evidences do you find in Mr. Herrick’s novels of a carefully +wrought theory of the art of the novelist?</p> + +<p>6. Someone has called Mr. Herrick “a discouraged idealist.” Is this just?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Man Who Wins. 1895.</li> +<li class="leftpad">Literary Love Letters and Other Stories. 1896.</li> +<li class="leftpad">The Gospel of Freedom. 1898.</li> +<li class="leftpad">Love’s Dilemmas. 1898.</li> +<li class="leftpad">The Web of Life. 1900.</li> +<li class="leftpad">The Real World. 1901.</li> +<li class="leftpad">Their Child. 1903.</li> +<li><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span> +<span style="font-size: 90%">*The Common Lot. 1904.</span></li> +<li class="leftpad">The Memoirs of an American Citizen. 1905.</li> +<li class="star">*The Master of the Inn. 1908.</li> +<li class="star">*Together. 1908.</li> +<li class="leftpad">A Life for a Life. 1910.</li> +<li class="leftpad">The Healer. 1911.</li> +<li class="leftpad">One Woman’s Life. 1913.</li> +<li class="leftpad">His Great Adventure. 1913.</li> +<li class="leftpad">Clark’s Field. 1914.</li> +<li class="leftpad">The World Decision. 1916.</li> +<li class="leftpad">The Conscript Mother. 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bjorkman, E. Voices of Tomorrow. 1913.</li> +<li class="leftpad">Cooper.</li> +<li> </li> +<li class="leftpad">Acad. 75 (’08): 331.</li> +<li class="leftpad">Bookm. 20 (’04): 192 (portrait), 220; 28 (’08): 350 (portrait); +38 (’13): 274.</li> +<li class="leftpad">Critic, 44 (’04): 112 (portrait).</li> +<li class="leftpad">Cur. Op. 54 (’13): 317 (portrait).</li> +<li class="leftpad">Dial, 56 (’14): 5.</li> +<li class="leftpad">Lit. Digest, 44 (’12): 426 (portrait).</li> +<li class="leftpad">Nation, 113 (’21): 230.</li> +<li class="leftpad">No. Am. 189 (’09): 812. (Howells.)</li> +<li class="leftpad">Outlook, 78 (’04): 862, 864 (portrait).</li> +<li class="leftpad">Poet Lore, 19 (’08): 337.</li> +<li class="leftpad">R. of Rs. 42 (’10): 123 (portrait); 43 (’11): 380 (portrait); +49 (’14): 621.</li> +</ul> + + + +<p class="author"><a name="Holliday_R" id="Holliday_R"></a><b>Robert Cortes Holliday (“Murray Hill”)</b>—essayist, critic.</p> + +<p>Born at Indianapolis, 1880. Studied at the Art Students’ League, New +York, 1899-1902, and at the University of; Kansas, 1903-4. Illustrator +for magazines, 1904-5. Bookseller with Scribner’s, 1906-11. Librarian, +1912-3. Held various editorial positions with New York publishers, +1913-8. Associate editor of <i>The Bookman</i>, 1918, and editor, 1919—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Booth Tarkington. 1918.</li> +<li class="leftpad">The Walking Stick Papers. 1918.</li> +<li class="leftpad">Joyce Kilmer, A Memoir. 1918.</li> +<li class="leftpad">Peeps at People. 1919.</li> +<li class="leftpad">Broome Street Straws. 1919.</li> +<li class="leftpad">Men and Books and Cities. 1920.</li> +<li class="leftpad">Turns about Town. 1921.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 149 (portrait); 48 (’18): 478.</li> +<li class="leftpad">Dial, 64 (’18): 297; 65 (’18): 419.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918-21.</li> +</ul> + + + +<p class="author"><a name="Howells_W" id="Howells_W"></a><b>William Dean Howells</b>—novelist, dramatist, critic, poet.</p> + +<p>Born at Martins Ferry, Ohio, 1837. Of Welsh, English, Pennsylvania Dutch, +and Irish ancestry. His father was a country editor, and Mr. Howells, +living as he did under pioneer conditions, had very little formal +education, but educated himself in working on newspapers as printer, +correspondent, and editor. He read continually in boyhood, and taught +himself to read six languages. As the result of a campaign life of +Lincoln, he was appointed U. S. consul at Venice and lived there, 1861-5. +After a year on the staff of the <i>Nation</i>, he became assistant editor of +the <i>Atlantic Monthly</i>, 1866-72, and editor, 1872-81. Later, he became an +editorial writer for <i>Harper’s Magazine</i>, 1886-91, and finally writer of +the “Editor’s Easy Chair,” for the same magazine.</p> + +<p>Although Mr. Howells did not go to college, he received many honorary +higher degrees, and was offered professorships by three Universities +(including that which had been held by Longfellow and Lowell at Harvard); +but he refused these, not considering himself fitted for such work. In +his editorial capacity he gave much advice and help to authors who +afterward became famous. He died in 1920.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. For just appraisement of Mr. Howells, it is necessary to be familiar +with the facts of his life, and with his theories of fiction. For his +life the two autobiographical books <i>Years of My Youth</i> and <i>My Literary +Passions</i> are most valuable. After reading these, it is possible to see +the large use of autobiographical material in the novels.</p> + +<p>2. It is interesting to group the books of Howells according to the +sources of the material: (1) those growing out of his early life in Ohio; +(2) those growing out of his life abroad;<span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span> (3) those growing out of his +life in Boston and New York. This last class might well be subdivided +into those written before he came under the influence of Tolstoi and +those written after. The turning-point is in <i>A Hazard of New Fortunes</i>. +Does Mr. Howells’s interest in sociological problems add to or lessen the +final value of his work?</p> + +<p>3. The realism of Howells set a standard for American literature, the +effect of which has not yet passed. Study his theories of fiction +(<i>Criticism and Fiction</i>, and <i>Literature and Life</i>) and consider the +good and bad effects of his work upon the development of the novel.</p> + +<p>4. Use the following quotation from Van Wyck Brooks, on Howells’s +“panoramic theory” of the novel as a test of his work:</p> + +<div class="blockquot"><p>To make a work of art, it is necessary to take a piece out of life +and round it off; and, so long as the piece is perfectly rounded off +and complete in itself, so long as the chosen group of characters +are perfectly proportioned in relation to one another, there is no +need to introduce an artificial chain of action.</p></div> + +<p>5. Howells’s style has often been admired. Try to analyze it into its +elements. Consider Mark Twain’s judgment:</p> + +<div class="blockquot"><p>For forty years his English has been to me a continual delight and +astonishment. In the sustained exhibition of certain great +qualities—clearness, compression, verbal exactness and unforced and +seemingly unconscious felicity of phrasing—he is, in my belief, +without his peer in the English-writing world.</p></div> + +<p>6. Can you make any judgment now as to Howells’s future place in American +literature?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems by Two Friends. 1860. (With John J. Piatt.)</li> +<li class="leftpad">Life of Abraham Lincoln. 1860.</li> +<li class="leftpad">Venetian Life. 1866.</li> +<li class="leftpad">Italian Journeys. 1867.</li> +<li class="leftpad">No Love Lost: A Romance of Travel. 1869. (Poems.)</li> +<li class="leftpad">Suburban Sketches. 1871.</li> +<li class="leftpad">Their Wedding Journey. 1871.</li> +<li class="leftpad">Poems. 1873.</li> +<li class="leftpad">A Chance Acquaintance. 1873.</li> +<li><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">A Foregone Conclusion. 1875.</span></li> +<li class="leftpad">The Parlor Car. 1876. (Farce.)</li> +<li class="leftpad">A Day’s Pleasure. 1876.</li> +<li class="leftpad">Out of the Question. 1877. (Comedy.)</li> +<li class="leftpad">A Counterfeit Presentment. 1877. (Comedy.)</li> +<li class="star">*The Lady of the Aroostook. 1879.</li> +<li class="leftpad">The Undiscovered Country. 1880.</li> +<li class="leftpad">A Fearful Responsibility, and Other Stories. 1881.</li> +<li class="leftpad">A Day’s Pleasure, and Other Sketches. 1881.</li> +<li class="leftpad">Dr. Breen’s Practice. 1881.</li> +<li class="star">*A Modern Instance. 1882.</li> +<li class="leftpad">The Sleeping-Car. 1883. (Farce.)</li> +<li class="leftpad">A Woman’s Reason. 1883.</li> +<li class="leftpad">Three Villages. 1884.</li> +<li class="leftpad">The Register. 1884. (Farce.)</li> +<li class="star">*The Rise of Silas Lapham. 1884.</li> +<li class="leftpad">The Elevator. 1885. (Farce.)</li> +<li class="leftpad">Five O’Clock Tea. 1885. (Farce.)</li> +<li class="leftpad">Indian Summer. 1885.</li> +<li class="leftpad">The Garroters. 1886. (Farce.)</li> +<li class="leftpad">Tuscan Cities. 1886.</li> +<li class="leftpad">Poems. 1886.</li> +<li class="leftpad">The Minister’s Charge. 1887. (= The Apprenticeship of Lemuel Barker.)</li> +<li class="leftpad">Modern Italian Poets. 1887.</li> +<li class="star">*April Hopes. 1888.</li> +<li class="leftpad">A Sea-Change or Love’s Stowaway. 1888. (Farce.)</li> +<li class="leftpad">Annie Kilburn. 1889.</li> +<li class="star">*A Hazard of New Fortunes. 1889.</li> +<li class="leftpad">The Mouse Trap, and Other Farces. 1889.</li> +<li class="leftpad">The Shadow of a Dream. 1890.</li> +<li class="leftpad">A Boy’s Town. 1890. (Autobiographical.)</li> +<li class="leftpad">The Albany Depot. 1891. (Play.)</li> +<li class="leftpad">Criticism and Fiction. 1891.</li> +<li class="leftpad">An Imperative Duty. 1892.</li> +<li class="star">*The Quality of Mercy. 1892.</li> +<li class="leftpad">A Letter of Introduction. 1892. (Farce.)</li> +<li class="leftpad">A Little Swiss Sojourn. 1892.</li> +<li class="leftpad">Christmas Every Day, and Other Stories for Children. 1893.</li> +<li class="leftpad">My Year in a Log Cabin. 1893. (Autobiographical.)</li> +<li class="leftpad">The Unexpected Guests. 1893. (Farce.)</li> +<li class="leftpad">The World of Chance. 1890.</li> +<li class="leftpad">Evening Dress. 1893. (Farce.)</li> +<li class="leftpad">The Coast of Bohemia. 1893.</li> +<li><span style="font-size: 0.9em; padding-left: 0.5em;">A Likely Story, 1894. (Farce.)</span><span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></li> +<li class="leftpad">A Traveler from Altruria. 1894. (Romance.)</li> +<li class="leftpad">My Literary Passions. 1895. (Autobiographical.)</li> +<li class="leftpad">Stops of Various Quills. 1895. (Poems.)</li> +<li class="leftpad">The Day of Their Wedding. 1896.</li> +<li class="leftpad">A Parting and a Meeting. 1896.</li> +<li class="leftpad">Impressions and Experiences. 1896.</li> +<li class="leftpad">Idyls in Drab. 1896.</li> +<li class="leftpad">The Landlord at Lion’s Head. 1897.</li> +<li class="leftpad">A Previous Engagement. 1897. (Comedy.)</li> +<li class="leftpad">An Open-Eyed Conspiracy. 1897.</li> +<li class="leftpad">Stories of Ohio. 1897.</li> +<li class="leftpad">The Story of a Play. 1898.</li> +<li class="leftpad">The Ragged Lady. 1899.</li> +<li class="leftpad">Their Silver Wedding Journey. 1899.</li> +<li class="leftpad">An Indian Giver. 1900. (Comedy.)</li> +<li class="leftpad">Room Forty-five. 1900. (Farce.)</li> +<li class="leftpad">The Smoking Car. 1900. (Farce.)</li> +<li class="leftpad">Bride Roses. A Scene. 1900.</li> +<li class="leftpad">Literary Friends and Acquaintances. 1900.</li> +<li class="leftpad">A Personal Retrospect of American Authorship. 1900.</li> +<li class="leftpad">Doorstep Acquaintance and Other Sketches. 1900.</li> +<li class="leftpad">A Pair of Patient Lovers. 1901. (5 stories.)</li> +<li class="leftpad">Poems. 1901.</li> +<li class="leftpad">Heroines of Fiction. 1901.</li> +<li class="leftpad">The Kentons. 1902.</li> +<li class="leftpad">Literature and Life. 1902.</li> +<li class="leftpad">The Flight of Pony Baker. A Boy’s Town Story. 1902.</li> +<li class="leftpad">Minor Dramas. 1902. (19 Farces.)</li> +<li class="leftpad">Letters Home. 1903.</li> +<li class="leftpad">Questionable Shapes. 1903. (3 stories.)</li> +<li class="leftpad">The Son of Royal Langbrith. 1904.</li> +<li class="leftpad">Miss Bellard’s Inspiration. 1905.</li> +<li class="leftpad">London Films. 1905.</li> +<li class="leftpad">Certain Delightful English Towns. 1906.</li> +<li class="leftpad">Between the Dark and the Daylight. 1907. (7 stories.)</li> +<li class="leftpad">Through the Eye of the Needle. 1907. (Romance.)</li> +<li class="leftpad">Mulberries in Pay’s Garden. 1907.</li> +<li class="leftpad">Roman Holidays and Others. 1908.</li> +<li class="leftpad">Fennel and Rue. 1908.</li> +<li class="leftpad">The Mother and the Father. Dramatic Passages. 1909.</li> +<li class="leftpad">Seven English Cities. 1909.</li> +<li class="leftpad">Imaginary Interviews. 1910.</li> +<li class="leftpad">My Mark Twain. 1910.</li> +<li><span style="font-size: 0.9em; padding-left: 0.5em;">Parting Friends. 1911. (Farce.)</span><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></li> +<li class="leftpad">New Leaf Mills. 1913.</li> +<li class="leftpad">Familiar Spanish Travels. 1913.</li> +<li class="leftpad">The Seen and the Unseen at Stratford-on-Avon. A Fantasy. 1914.</li> +<li class="leftpad">Years of my Youth. 1916. (Autobiographical.)</li> +<li class="leftpad">Buying a Horse. 1916.</li> +<li class="leftpad">The Leatherwood God. 1916.</li> +<li class="leftpad">The Daughter of the Storage and Other Things in Prose and Verse. 1916.</li> +<li class="leftpad">The Vacation of the Kelwyns. 1920.</li> +<li class="leftpad">Mrs. Farrell. 1921.</li> +</ul> + +<p>For complete bibliography, see <i>Cambridge</i>, III (IV), 663.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Cambridge, III, 77.</li> +<li class="leftpad">Clemens, S. L. What is Man? and Other Essays. 1917.</li> +<li class="leftpad">Follett.</li> +<li class="leftpad">Halsey.</li> +<li class="leftpad">Harkins.</li> +<li class="leftpad">Harvey, A. William Dean Howells. 1917.</li> +<li class="leftpad">Macy.</li> +<li class="leftpad">Phelps. (Modern Novelists.)</li> +<li class="leftpad">Robertson, J. M. Essays toward a Critical Method. 1889.</li> +<li class="leftpad">Underwood.</li> +<li class="leftpad">Van Doren, Carl.</li> +<li> </li> +<li class="leftpad">Ath. 1920, 1: 634.</li> +<li class="leftpad">Atlan. 91 (’03): 77; 119 (’17): 362.</li> +<li class="leftpad">Bookm. 21 (’05): 566; 25 (’07): 2 (portrait), 67; 45 (’17): 1 (Hamlin +Garland); 49 (’19): 549; 51 (’20): 385.</li> +<li class="leftpad">Bookm. (Lond.) 23 (’03): 214; 52 (’17): 88 (portrait).</li> +<li class="leftpad">Cath. World, 111 (’20): 445.</li> +<li class="leftpad">Cent. 100 (’20): 674 (portrait).</li> +<li class="leftpad">Critic, 38 (’01): 165.</li> +<li class="leftpad">Cur. Lit. 52 (’12): 461.</li> +<li class="leftpad">Cur. Op. 54 (’13): 411; 60 (’16): 352 (portrait); 62 (’17): 278, 357 +(portrait); 63 (’17): 270; 69 (’20): 93 (portrait).</li> +<li class="leftpad">Fortn. 115 (’21): 154.</li> +<li class="leftpad">Forum, 32 (’02): 629; 49 (’13): 217.</li> +<li class="leftpad">Harp. 113 (’06): 221 (Mark Twain)=Cur. Lit. 41 (’06): 48 (condensed); +134 (’17): 903; 141 (’20): 265 (portrait), 346.</li> +<li class="leftpad">Harp. W. 46 (’02): 929 (portrait), 947; 56 (’12): Mar. 9, pp. 5, 27 +(portrait).</li> +<li class="leftpad">Ind. 72 (’12): 533 (portrait).</li> +<li class="leftpad">J. Educ. 65 (’07): 311.</li> +<li class="leftpad">Lit. Digest, 44 (’12): 485; 65 (’20): My. 29, p. 34, Je. 12, p. 53 +(portrait), Je. 19, pp. 37, 56.</li> +<li class="leftpad">Liv. Age, 294 (’17): 173; 306 (’20): 98; 308 (’21): 304; 312 (’21): 304.</li> +<li class="leftpad">Lond. Mer., 2 (’20): 133.</li> +<li class="leftpad">Lond. Times, Dec. 7, 1916: 585.</li> +<li class="leftpad">Nation, 31 (’80): 49 (W. C. Brownell); 104 (’17): 261; 110 (’20): 673.</li> +<li class="leftpad">New Repub. 10 (’17): supp. p. 3; 22 (’20): 393; 26 (’21): 192.</li> +<li class="leftpad">New Statesman, 15 (’20): 195.</li> +<li class="leftpad">No. Am. 176 (’03): 336; 195 (’12): 432 (portrait), 550; 196 (’12): 339; +212 (’20): 1 (portrait), 17.</li> +<li class="leftpad">Outlook, 69 (’01): 712 (portrait); 111 (’15): 786, 798 (portrait); +129 (’21): 187 (portrait).</li> +<li><span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> +<span style="font-size: 0.9em; padding-left: 0.5em;">R. of Rs. 61 (’20): 562 (portrait), 644.</span></li> +<li class="leftpad">Sat. Rev. 91 (’01): 806.</li> +<li class="leftpad">Spec. 98 (’07): 450; 117 (’16): 834.</li> +<li class="leftpad">Westm. R. 178 (’12): 597.</li> +<li class="leftpad">World’s Work, 18 (’09): 11547. (Van Wyck Brooks.)</li> +<li class="leftpad">Yale Rev. n. s. 10 (’20): 99.</li> +<li class="leftpad">Cf. also <i>Cambridge</i>, III (IV), 665.</li> +</ul> + + + +<p class="author"><a name="Huneker_J" id="Huneker_J"></a><b>James Gibbons Huneker</b>—critic.</p> + +<p>Born at Philadelphia, 1860. Graduate of Roth’s Military Academy, +Philadelphia, 1873. Studied law five years at the Law Academy, +Philadelphia. Studied piano in Paris and was for ten years associated +with Rafael Joseffy, as teacher of piano at the National Conservatory, +New York. Musical and dramatic critic of the <i>New York Recorder</i>, 1891-5; +of the <i>Morning Advertiser</i>, 1895-7; also musical, dramatic, and art +critic of the <i>New York Sun</i>. Died in 1921.</p> + +<p>For an understanding of Mr. Huneker’s criticisms, it is well to begin +with his autobiography (<i>Steeplejack</i>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Mezzotints in Modern Music. 1899.</li> +<li class="leftpad">Melomaniacs. 1902.</li> +<li class="leftpad">Overtones. 1904.</li> +<li class="leftpad">Iconoclasts—A Book of Dramatists. 1905.</li> +<li class="leftpad">Visionaries. 1905.</li> +<li class="leftpad">Egoists—A Book of Supermen. 1909.</li> +<li class="leftpad">Promenades of an Impressionist. 1910.</li> +<li class="leftpad">The Pathos of Distance. 1913.</li> +<li class="leftpad">Ivory Apes and Peacocks. 1915.</li> +<li class="leftpad">New Cosmopolis. 1915.</li> +<li class="leftpad">Unicorns. 1917.</li> +<li class="leftpad">Steeplejack. 1919.</li> +<li class="leftpad">Painted Veils. 1920.</li> +<li class="leftpad">Bedouins. 1920.</li> +<li class="leftpad">Variations. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Mencken, H. L. Prefaces.</li> +<li> </li> +<li class="leftpad">Bookm. 11 (’00): 501 (portrait); 21 (’05): 79 (portrait), 564, 565 +(portrait); 29 (’09): 236 (portrait); 31 <a name="corr13" id="corr13"></a><ins class="correction" title="(’10):">(’14):</ins> 241 (portrait); +37 (’13): 598 (portrait); 41 (’15): 246 (portrait); 53 (’21): 124.</li> +<li class="leftpad">Cent. 102 (’21): 191.</li> +<li><span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span> +<span style="font-size: 0.9em; padding-left: 0.5em;">Critic, 36 (’00): 487 (portrait).</span></li> +<li class="leftpad">Cur. Lit. 39 (’05): 75 (portrait); 42 (’07): 167; 47 (’09): 57 +(portrait).</li> +<li class="leftpad">Cur. Op. 65 (’18): 392; 70 (’21): 534. (Portraits.)</li> +<li class="leftpad">Forum, 41 (’09): 600.</li> +<li class="leftpad">Lit. Digest, 68 (’21): Mar. 5, p. 28 (portrait).</li> +<li class="leftpad">Liv. Age, 309 (’21): 426.</li> +<li class="leftpad">New Repub. 25 (’21): 357.</li> +<li class="leftpad">No. Am. 213 (’21): 556.</li> +<li class="leftpad">Outlook, 126 (’20): 469 (portrait); 127 (’21): 286.</li> +<li class="leftpad">Sat. Rev. 97 (’04): 551.</li> +<li class="leftpad">Spec. 115 (’15): 879.</li> +</ul> + + + +<p class="author"><a name="Hurst_F" id="Hurst_F"></a><b>Fannie Hurst</b> (Missouri, 1889)—short-story writer, novelist.</p> + +<p>Has studied especially the lives of working girls. For bibliography, see +<i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Irwin_W" id="Irwin_W"></a><b>Wallace Irwin</b> (New York, 1875)—short-story writer.</p> + +<p>Most characteristic material life in California and the Japanese there. +For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="James_H" id="James_H"></a><b>Henry James</b>—novelist.</p> + +<p>Born in New York City, 1843. Younger brother of William James, the +psychologist. Educated largely in France and Switzerland. Studied at the +Harvard Law School. After 1869, lived for the most part abroad, chiefly +in England. Spent much time at Lamb House, Rye, a beautiful eighteenth +century English house which he purchased in order to live in retirement. +Just before his death, to show his sympathy for the part played by +England in the War and his criticism of what he considered our +backwardness, he became naturalized as a British citizen. In 1916, +received the Order of Merit (O. M.), the highest honor for literary men +conferred in England. His death in 1916 was attributed to overstrain +caused by the War and his efforts to help the sufferers.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. A good approach to the work of Henry James is through the three +articles from the <i>Quarterly Review</i> listed below. Mr. Fullerton sums up +the material scattered through the<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span> prefaces to the definitive edition of +1909. Mr. Percy Lubbock writes as the editor of the <i>Letters</i>. Mrs. +Wharton adds to criticism of the <i>Letters</i> illuminating personal +reminiscences.</p> + +<p>2. One of the important <i>Prefaces</i> on James’s theory of the novel and his +method of work is that to the <i>Portrait of a Lady</i>, from which the +extract below is taken. In speaking of Turgenev’s attitude toward his +characters, James says:</p> + +<div class="blockquot"><p>He saw them, in that fashion, as disponible, saw them subject to the +chances, the complications of existence, and saw them vividly but +then had to find for them the right relations, those that would most +bring them out; to imagine, to invent and select and piece together +the situations most useful and favourable to the sense of the +creatures themselves, the complications they would be most likely to +produce and to feel.</p> + +<p>“To arrive at these things is to arrive at my <a name="corr14" id="corr14"></a><ins class="correction" title="‘story,’”">‘story,’</ins> he said, “and +that’s the way I look for it. The result is that I’m often accused +of not having ‘story’ enough....”</p> + +<p>So this beautiful genius, and I recall with comfort the gratitude I +drew from his reference to the intensity of suggestion that may +reside in the stray figure, the unattached character, the image <i>en +disponible</i>. It gave me higher warrant than I seemed then to have +met for just that blest habit of one’s own imagination, the trick of +investing some conceived or encountered individual, some brace or +group of individuals, with the germinal property and authority. I +was myself so much more antecedently conscious of my figures than of +their setting—a too preliminary, a preferential interest in which +struck me as in general such a putting of the cart before the horse. +I might envy, though I couldn’t emulate, the imaginative writer so +constituted as to see his fable first and to make out his agents +afterwards: I could think so little of any situation that didn’t +depend for its interest on the nature of the persons situated, and +thereby on their way of taking it....</p> + +<p>The question comes back thus, obviously, to the kind and the degree +of the artist’s prime sensibility, which is the soil out of which +his subject springs. The quality and capacity of that soil, its +ability to “grow” with due freshness and straightness any vision of +life, represents, strongly or weakly, the projected morality. That +element is but another name for the more or less close connexion of +the subject with some mark made on the intelligence, with some +sincere experience.</p> + +<p>On one thing I was determined; that, though I should clearly have to +pile brick upon brick for the creation of an interest, I would leave +no pretext for saying that anything is out of line, scale or +perspective. I would build large—in fine embossed vaults and +painted arches, as who should say, and yet never let it appear that +the chequered pavement, <span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span> the ground under the reader’s feet, fails +to stretch at every point to the base of the walls....</p> + +<p>The bricks, for the whole counting-over—putting for bricks little +touches and inventions and enhancements by the way—affect me in +truth as well-nigh innumerable and as ever so scrupulously fitted +together and packed-in. It is an effect of detail, of the minutest; +though, if one were in this connexion to say all, one would express +the hope that the general, the ampler part of the modest monument +still survives....</p> + +<p>So early was to begin my tendency to <i>overtreat</i>, rather than +undertreat (when there was choice or danger) my subject. (Many +members of my craft, I gather, are far from agreeing with me, but I +have always held overtreating the minor disservice.) ... There was +the danger of the noted “thinness”—which was to be averted, tooth +and nail, by cultivation of the lively.... And then there was +another matter. I had, within the few preceding years, come to live +in London, and the “international” light lay, in those days, to my +sense, thick and rich upon the scene. It was the light in which so +much of the picture hung. But that <i>is</i> another matter. There is +really too much to say.</p></div> + +<p>3. Remember the following clues in reading James’s, work: “His one +preoccupation was the criticism, for his own purpose, of the art of +life.” The emphasis is on the word <i>art</i>. His <i>purpose</i> is suggested by +his own claim to have “that tender appreciation of actuality which makes +even the application of a single coat of rose-color seem an act of +violence.”</p> + +<p>4. There is suggestion of Mr. James’s limitations in the facts that he +was tone deaf and so could not appreciate music, and that he is said not +to have written a line of verse, and also in the fact that although his +method of presentation in the novels is dramatic throughout and he +strongly desired to write plays, the eight plays that he wrote (three of +which were presented) were failures.</p> + +<p>5. Mr. James’s place in the sequence of great European novelists is as a +follower of Balzac, Flaubert, De Maupassant, and Turgenev, and as a +predecessor of Conrad (whose study of him listed below should be read).</p> + +<p>6. Early in the nineties, a great change in method came about in James’s +work (cf. <i>Cambridge</i>, III, 98, 103). Judge separately typical books +written before this change and others written after; then read several +books of the period of change<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span> and decide what happened and whether or +not it enhanced the value of his work.</p> + +<p>7. One of the remarkable facts about James’s style is its influence upon +the critics who write about him. A close analysis of its +qualities—sentence length, the order and placing of the parts of the +sentence, punctuation, vocabulary, etc., might bring a more definite +understanding of the reasons for this influence.</p> + +<p>8. A comparison of the work and qualities of Henry and William James +might be made a valuable contribution to criticism.</p> + +<p>9. For a student familiar with Europe, a study of the reasons for James’s +affinity with Europe and dislike for American life would make an +interesting study.</p> + +<p>10. What different types of reasons can you bring to show that Henry +James is likely to be a permanent force in American literature?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Passionate Pilgrim, and Other Tales. 1875.</li> +<li class="leftpad">Transatlantic Sketches. 1875.</li> +<li class="leftpad">Roderick Hudson. 1876.</li> +<li class="star">*The American. 1877.</li> +<li class="leftpad">Watch and Ward. 1878.</li> +<li class="leftpad">French Poets and Novelists. 1878.</li> +<li class="leftpad">The Europeans. A Sketch. 1878.</li> +<li class="star">*Daisy Miller. A Study. 1879.</li> +<li class="leftpad">An International Episode. 1879.</li> +<li class="leftpad">Daisy Miller: A Study. An International Episode. Four Meetings. 1879.</li> +<li class="leftpad">The Madonna of the Future and Other Tales. 1879.</li> +<li class="leftpad">Hawthorne. 1879. (English Men of Letters.)</li> +<li class="leftpad">The Diary of a Man of Fifty and A Bundle of Letters. 1880.</li> +<li class="leftpad">Confidence. 1880.</li> +<li class="leftpad">Washington Square. 1881.</li> +<li class="leftpad">Washington Square. The Pension Beaurepas. A Bundle of Letters. 1881.</li> +<li class="star">*The Portrait of a Lady. 1881.</li> +<li class="leftpad">Daisy Miller: A Comedy. 1882. (Privately printed.)</li> +<li class="leftpad">The Siege of London, The Pension Beaurepas, and The Point of View. 1883.</li> +<li><span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Portraits of Places. 1883.</span></li> +<li class="leftpad">Tales of Three Cities. 1884.</li> +<li class="leftpad">A Little Tour in France. 1885.</li> +<li class="leftpad">Stories Revived. 1885. (3 vols. of Short Stories.)</li> +<li class="leftpad">The Bostonians. 1886.</li> +<li class="leftpad">The Princess Casamassima. 1886.</li> +<li class="leftpad">The Reverberator. 1888.</li> +<li class="leftpad">The Aspern Papers. Louisa Pallant. The Modern Warning. 1888.</li> +<li class="leftpad">Partial Portraits. 1888.</li> +<li class="leftpad">A London Life. The Patagonia. The Liar. Mrs. Temperley. 1889.</li> +<li class="leftpad">The Tragic Muse. 1892.</li> +<li class="leftpad">The Lesson of the Master. The Marriages. The Pupil. Brooksmith. The +Solution. Sir Edward Orme. 1892.</li> +<li class="leftpad">The Real Thing and Other Tales. 1893.</li> +<li class="leftpad">The Private Life. Lord Beaupré. The Visits. 1893.</li> +<li class="leftpad">The Wheel of Time. Collaboration. Owen Wingrave. 1893.</li> +<li class="leftpad">Picture and Text. 1893.</li> +<li class="leftpad">Essays in London and Elsewhere. 1893.</li> +<li class="leftpad">Theatricals. Two Comedies: Tenants. Disengaged. 1894.</li> +<li class="leftpad">Theatricals. Second Series. The Album. The Reprobate. 1895.</li> +<li class="star">*Terminations. The Death of the Lion. The Coxon Fund. The Middle Years. +The Altar of the Dead. 1895.</li> +<li class="leftpad">Embarrassments. The Figure in the Carpet. Glasses. The Next Time. The +Way It Came. 1896.</li> +<li class="leftpad">The Other House. 1896.</li> +<li class="star">*The Spoils of Poynton. 1897.</li> +<li class="star">*What Maisie Knew. 1897.</li> +<li class="leftpad">In the Cage. 1898.</li> +<li class="leftpad">The Two Magics. The Turn of the Screw. Covering End. 1898.</li> +<li class="leftpad">The Awkward Age. 1899.</li> +<li class="leftpad">The Soft Side. 1900.</li> +<li class="leftpad">The Sacred Fount. 1901.</li> +<li class="star">*The Wings of the Dove. 1902.</li> +<li class="leftpad">The Better Sort. 1903. (Short stories.)</li> +<li class="star">*The Ambassadors. 1903.</li> +<li class="leftpad">William Wetmore Story and His Friends. 1903.</li> +<li class="star">*The Golden Bowl. 1904.</li> +<li class="leftpad">English Hours. 1905.</li> +<li class="leftpad">The Question of Our Speech. The Lesson of Balzac: Two Lectures. 1905.</li> +<li class="leftpad">The American Scene. 1907.</li> +<li class="leftpad">Views and Reviews, Now First Collected. 1908.</li> +<li class="leftpad">Italian Hours. 1909.</li> +<li class="star">*The Altar of the Dead. The Beast in the Jungle. The Birthplace, and +Other Tales. 1909.</li> +<li><span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Finer Grain. 1910. (Short stories.)</span></li> +<li class="leftpad">The Outcry. 1911.</li> +<li class="leftpad">A Small Boy and Others. 1913. (Autobiography.)</li> +<li class="leftpad">Notes of a Son and Brother. 1914. (Autobiography.)</li> +<li class="leftpad">Notes on Novelists. With Some Other Notes. 1914.</li> +<li class="leftpad">The Ivory Tower. 1917.</li> +<li class="leftpad">The Sense of the Past. 1917.</li> +<li class="leftpad">The Middle Years. 1917. (Autobiography.)</li> +<li class="leftpad">Gabrielle de Bergerac. 1918. (<i>Atlantic</i>, 1860.)</li> +<li class="leftpad">Travelling Companions. 1919. (7 stories originally published 1868-74.)</li> +<li class="leftpad">A Landscape Painter. 1919. (4 stories originally published 1866-68.)</li> +<li class="leftpad">Master Eustace. 1920. (5 stories originally published 1869-78.)</li> +<li class="leftpad">The Letters of Henry James. 1920. (Selected and edited by Percy +Lubbock.)</li> +</ul> + +<p>For further bibliographical references, see <i>Cambridge</i>, III (IV), 671.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Beach, J. W. The Method of Henry James. 1918.</li> +<li class="leftpad">Brownell.</li> +<li class="leftpad">Cambridge.</li> +<li class="leftpad">Cary, Elizabeth Luther. The Novels of Henry James. 1905.</li> +<li class="leftpad">Elton, Oliver. Modern Studies. 1907.</li> +<li class="leftpad">Follett.</li> +<li class="leftpad">Freeman, John. The Moderns. 1917.</li> +<li class="leftpad">Hacket, Francis. Horizons. 1918.</li> +<li class="leftpad">Harkins.</li> +<li class="leftpad">Hueffer, Ford Madox. Henry James: a Critical Study. 1913.</li> +<li class="leftpad">Macy.</li> +<li class="leftpad">Perry, Bliss. The American Spirit in Literature. 1918.</li> +<li class="leftpad">Phelps.</li> +<li class="leftpad">Sherman, Stuart P. On Contemporary Literature. 1917.</li> +<li class="leftpad">Underwood.</li> +<li class="leftpad">Van Doren, Carl.</li> +<li class="leftpad">West, Rebecca. Henry James. 1916.</li> +<li> </li> +<li class="leftpad">Acad. 75 (’08): 609; 86 (’14): 359; 87 (’14): 509; 89 (’15): 67.</li> +<li class="leftpad">Ath. 1919, 1: 518.</li> +<li class="leftpad">Atlan. 95 (’05): 496; 100 (’07): 458; 117 (’16): 801.</li> +<li class="leftpad">Bookm. 15 (’02): 396; 21 (’05): 23 (portrait), 71, 464; 26 (’07): 357; +30 (’09): 138 (portrait); 36 (’12): 176; 37 (’13): 595; 43 (’16): 219; +51 (’20): 364, 389.</li> +<li class="leftpad">Bookm. (Lond.) 43 (’13): 299 (portraits); 45 (’14): 302; 53 (’17): 107; +53 (’18): 163.</li> +<li class="leftpad">Contemp. 101 (’12): 69=Liv. Age, 272 (’12): 287.</li> +<li class="leftpad">Critic, 42 (’03): 31, 107 (portrait), 204, 393 (portrait); 44 (’04): +146; 46 (’05): 98 (portrait), 146.</li> +<li class="leftpad">Cur. Lit. 27 (’00): 21; 29 (’00): 148.</li> +<li class="leftpad">Cur. Op. 54 (’13): 489 (portrait); 56 (’14): 457; 60 (’16): 280 +(portrait); 63 (’17): 118, 247, 407 (portrait).</li> +<li class="leftpad">Dial, 44 (’08): 174; 54 (’13): 372; 60 (’16): 259, 313, 316; +63 (’17): 260.</li> +<li><span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Egoist, 5 (’18): 1 (T. S. Eliot), 2 (Ezra Pound), 3, 4.</span></li> +<li class="leftpad">Eng. R. 22 (’16): 317.</li> +<li class="leftpad">Fortn. 105 (’16): 620=Liv. Age, 290 (’16): 281; 107 (’17): 995=Liv. +Age, 294 (’17): 346=Bookm, 45 (’18): 571; 113 (’20): 864.</li> +<li class="leftpad">Forum, 55 (’16): 551.</li> +<li class="leftpad">Harp. W. 47 (’03): 273, 532, 552 (portrait); 48 (’04): 1375 (portrait), +1548 (portrait); 57 (’13): May 3, p. 18 (portrait); 62 (’16): March +25: 291. (Canby.)</li> +<li class="leftpad">Lamp, 28 (’04): 47. (Herbert Croly.)</li> +<li class="leftpad">Little Review, 5 (’18): August number.</li> +<li class="leftpad">Liv. Age, 236 (’03): 577; 240 (’04): 1; 262 (’09): 691; 289 (’16): 122, +229, 568; 306 (’20): 55; 310 (’21): 267.</li> +<li class="leftpad">Lond. Merc. 1 (’20): 673; 2 (’20): 29. (Edmund Gosse.)</li> +<li class="leftpad">Lond. Times, Apr. 10, 1913: 150; Mar. 9, 1916: 109; Oct. 19, 1917: 497; +Dec. 27, 1918: 655; Mar. 28, 1919: 163.</li> +<li class="leftpad">Nation, 85 (’07): 343; 102 (’16): 244; 104 (’17): 393; 110 (’20): 690; +111 (’20): 441.</li> +<li class="leftpad">New Repub. 6 (’16): 152, 191; 7 (’16): 171; 13 (’17): 119, 254; +16 (’18): 172; 20 (’19): 113; 23 (’20): 63.</li> +<li class="leftpad">New Statesman, 6 (’16): 518; 9 (’17): 375; 15 (’20): 162.</li> +<li class="leftpad">19th Cent. 80 (’16): 141=Liv. Age, 290 (’16): 505.</li> +<li class="leftpad">No. Am. 176 (’03): 125; 180 (’05): 102 (Joseph Conrad); 185 (’07): 214; +203 (’16): 572 (Howells), 585 (Conrad), 592; 207 (’18): 130; 211 +(’20): 682; 213 (’21): 211.</li> +<li class="leftpad">Outlook, 79 (’05): 838; 125 (’20): 167. (Portraits.)</li> +<li class="leftpad">Quar. 212 (’10): 393=Liv. Age, 265 (’10): 643; 226 (’16): 60=Liv. Age, +290 (’16): 733; 234 (’20): 188.</li> +<li class="leftpad">Sat. Rev. 95 (’03): 79; 107 (’09): 266; 121 (’16): 226; 123 (’17): 201; +129 (’20): 537.</li> +<li class="leftpad">Scrib. M. 36 (’04): 394; 67 (’20): 422, 548; 68 (’20): 89.</li> +<li class="leftpad">Sewanee Rev. 27 (’19): 1.</li> +<li class="leftpad">Spec. 98 (’07): 334; 116 (’16): 312.</li> +<li class="leftpad">Yale R. n. s. 5 (’16): 783; n. s. 10 (’20): 143.</li> +<li class="leftpad">Cf. also <i>Cambridge</i>, III (IV), 674.</li> +</ul> + + + +<p class="author"><a name="Johns_O" id="Johns_O"></a><b>Orrick Johns</b>—poet.</p> + +<p>Born at St. Louis, Missouri, 1887. Trained as an advertising copy writer. +Won the prize of the <i>Lyric Year</i>, 1912, for his <i>Second Avenue</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Asphalt and Other Poems. 1917.</li> +<li class="leftpad">Black Branches. 1920.</li> +<li class="leftpad">Also in: Others, 1916, 1917, 1919.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li class="leftpad">Dial, 62 (’17): 476.</li> +<li class="leftpad">Poetry, 11 (’17): 44; 16 (’20): 162.</li> +<li class="leftpad">Bookm. 46 (’18): 578.</li> +</ul> + + + +<p class="author"><a name="Johnson_O" id="Johnson_O"></a><b>Owen McMahon Johnson</b> (New York City, 1878)—novelist short-story +writer.</p> + +<p>Best known for studies in college life and in the psychology of the young +woman (<i>The Salamander</i>, 1913). For bibliography, see <i>Who’s Who in +America</i>.</p> + + + +<p class="author"><a name="Johnson_R" id="Johnson_R"></a><b>Robert Underwood Johnson</b>—poet.</p> + +<p>Born at Washington, D. C., 1853. B. S., Earlham College, 1871. Has many +honorary higher degrees and decorations. Joined the staff of the +<i>Century</i>, 1873; associate editor, 1881-1909; editor, 1909-13. Father of +Owen McMahon Johnson (<a href="#Johnson_O">q. v.</a>).</p> + +<p>Ambassador to Italy, 1920-1.</p> + +<p>For Mr. Johnson’s many activities outside his work as poet and as editor, +see <i>Who’s Who in America</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + +<p>Collected Poems. 1919.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 547. (Phelps.)</li> +<li class="leftpad">Critic, 42 (’03): 231 (portrait).</li> +<li class="leftpad">Lit. Digest, 64 (’20): Mar. 6, p. 32 (portrait).</li> +<li class="leftpad">R. of Rs. 49 (’14): 759 (portrait).</li> +</ul> + + + +<p class="author"><a name="Johnston_M" id="Johnston_M"></a><b>Mary Johnston</b> (Virginia, 1870)—novelist.</p> + +<p>Historical material, especially colonial Virginia. For bibliography, see +<i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Kennedy_C" id="Kennedy_C"></a><b>Charles Rann Kennedy</b>—dramatist.</p> + +<p>Born at Derby, England, 1871. Largely self-educated. Office boy and +clerk, thirteen to sixteen. Lecturer and writer to twenty-six. Actor, +press-agent, and miscellaneous writer<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span> and theatrical business manager to +thirty-four. His play, <i>The Servant in the House</i>, established his +reputation.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*The Servant in the House. 1908.</li> +<li class="leftpad">The Winterfeast. 1908.</li> +<li class="leftpad">The Terrible Meek. 1911.</li> +<li class="leftpad">The Necessary Evil. 1913.</li> +<li class="leftpad">The Idol-Breaker. 1914.</li> +<li class="leftpad">The Rib of the Man. 1917.</li> +<li class="leftpad">The Army With Banners; A Divine Comedy of this Very Day. 1917.</li> +<li class="leftpad">The Fool from the Hills. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Arena, 40 (’08): 18 (portrait), 20.</li> +<li class="leftpad">Atlan. 103 (’09): 73.</li> +<li class="leftpad">Dial, 45 (’08): 36.</li> +<li class="leftpad">Ind. 72 (’12): 725.</li> +<li class="leftpad">R. of Rs. 37 (’08): 757; 45 (’12): 633; 49 (’14): 501. (Portraits.)</li> +</ul> + + + +<p class="author"><a name="Kilmer_J" id="Kilmer_J"></a><b>(Alfred) Joyce Kilmer</b>—poet, essayist.</p> + +<p>Born at New Brunswick, New Jersey, 1886. Of mixed ancestry, Irish, +German, English, Scotch. A. B., Rutgers, 1904; Columbia, 1906. Married +Miss Aline Murray, step-daughter of Henry Mills Alden, editor of +<i>Harper’s Magazine</i> (cf. <a href="#Kilmer_A">Aline Kilmer</a>). Taught a short time, then held +various editorial positions on <i>The Churchman</i>, the <i>Literary Digest</i>, +<i>Current Literature</i>, the <i>New York Times Sunday Magazine</i>, among others. +In 1913, he and his wife were converted to Catholicism. In 1916, he was +called to the faculty of the School of Journalism, New York University, +succeeding Arthur Guiterman (<a href="#Guiterman_A">q. v.</a>). Enlisted as a private in the War and +was killed in action, 1918.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Kilmer wished to be judged by poetry written after October, 1913, and +to discard all earlier work. Why?</p> + +<p>2. The following influences are traceable in his poetry:<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span> (1) Francis +Thompson, Coventry Patmore, and earlier Catholic poets; (2) his mother’s +musical talent; (3) his journalistic work; (4) the War.</p> + +<p>3. Kilmer’s letters illustrate and explain the qualities of his work.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Trees and Other Poems. 1915.</li> +<li class="leftpad">Main Street and Other Poems. 1917.</li> +<li class="leftpad">Joyce Kilmer, edited by Robert Cortes Holliday. 1918. (Poems, essays, +and letters.)</li> +<li class="leftpad">Circus, and Other Essays and Fugitive Pieces. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Holliday, R. C. Memoir in <i>Joyce Kilmer</i> (listed in bibliography).</li> +<li class="leftpad">Kilmer, Mrs. Annie Kilburn. Memories of my Son, Sergeant Joyce Kilmer, +1920.</li> +<li> </li> +<li class="leftpad">Ath. 1919, 2: 1220.</li> +<li class="leftpad">Bookm. 48 (’18): 133 (portrait).</li> +<li class="leftpad">Bookm. (Lond.) 56 (’19): 122; 57 (’19): 118.</li> +<li class="leftpad">Cath. World, 100 (’14): 301; 108 (’18): 224.</li> +<li class="leftpad">Lit. Digest, 58 (’18): Aug. 31, p. 36 (portrait); Sept. 7, pp. 32 +(portrait), 42.</li> +<li class="leftpad">Outlook, 120 (’18): 12, 16; 122 (’19): 467.</li> +<li class="leftpad">Poetry, 11 (’18): 281; 13 (’18): 31. 149.</li> +<li class="leftpad">R. of Rs. 58 (’18): 431 (portrait).</li> +</ul> + + + +<p class="author"><a name="Kilmer_A" id="Kilmer_A"></a><b>Aline Murray Kilmer</b>—poet.</p> + +<p>Step-daughter of Henry Mills Alden. Married in 1909 to Joyce Kilmer +(<a href="#Kilmer_J">q. v.</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Candles that Burn. 1919.</li> +<li class="leftpad">Vigils. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 54 (’21): 384.</li> +<li class="leftpad">Nation, 109 (’19): 116.</li> +<li class="leftpad">New Repub. 29 (’21): 133.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1921.</li> +</ul> +<p><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p> + + + +<p class="author"><a name="King_G" id="King_G"></a><b>Grace Elizabeth King</b>—novelist.</p> + +<p>Born at New Orleans, 1852, and educated there and in France. Her stories +and novels furnish material for an interesting comparison with the work +of G. W. Cable (<a href="#Cable_G">q. v.</a>). Her writing grew out of the desire to present from +the inside the Creole Society in which she had grown up, to which she +felt that Mr. Cable, as an outsider, had not done justice.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Monsieur Motte. 1888.</li> +<li class="leftpad">Balcony Stories. 1893.</li> +<li class="leftpad">The Pleasant Ways of St. Médard. 1916.</li> +</ul> + +<p>For reviews, see <i>Pattee</i>; also <i>Book Review Digest</i>, 1916.</p> + + + +<p class="author"><a name="Knibbs_H" id="Knibbs_H"></a><b>Harry Herbert Knibbs</b> (Ontario, Canada, 1874)—poet.</p> + +<p>His material is cowboy life. For bibliography see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Kreymborg_A" id="Kreymborg_A"></a><b>Alfred Kreymborg</b>—poet.</p> + +<p>Born in New York City, 1883, of Danish ancestry. Educated at the Morris +High School. A chess prodigy at the age of ten, and supported himself +from seventeen to twenty-five by teaching chess and playing matches. Had +several years of experience as bookkeeper.</p> + +<p>In 1914, founded and edited <i>The Glebe</i>, which issued the first anthology +of free verse. In 1916, 1917, 1919, published <i>Others</i>—three anthologies +of radical poets. In 1921, went to Rome to edit, in association with +Harold Loeb, an international magazine of the arts called <i>The Broom</i> +(cf. <i>Dial</i> 70 [’21]: 606), but shortly after resigned.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Mr. Kreymborg is a rebel against all conventions of form and content +in poetry. Consequently, the one thing to be expected in his work is the +unexpected. How far his utterances are sincere and how far posed, each +reader must judge for himself.</p> + +<p>2. The following quotation from <i>Poetry</i> (9 [’16]: 51) may<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span> serve as a +starting-point in discussing Mr. Kreymborg’s qualities: “An insinuating, +meddlesome, quizzical, inquiring spirit; sometimes a clown, oftener a +wit, now and then a lyric poet ... trips about cheerfully among life’s +little incongruities; laughs at you and me and progress and prejudice and +dreams; says ‘I told you so!’ with an air, as if after a double +somersault in the circus ring; grows wistful, even tender, with emotions +always genuine ... always ... as becomes the harlequin-philosopher, +entertaining.”</p> + +<p>3. The new movements in art—Futurist, Cubist, Vorticist—should be +remembered in studying Mr. Kreymborg’s verse.</p> + +<p>4. What is to be said of his economy in words?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Love and Life and Other Studies. 1908.</li> +<li class="leftpad">Apostrophes. 1910.</li> +<li class="leftpad">Erna Vitek. 1914. (Novel.)</li> +<li class="leftpad">Mushrooms; A Book of Free Forms. 1916.</li> +<li class="leftpad">Others, An Anthology of New Verse. 1916, 1917, 1919.</li> +<li class="leftpad">Plays for Poem-Mimes. 1918.</li> +<li class="leftpad">Blood of Things. 1920.</li> +<li class="leftpad">Plays for Merry Andrews. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Ath. 1919, 2: 1003. (Conrad Aiken.)</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 30.</li> +<li class="leftpad">Dial, 66 (’19): 29. (Lola Ridge.)</li> +<li class="leftpad">Poetry, 9 (’16): 51; 11 (’18): 201; 13 (’19): 224; 17 (’20): 153.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1920.</li> +</ul> + + + +<p class="author"><a name="Kyne_P" id="Kyne_P"></a><b>Peter Bernard Kyne</b> (San Francisco, 1860)—novelist.</p> + +<p>The inventor of Cappy Ricks in stories of business life in California. +For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Leacock_S" id="Leacock_S"></a><b>Stephen Butler Leacock</b>—humorist.</p> + +<p>Born in Hampshire, England, 1869. B. A., Toronto University; Ph. D., +University of Chicago. Honorary higher<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span> degrees. Head of the department +of economics, McGill University.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Literary Lapses. 1910.</li> +<li class="leftpad">Nonsense Novels. 1911.</li> +<li class="leftpad">Sunshine Sketches of a Little Town. 1912.</li> +<li class="leftpad">Behind the Beyond. 1913.</li> +<li class="leftpad">Arcadian Adventures with the Idle Rich. 1914.</li> +<li class="leftpad">Moonbeams from the Larger Lunacy. 1915.</li> +<li class="leftpad">Essays and Literary Studies. 1916.</li> +<li class="leftpad">Further Foolishness. 1916.</li> +<li class="leftpad">Frenzied Fiction. 1917.</li> +<li class="leftpad">The Hohenzollerns in America. 1919.</li> +<li class="leftpad">The Unsolved Riddle of Social Justice. 1920. (Sociological discussion.)</li> +<li class="leftpad">Winsome Winnie and Other New Nonsense Novels. 1920.</li> +</ul> + +<p>For study, see Bookm. (Lond.) 51 (’16): 39; also <i>Book Review Digest</i>, +1914-7, 1919, 1920.</p> + + + +<p class="author"><a name="Lee_J" id="Lee_J"></a><b>Jennette (Barbour Perry) Lee (Mrs. Gerald Stanley Lee)</b>—novelist.</p> + +<p>Born at Bristol, Connecticut, 1860. A. B., Smith, 1886. Taught English at +Vassar, 1890-3; at Western Reserve, 1893-6; instructor and professor of +English at Smith, 1901-13.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Son of a Fiddler. 1902.</li> +<li class="star">*Uncle William. 1906.</li> +<li class="leftpad">Happy Island. 1910.</li> +<li class="leftpad">Mr. Achilles. 1912.</li> +<li class="leftpad">The Taste of Apples. 1913.</li> +<li class="leftpad">Aunt Jane. 1915.</li> +<li class="leftpad">The Green Jacket. 1917.</li> +<li class="leftpad">The Air-Man and the Tramp. 1918.</li> +<li class="leftpad">The Rain-Coat Girl. 1919.</li> +<li class="leftpad">The Chinese Coat. 1920.</li> +<li class="leftpad">The Other Susan. 1921.</li> +<li class="leftpad">Uncle Bijah’s Ghost. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bk. Buyer, 22 (’01): 99 (portrait).</li> +<li class="leftpad">Bookm. 36 (’12): 347 (portrait); 38 (’13): 233, 236 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913, 1915-8.</li> +</ul> +<p><span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></p> + + + +<p class="author"><a name="Lefevre_E" id="Lefevre_E"></a><b>Edwin Lefevre</b> (Colombia, South America, 1871)—novelist, short-story +writer.</p> + +<p>Uses Wall Street as material. For bibliography, see <i>Who’s Who in +America</i>.</p> + + + +<p class="author"><a name="Lewis_S" id="Lewis_S"></a><b>Sinclair Lewis</b>—novelist.</p> + +<p>Born at Sauk Center, Minnesota, 1885. Son of a physician. A. B., Yale, +1907. During the next ten years was a newspaper man in Connecticut, Iowa, +and California, a magazine editor in Washington, D. C., and editor for New +York book publishers. During the last five years has been traveling in +the United States, living from one day to six months in the most diverse +places, and motoring from end to end of twenty-six states. While +supporting himself by short stories and experimental novels, he laid the +foundation for his unusually successful <i>Main Street</i>. His first book, +<i>Our Mr. Wrenn</i>, is said to contain a good deal of autobiography.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Do you recognize Gopher Prairie as a type? Is Mr. Lewis’s picture +photography, caricature, or the kind of portraiture that is art? Or to +what degree do you find all these elements?</p> + +<p>2. Is the main interest of the book in the story? in the +characterization? in the satire? or in an element of propaganda?</p> + +<p>3. What is to be said of the constructive theory of living proposed by +the heroine? Is it better or worse than the standard that prevailed +before she went to Gopher Prairie to live?</p> + +<p>4. Explain the success of the book. What, if any, elements of permanent +value do you find? What conspicuous defects?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Our Mr. Wrenn. 1914.</li> +<li class="leftpad">The Trail of the Hawk. 1915.</li> +<li class="leftpad">The Job. 1917.</li> +<li class="leftpad">The Innocents. 1917.</li> +<li class="leftpad">Free Air. 1919.</li> +<li class="star">*Main Street. 1920.</li> +<li class="leftpad">Babbitt. 1922.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<p>Am. M. 91 (’21): Apr., p. 16 (portrait). Bookm. 39 (’14): 242, 248 +(portrait); 54 (’21): 9. (Archibald Marshall.) Freeman, 2 (’20): 237. +Lit. Digest, 68 (’21): Feb. 12, p. 28 (portrait). New Repub. 25 (’20): +20. Sat. Rev. 132 (’21): 230. See also <i>Book Review Digest</i>, 1920.</p> + + + +<p class="author"><a name="Lewisohn_L" id="Lewisohn_L"></a><b>Ludwig Lewisohn</b>—critic.</p> + +<p>Born at Berlin, Germany. 1882. Brought to America, 1890. A. B., and A. M., +College of Charleston, 1901 (Litt. D., 1914); A. M., Columbia, 1903. +Editorial work and writing for magazines, 1904-10. Translator from the +German. College instructor and professor, 1910-19. Dramatic editor of +<i>The Nation</i>, 1919—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Modern Drama. 1915.</li> +<li class="leftpad">A Modern Book of Criticism. 1919.</li> +<li class="leftpad">Up Stream, an American Chronicle. 1922.</li> +<li class="leftpad">The Drama and the Stage. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 48 (’19): 558.</li> +<li class="leftpad">Nation 111 (’20): 219.</li> +<li class="leftpad">Sewanee R. 17 (’09): 458.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1920.</li> +</ul> + + + +<p class="author"><a name="Lincoln_J" id="Lincoln_J"></a><b>Joseph Crosby Lincoln</b> (Massachusetts, 1870)—novelist.</p> + +<p>Writes of New England types, especially sailors. For bibliography, see +<i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Lindsay_V" id="Lindsay_V"></a><b>(Nicholas) Vachel Lindsay</b>—poet.</p> + +<p>Born at Springfield, Illinois, 1879. Educated in the public schools. +Studied at Hiram College, Ohio, 1897-1900; at the Art Institute, Chicago, +1900-3, and at the New York School of Art, 1904-5. Member of the +Christian (Disciples) Church. Y. M. C. A. lecturer, 1905-09. Lecturer for +the Anti-Saloon<span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span> League throughout central Illinois, 1909-10. Makes long +pilgrimages on foot (cf. <i>A Handy Guide for Beggars</i>).</p> + +<p>In the summer of 1912, he walked from Illinois to New Mexico, +distributing his poems and speaking in behalf of “The Gospel of Beauty.”</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Read for background <i>A Handy Guide for Beggars</i> and <i>Adventures while +Preaching the Gospel of Beauty</i>.</p> + +<p>2. An important clue to Mr. Lindsay’s work is suggested in his own note +on reading his poems. Referring to the Greek lyrics as the type which +survives in American vaudeville where every line may be two-thirds spoken +and one-third sung, he adds: “I respectfully submit these poems as +experiments in which I endeavor to carry this vaudeville form back +towards the old Greek presentation of the half-chanted lyric. In this +case the one-third of music must be added by the instinct of the +reader.... Big general contrasts between the main sections should be the +rule of the first attempts at improvising. It is the hope of the writer +that after two or three readings each line will suggest its own separate +touch of melody to the reader who has become accustomed to the cadences. +Let him read what he likes read, and sing what he likes sung.”</p> + +<p>In carrying out this suggestion, note that Mr. Lindsay often prints aids +to expression by means of italics, capitals, spaces, and even side notes +and other notes on expression.</p> + +<p>3. What different kinds of material appeal especially to Mr. Lindsay’s +imagination? How do you explain his choice, and his limitations?</p> + +<p>4. What effect upon his poetry has the missionary spirit which is so +strong in him? Is his poetry more valuable for its singing element or for +its ethical appeal? Do you discover any special originality?</p> + +<p>5. How does his use of local material compare with that of Masters? of +Frost? of Sandburg?</p> + +<p>6. Study his rhythmic sense in different poems, the verse<span class='pagenum'><a name="Page_97" id="Page_97">[97]</a></span> forms that he +uses, the tendencies in rhyme, his use of refrain, of onomatop[oe]ia, of +catalogues, etc.</p> + +<p>7. Does Mr. Lindsay offend your poetic taste? If so, can you justify his +use of the material you object to?</p> + +<p>8. Do you judge that Mr. Lindsay is likely to write much greater poetry +than he has hitherto produced?</p> + +<p>9. Mr. Lindsay’s drawings are worth study for comparison with his poems.</p> + +<p>10. Compare Mr. Lindsay’s development of the idea of the “poem game” with +the “poem dance” of Bliss Carman (<a href="#Carman_B">q. v.</a>).</p> + +<p>11. Consider Mr. Lindsay as the “poet of democracy.” What is he likely to +do for the people? for poetry?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">General William Booth Enters into Heaven, and Other Poems. 1913.</li> +<li class="leftpad">Adventures While Preaching the Gospel of Beauty. 1914. (Prose.)</li> +<li class="leftpad">The Congo and Other Poems. 1914.</li> +<li class="leftpad">The Art of the Moving Picture. 1913. (Prose.)</li> +<li class="leftpad">A Handy Guide for Beggars. 1916. (Prose.)</li> +<li class="leftpad">The Chinese Nightingale and Other Poems. 1917.</li> +<li class="leftpad">The Daniel Jazz and Other Poems. 1920.</li> +<li class="leftpad">The Golden Book of Springfield. 1920. (Prose.)</li> +<li class="leftpad">The Golden Whales of California. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Am. M. 74 (’12): 422 (portrait).</li> +<li class="leftpad">Ath. 1919, 2: 1334.</li> +<li class="leftpad">Bookm. 46 (’18): 575; 47 (’18): 125 (Phelps); 53 (’21): 525 (Morley).</li> +<li class="leftpad">Bookm. (Lond.) 57 (’20): 178.</li> +<li class="leftpad">Cent. 102 (’21): 638.</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 19.</li> +<li class="leftpad">Collier’s, 51 (’13): 7 (portrait).</li> +<li class="leftpad">Cur. Lit. 50 (’11): 320.</li> +<li class="leftpad">Cur. Op. 68 (’20): 851; 69 (’20): 371 (portrait).</li> +<li class="leftpad">Dial, 57 (’14): 281.</li> +<li class="leftpad">Ind. 77 (’14): 72.</li> +<li class="leftpad">Lit. Digest, 65 (’20): 43.</li> +<li class="leftpad">Liv. Age, 307 (’20): 671.</li> +<li class="leftpad">Lond. Merc. 2 (’20): 645; 3 (’20): 112.</li> +<li class="leftpad">New Repub. 9 (’16): supp. 6, (Hackett); 21 (’20): 321.</li> +<li class="leftpad">Poetry, 3 (’14): 182; 5 (’15): 296; 11 (’18): 214; 16 (’20): 101; +17 (’21): 262.</li> +<li class="leftpad">R. of Rs. 49 (’14): 245.</li> +<li class="leftpad">Spec. 125 (’20): 372, 604; 126 (’21): 645.</li> +<li class="leftpad">Touchstone, 2 (’18): 510.</li> +</ul> +<p><span class='pagenum'><a name="Page_98" id="Page_98">[98]</a></span></p> + + + +<p class="author"><a name="Littell_P" id="Littell_P"></a><b>Philip Littell</b>—critic.</p> + +<p>Born at Brookline, Massachusetts, 1868. A. B., Harvard, 1890. On staff of +<i>Milwaukee Sentinel</i>, 1890-1901, and <i>New York Globe</i>, 1910-13. On <i>The +New Republic</i> since 1914. His one volume is <i>Books and Things</i>, 1919.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Dial, 68 (’20): 362.</li> +<li class="leftpad">No. Am. 210 (’19): 849.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919.</li> +</ul> + + + +<p class="author"><a name="London_J" id="London_J"></a><b>Jack London</b>—novelist.</p> + +<p>Born at San Francisco, 1876. Studied at the University of California, but +left college to go to the Klondyke. In 1892, shipped before the mast. +Went to Japan; hunted seal in Behring Sea. Tramped far and wide in the +United States and Canada, in 1894, for social and economic study. War +correspondent in the Russian-Japanese War. Traveled extensively. +Socialist. Died in 1916.</p> + +<p>His work is very uneven; but the following books are regarded as among +his best:</p> + + +<ul class="bib"><li class="leftpad">The Call of the Wild. 1903.</li> +<li class="leftpad">The Sea-Wolf. 1904.</li> +<li class="leftpad">Martin Eden. 1909. (Autobiographical.)</li> +<li class="leftpad">John Barleycorn. 1913. (Autobiographical.)</li> +</ul> + +<p>For an account of his life and work, see <i>The Book of Jack London</i>, by +Charmian London, 1921 (cf. <i>Freeman</i>, 4 [’22]: 407). For reviews, cf. the +<i>Book Review Digest</i>, especially 1903-7, 1911, 1915.</p> + + + +<p class="author"><a name="Lovett_R" id="Lovett_R"></a><b>Robert Morss Lovett</b>—man of letters.</p> + +<p>Born at Boston, 1870. A. B., Harvard, 1892. Taught English at Harvard, +1892-3; at Chicago, since 1893; professor since 1909. Editor of <i>The +Dial</i>, 1919. On the staff of <i>The New Republic</i>, 1921—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Richard Gresham. 1904. (Novel.)</li> +<li class="leftpad">A Winged Victory. 1907. (Novel.)</li> +<li class="leftpad">Cowards. 1917. (Play, published in <i>Drama</i>, 7.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Drama, 7 (’17): 325.</li> +</ul> +<p><span class='pagenum'><a name="Page_99" id="Page_99">[99]</a></span></p> + + + +<p class="author"><a name="Lowell_A" id="Lowell_A"></a><b>Amy Lowell</b>—poet, critic.</p> + +<p>Born at Brookline, Massachusetts, 1874. Sister of President Lowell of +Harvard, and of Percival Lowell, the astronomer. Distantly related to +James Russell Lowell. Educated at private schools. Traveled extensively +in Europe as a child. Her visits to Egypt, Greece, and Turkey influenced +her development. In 1902, she decided to become a poet and spent eight +years studying, without publishing a poem. Her first poem appeared in the +<i>Atlantic</i>, 1910.</p> + +<p>She is a collector of Keats manuscripts and says that the poet who +influenced her most profoundly was Keats. She has also made special study +of Chinese poetry.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. As Miss Lowell is the principal exponent of the theories of imagism +and free verse in this country, careful reading of some of her critical +papers leads to a better understanding of her work. Especially valuable +are her studies of Paul Fort in her volume entitled <i>Six French Poets</i>, +of “H. D.” and John Gould Fletcher in her <i>Tendencies in Modern American +Poetry</i>, the prefaces to different volumes of her poems and to the +anthologies published under the title <i>Some Imagist Poets</i> (1915, 1916), +and her articles in the <i>Dial</i>, 64 (’18): 51 ff., and in Poetry, 3 (’13): +213 ff.</p> + +<p>2. In judging her work, consider separately her poems in regular metrical +form and those in free verse. Decide which method is better suited to her +type of imagination.</p> + +<p>3. To what extent does her inspiration come from cultural +sources—travel, literature, art, music?</p> + +<p>4. Consider especially her presentation of “images.” How far do these +seem to be derived from direct experience? Test them by your own +experience. What principles seem to determine her choice of details? +Which sense impressions—sight, sound, taste, smell, touch—does she most +frequently and successfully suggest? Note instances where her figures of +speech sharpen the imagery and others where they seem to distort it. In +what ways is the influence of Keats perceptible in her work?<span class='pagenum'><a name="Page_100" id="Page_100">[100]</a></span></p> + +<p>5. It is worth while to make special study of the historical imagery of +the poems in <i>Can Grande’s Castle</i>.</p> + +<p>6. If you are familiar with the impressionistic method of painting, work +out an analogy between it and Miss Lowell’s word pictures.</p> + +<p>7. Study separately her varieties of free verse and polyphonic prose (cf. +her study of Paul Fort and the preface to <i>Can Grande’s Castle</i>). Choose +several poems in which you think the free verse form is especially +adapted to the content and draw conclusions as to the problems of +development of this kind of verse or of its possible influence upon +regular metrical forms.</p> + +<p>8. Use the following poem by Miss Lowell as a basis for judging her work:</p> + +<div class="poem"><div class="stanza"> +<span class="i14 smcap">Fragment<br /></span> +</div><div class="stanza"> +<span class="i0">What is poetry? Is it a mosaic<br /></span> +<span class="i2">Of colored stones which curiously are wrought<br /></span> +<span class="i2">Into a pattern? Rather glass that’s taught<br /></span> +<span class="i0">By patient labor any hue to take<br /></span> +<span class="i0">And glowing with a sumptuous splendor, make<br /></span> +<span class="i2">Beauty a thing of awe; where sunbeams caught,<br /></span> +<span class="i2">Transmuted fall in sheafs of rainbows fraught<br /></span> +<span class="i0">With storied meaning for religion’s sake.<br /></span> +</div></div> + +<p>9. In summing up Miss Lowell’s achievement, consider the different phases +of it that appear in her volumes taken in chronological order, noting the +successive influences under which she has come. In what qualities does +she stand out strikingly from other contemporary poets? Do you expect +different and more important work from her in the future?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Dome of Many-Colored Glass. 1912.</li> +<li class="leftpad">Sword Blades and Poppy Seed. 1914.</li> +<li class="leftpad">Six French Poets. 1915.</li> +<li class="leftpad">Men, Women and Ghosts. 1916.</li> +<li class="leftpad">Tendencies in Modern American Poetry. 1917.</li> +<li class="leftpad">Can Grande’s Castle. 1918.</li> +<li class="leftpad">Pictures of the Floating World. 1919.</li> +<li><span class='pagenum'><a name="Page_101" id="Page_101">[101]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Legends; Tales of Peoples. 1921.</span></li> +<li class="leftpad">Fir-Flower Tablets. Poems Translated from the Chinese. 1921. (With +Florence Ayscough.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Hunt, R. and Snow, R. H. Amy Lowell. 1921.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. 47 (’18): 255. (Phelps.)</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 8.</li> +<li class="leftpad">Dial, 61 (’16): 528; 65 (’18): 346; 67 (’19): 331</li> +<li class="leftpad">Egoist, 1 (’14): 422; 2 (’15): 81, 109; 3 (’16): 9.</li> +<li class="leftpad">Freeman, 4 (’21): 18.</li> +<li class="leftpad">Ind. 87 (’16): 306 (portrait); 88 (’16):533 (portrait); 93 (’18): 294.</li> +<li class="leftpad">Lit. Digest, 52 (’16): 971; 63 (’19): Nov. 29, p. 31 (portraits); +72 (’22): 38.</li> +<li class="leftpad">Lond. Mer., 3 (’21): 441.</li> +<li class="leftpad">New Repub. 6 (’16): 178.</li> +<li class="leftpad">No. Am. 207 (’18): 257, 736.</li> +<li class="leftpad">Poetry, 6 (’15): 32; 9 (’17): 207; 10 (’17): 149; 13 (’18): 97; +15 (’20): 332.</li> +<li class="leftpad">Sewanee R. 28 (’20): 37.</li> +<li class="leftpad">Spec. 125 (’20): 744.</li> +<li class="leftpad">Touchstone, 2 (’18): 416; 7 (’20): 219.</li> +</ul> + + + +<p class="author"><a name="McCutcheon_G" id="McCutcheon_G"></a><b>George Barr McCutcheon</b> (1866)—novelist.</p> + +<p>The creator of Graustark. For bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Mackaye_P" id="Mackaye_P"></a><b>Percy (Wallace) Mackaye</b>—dramatist, poet.</p> + +<p>Born in New York City, 1875, son of Steele Mackaye, dramatist and +manager. A. B., Harvard, 1897. Traveled in Europe, 1898-1900, studying at +the University of Leipzig, 1899-1900. Taught in private school in New +York, 1900-04. Joined the colony at Cornish, New Hampshire, 1904. Since +then has been engaged chiefly in dramatic work.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Fenris the Wolf. 1905. (Tragedy.)</li> +<li class="leftpad">The Scarecrow. 1908. (Also, Dickinson, <i>Chief Contemporary Dramatists</i>. +1915.)</li> +<li class="leftpad">The Playhouse and the Play. 1909. (Essays.)</li> +<li class="leftpad">A Garland to Sylvia. 1910. (Comedy.)</li> +<li class="leftpad">Anti-Matrimony. 1910. (Satirical comedy.)</li> +<li class="leftpad">Tomorrow. 1911. (Play.)</li> +<li><span style="font-size: 0.9em; padding-left: 0.5em;">Yankee Fantasies. 1912. (One act plays.)</span><span class='pagenum'><a name="Page_102" id="Page_102">[102]</a></span></li> +<li class="leftpad">The Civic Theatre. 1912.</li> +<li class="leftpad">Sinbad the Sailor. 1912. (Lyric drama.)</li> +<li class="leftpad">A Thousand Years Ago. 1914. (Comedy.)</li> +<li class="leftpad">The Immigrants. 1915. (Lyric drama.)</li> +<li class="leftpad">A Substitute for War. 1915. (Essay.)</li> +<li class="star">*Poems and Plays. 1916.</li> +<li class="leftpad">American Conservation Hymn. 1917.</li> +<li class="leftpad">The Community Drama. 1917. (Essay.)</li> +<li class="leftpad">Washington. 1919. (Ballad-play.)</li> +<li class="leftpad">Rip Van Winkle. 1919. (Folk-opera.)</li> +<li class="leftpad">Dogtown Common. 1921. (Verse.)</li> +</ul> + +<p>For full bibliography see <i>Cambridge</i>, III (IV), 770.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 71 (’10): 121 (portrait).</li> +<li class="leftpad">Bookm. 25 (’07): 230 (portrait), 231; 32 (’10): 256 (portrait only); +39 (’14): 376 (portrait); 47 (’18): 395.</li> +<li class="leftpad">Craftsman, 26 (’14): 139 (portrait)=R. of Rs. 49 (’14): 749 (condensed); +30 (’16): 483.</li> +<li class="leftpad">Cur. Op. 60 (’16): 408.</li> +<li class="leftpad">Everybody’s, 40 (’19): 29.</li> +<li class="leftpad">Harv. Grad. M. 17 (’09): 599 (portrait).</li> +<li class="leftpad">No. Am. 199 (’14): 290.</li> +<li class="leftpad">Survey, 35 (’16): 508.</li> +<li class="leftpad">World Today, 17 (’09): 997 (portrait).</li> +</ul> + + + +<p class="author"><a name="Markham_E" id="Markham_E"></a><b>(Charles) Edwin Markham</b>—poet.</p> + +<p>Born at Oregon City, Oregon, 1852. Went to California, 1857. Worked at +farming, blacksmithing, and herding cattle and sheep during boyhood. +Educated at San José Normal School and at Christian College, Santa Rosa. +Principal and superintendent of schools in California until 1899. Made +famous by the publication of <i>The Man with the Hoe</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Man with the Hoe, and Other Poems. 1899.</li> +<li class="leftpad">The Man with the Hoe, with Notes by the Author. 1900.</li> +<li class="leftpad">Lincoln, and Other Poems. 1901.</li> +<li class="leftpad">California the Wonderful. 1914.</li> +<li class="leftpad">The Children in Bondage. 1914. (Study of child labor problem.)</li> +<li class="leftpad">The Shoes of Happiness and Other Poems. 1915.</li> +<li class="leftpad">The Gates of Paradise. 1920.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_103" id="Page_103">[103]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Arena, 27 (’02): 391; 35 (’06): 143, 146.</li> +<li class="leftpad">Bookm. 27 (’08): 267; 37 (’13): 300; 41 (’15): 397.</li> +<li class="leftpad">Cur. Lit. 29 (’00): 1 (portrait), 16; 42 (’07): 317 (portrait).</li> +<li class="leftpad">Poetry, 6 (’15): 308.</li> +<li class="leftpad">R. of Rs. 30 (’04): 622 (portrait).</li> +</ul> + + + +<p class="author"><a name="Marks_J" id="Marks_J"></a><a name="corr15" id="corr15"></a><ins class="correction" title="Jeannette (Augustus)"><b>Jeannette(Augustus)</b></ins> <b>Marks</b>—novelist, dramatist.</p> + +<p>Born at Chattanooga, Tennessee, 1875. A. B., Wellesley, 1900; A. M., 1903. +Studied in England. Associate professor of English literature at Mt. +Holyoke, 1901-10, and lecturer since 1913, where she introduced Poetry +Shop Talks by writers to students. Her most interesting work has been +based upon Welsh material, which she obtained by walking several summers +with a knapsack in Wales. In 1911, two of Miss Marks’s one-act Welsh +plays (<i>The Merry, Merry Cuckoo</i>, and <i>Welsh Honeymoon</i>) were given first +prize in the Welsh National Theatre competition, notwithstanding the fact +that the prize was offered for a three-act play.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Cheerful Cricket and Others. 1907.</li> +<li class="leftpad">Through Welsh Doorways. 1909.</li> +<li class="leftpad">The End of a Song. 1911.</li> +<li class="leftpad">Gallant Little Wales. Sketches of its People, Places, and Customs. 1912.</li> +<li class="leftpad">Leviathan: the Record of a Struggle and a Triumph. 1913.</li> +<li class="star">*Three Welsh Plays: The Merry, Merry Cuckoo; the Deacon’s Hat; Welsh +Honeymoon. 1917.</li> +<li class="leftpad">Courage. 1919. (Essays.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 33 (’11): 116 (portrait); 44 (’17): 569 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913-4, 1917, 1919.</li> +</ul> + + + +<p class="author"><a name="Marquis_D" id="Marquis_D"></a><b>Donald (Robert Perry) Marquis (Don Marquis)</b>—humorist, “columnist,” +poet.</p> + +<p>Born at Walnut, Illinois, 1878. Newspaper man, conductor of the column +called “The Sun Dial” in the <i>New York Evening Sun</i>.<span class='pagenum'><a name="Page_104" id="Page_104">[104]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Danny’s Own Story. 1912.</li> +<li class="leftpad">Dreams and Dust. 1915. (Poems.)</li> +<li class="leftpad">The Cruise of the Jasper B. 1916.</li> +<li class="star">*Hermione and her Little Group of Serious Thinkers. (Satire.) 1916.</li> +<li class="star">*Prefaces. 1919.</li> +<li class="leftpad">Carter and Other People. 1921.</li> +<li class="leftpad">Noah an’ Jonah an’ Cap’n John Smith. 1921.</li> +<li class="leftpad">The Old Soak, and Hail and Farewell. 1921.</li> +<li class="leftpad">Poems and Portraits. 1922.</li> +<li class="leftpad">Sonnets to a Red-Haired Lady and Famous Love Affairs. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 84 (’17): Sept., p. 18 (portrait).</li> +<li class="leftpad">Bookm. 42 (’15): 365 (portrait), 460.</li> +<li class="leftpad">Cur. Op. 67 (’19): 119.</li> +<li class="leftpad">Everybody’s, 42 (’20): Jan., p. 29 (portrait).</li> +<li class="leftpad">Outlook, 124 (’20): 289; 126 (’20): 100. (Portraits.)</li> +</ul> + + + +<p class="author"><a name="Martin_E" id="Martin_E"></a><b>Edward Sandford Martin</b>—satirist, man of letters.</p> + +<p>Born at Owasco, New York, 1856. A. B., Harvard, 1877. Honorary higher +degrees. Admitted to the Rochester bar, 1884. Editorial writer for <i>Life</i> +nearly thirty years, for <i>Harper’s Weekly</i> about fifteen years, and for +other periodicals.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Sly Ballades in Harvard China. 1882.</li> +<li class="star">*A Little Brother of the Rich. 1890. (Verses.)</li> +<li class="leftpad">Pirated Poems. 1890.</li> +<li class="star">*Windfalls of Observation. 1893.</li> +<li class="leftpad">Cousin Anthony and I. 1895.</li> +<li class="leftpad">Lucid Intervals. 1900.</li> +<li class="leftpad">Poems and Verses. 1902.</li> +<li class="leftpad">The Luxury of Children, and Other Luxuries. 1904.</li> +<li class="leftpad">The Courtship of a Careful Man. 1905.</li> +<li class="leftpad">In a New Century. 1908.</li> +<li class="leftpad">Reflections of a Beginning Husband. 1913.</li> +<li class="leftpad">The Unrest of Women. 1913.</li> +<li class="leftpad">The Diary of a Nation. 1917.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_105" id="Page_105">[105]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 71 (’11): 728 (portrait).</li> +<li class="leftpad">Bookm. 28 (’08): 301 (portrait), 324.</li> +<li class="leftpad">Critic, 42 (’03): 233 (portrait).</li> +<li class="leftpad">Harp. W. 48 (’04): 1995 (portrait).</li> +<li class="leftpad">Outlook, 90 (’08): 707 (portrait).</li> +</ul> + + + +<p class="author"><a name="Martin_G" id="Martin_G"></a><b>George Madden Martin (Mrs. Attwood R. Martin)</b>—story writer.</p> + +<p>Born at Louisville, Kentucky, 1866. Educated in the Louisville public +schools, finishing at home on account of ill health. Made her reputation +by her study of a little Kentucky girl in <i>Emmy Lou—Her Book and Heart</i>, +1902. For complete bibliography, see <i>Who’s Who in America</i>.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Outlook, 78 (’04): 287 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1920.</li> +</ul> + + + +<p class="author"><a name="Martin_H" id="Martin_H"></a><b>Helen Reimensnyder Martin</b> (Pennsylvania, 1868)—novelist.</p> + +<p>Writes about the Pennsylvania Dutch. For bibliography, see <i>Who’s Who in +America</i>.</p> + + + +<p class="author"><a name="Masters_E" id="Masters_E"></a><b>Edgar Lee Masters</b>—poet.</p> + +<p>Born at Garnett, Kansas, 1868, but brought up in Illinois. His schooling +was desultory, but he read widely. Studied one year at Knox College; +learned Greek, which influenced him strongly.</p> + +<p>Studied law in his father’s office at Lewiston, and practiced there for a +year. Then went to Chicago where he became a successful attorney and also +took an active part in politics.</p> + +<p>Mr. Masters’ fame was established by the <i>Spoon River Anthology</i>, which +was suggested by <i>The Greek Anthology</i>. With this Mr. Masters had become +familiar as early as 1909, through Mr. William Marion Reedy. <i>The Spoon +River Anthology</i> first appeared in <i>Reedy’s Mirror</i>, under the +significant pseudonym, “Webster Ford.”<span class='pagenum'><a name="Page_106" id="Page_106">[106]</a></span></p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Begin with <i>The Spoon River Anthology</i>. (Cf. the preface to <i>Toward +the Gulf</i>.) How much does it owe to its model? to other literary sources? +to the central Illinois environment in which the author grew up? What are +its most conspicuous merits and defects? How do you explain each?</p> + +<p>2. Test the sketches by your own experience of small town life. Which +seem to you truest to individual character and most universal in type?</p> + +<p>3. Compare similar sketches of personalities by Edwin Arlington Robinson, +which Mr. Masters had not read until after his book was published.</p> + +<p>4. Consider how far Mr. Masters has achieved his avowed purpose “to +analyze society, to satirise society, to tell a story, to expose the +machinery of life, to present a working model of the big world”; to +create beauty, and to depict “our sorrows and hopes, our religious +failures, successes and visions, our poor little lives, rounded by a +sleep, in language and figures emotionally tuned to bring all of us +closer together in understanding and affection.”</p> + +<p>5. How do you explain the sudden popularity of the <i>Anthology</i>? What are +its chances of becoming a classic?</p> + +<p>6. Read one of Mr. Masters’ later volumes and compare it with the +<i>Anthology</i> as to merits and defects.</p> + +<p>7. Mr. Masters has always been a great reader. Trace, as far as you can, +the influence of the following authors: Homer; the Bible; Poe; Keats; +Shelley; Swinburne; Browning.</p> + +<p>8. Draw parallels between his work and the work of (1) Edwin Arlington +Robinson, <a href="#Robinson_E_A">q. v.</a>, (2) of Robert Frost, <a href="#Frost_R">q. v.</a>, (3) of Vachel Lindsay, <a href="#Lindsay_V">q. v.</a>, +and (4) of Carl Sandburg, <a href="#Sandburg_C">q. v.</a></p> + +<p>9. An interesting study might be made of the effects of Mr. Masters’ +legal training upon his poetry.</p> + +<p>10. Compare <i>Children of the Market Place</i> with the <i>Anthology</i> or +<i>Domesday Book</i>. Is Mr. Masters more successful as poet or as novelist?<span class='pagenum'><a name="Page_107" id="Page_107">[107]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Book of Verses. 1898.</li> +<li class="leftpad">Maximilian. 1902. (Drama in blank verse.)</li> +<li class="leftpad">The New Star Chamber and Other Essays. 1904.</li> +<li class="leftpad">Blood of the Prophets. 1905.</li> +<li class="leftpad">Althea. 1907. (Play.)</li> +<li class="leftpad">The Trifler. 1908. (Play.)</li> +<li class="star">*The Spoon River Anthology. 1915.</li> +<li class="leftpad">Songs and Satires. 1916.</li> +<li class="leftpad">The Great Valley. 1916.</li> +<li class="leftpad">Toward the Gulf. 1918.</li> +<li class="leftpad">Starved Rock. 1919.</li> +<li class="leftpad">Domesday Book. 1920.</li> +<li class="leftpad">Mitch Miller. 1920. (Boy’s story.)</li> +<li class="leftpad">The Open Sea. 1921.</li> +<li class="leftpad">Children of the Market Place. 1922. (Novel.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Lowell.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Ath. 1916, 2: 323, 520.</li> +<li class="leftpad">Bookm. 41 (’15): 355, 432; 44 (’16): 264 (Kilmer); 47 (’18): 262. +(Phelps.)</li> +<li class="leftpad">Bookm. (Lond.) 49 (’16): 187; 52 (’17): 153.</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 11.</li> +<li class="leftpad">Cur. Op. 58 (’15): 356; 60 (’16): 127.</li> +<li class="leftpad">Dial, 60 (’16): 415, 498; 61 (’16): 528.</li> +<li class="leftpad">Forum, 55 (’16): 109, 118, 121.</li> +<li class="leftpad">Ind. 88 (’16): 533 (portrait).</li> +<li class="leftpad">Lit. Digest, 52 (’16): 564 (portrait).</li> +<li class="leftpad">Lond. Times, Apr. 13, 1917: 173; May 19, 1921: 318.</li> +<li class="leftpad">New Repub. 20 (’19): supp. 10.</li> +<li class="leftpad">New Statesman, 6 (’16): 332; 7 (’16): 593.</li> +<li class="leftpad">Poetry, 6 (’15): 145; 8 (’16): 148; 9 (’17): 202; 12 (’18): 150; +16 (’20): 151.</li> +<li class="leftpad">R. of Rs. 51 (’15): 758 (portrait).</li> +<li class="leftpad">So. Atlan. Q. 16 (’17): 155.</li> +<li class="leftpad">Touchstone, 3 (’18): 172.</li> +</ul> + + + +<p class="author"><a name="Matthews_B" id="Matthews_B"></a><b>(James) Brander Matthews</b>—critic, man of letters.</p> + +<p>Born at New Orleans, 1852. A. B., Columbia, 1871, LL. B., 1873, A. M., 1874. +Many honorary higher degrees. Admitted to the bar in 1873, but took up +writing. Professor at Columbia since 1892.<span class='pagenum'><a name="Page_108" id="Page_108">[108]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Theatres of Paris. 1880.</li> +<li class="leftpad">French Dramatists of the Nineteenth Century. 1881.</li> +<li class="leftpad">In Partnership; Studies in Story-Telling. 1884. (With H. C. Bunner.)</li> +<li class="leftpad">With My Friends; Tales Told in Partnership. 1891.</li> +<li class="leftpad">The Story of a Story and Other Stories. 1893.</li> +<li class="leftpad">Studies of the Stage. 1894.</li> +<li class="leftpad">Vignettes of Manhattan. 1894.</li> +<li class="leftpad">Aspects of Fiction. 1896.</li> +<li class="leftpad">Outlines in Local Color. 1898.</li> +<li class="leftpad">The Historical Novel. 1901.</li> +<li class="leftpad">The Philosophy of the Short Story. 1901.</li> +<li class="leftpad">A Study of the Drama. 1910.</li> +<li class="leftpad">Vistas of New York. 1912.</li> +<li class="leftpad">A Book about the Theatre. 1916.</li> +<li class="leftpad">These Many Years. Recollections of a New Yorker. 1917.</li> +<li class="leftpad">The Principles of Playmaking. 1919.</li> +<li class="leftpad">Essays on English. 1921.</li> +</ul> + +<p>For complete bibliography, cf. <i>Who’s Who in America</i> and <i>Cambridge</i>, +III (IV), 771.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey.</li> +<li> </li> +<li class="leftpad">Bk. Buyer, 22 (’21): 15 (portrait).</li> +<li class="leftpad">Bookm. 31 (’10): 117.</li> +<li class="leftpad">Forum, 39 (’08): 377.</li> +<li class="leftpad">Ind. 69 (’10): 1085 (portrait).</li> +<li class="leftpad">Internat. Q. 4 (’01): 289.</li> +<li class="leftpad">Outlook, 78 (’04): 879 (portrait); 102 (’12): 645 (portrait), 649; +117 (’17): 640. (Lyman Abbott.)</li> +<li class="leftpad">Putnam’s, 1 (’07): 708 (portrait).</li> +<li class="leftpad">Spec. 106 (’11): 969; 114 (’15): 686.</li> +</ul> + + + +<p class="author"><a name="Mencken_H" id="Mencken_H"></a><b>H(enry) L(ouis) Mencken</b>—critic, man of letters.</p> + +<p>Born at Baltimore, Maryland, 1880, of German ancestry. Graduate of +Baltimore Polytechnic, 1896. On the Baltimore <i>Herald</i>, 1903-5, and +<i>Baltimore Sun</i>, 1906-17. Became literary critic for <i>The Smart Set</i>, +1908, and (with George Jean Nathan), editor, 1914—. War +correspondent in Germany and Russia, 1917. Much interested in music.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Ventures Into Verse. 1903.</li> +<li class="leftpad">George Bernard Shaw, His Plays. 1905.</li> +<li><span class='pagenum'><a name="Page_109" id="Page_109">[109]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Philosophy of Friedrich Nietzsche. 1908.</span></li> +<li class="leftpad">Men vs. the Man. 1910. (With R. R. LaMonte.)</li> +<li class="leftpad">The Artist. 1912.</li> +<li class="leftpad">Europe After 8:15. 1914. (With George Jean Nathan, <a href="#Nathan_G">q. v.</a>, and Willard +Huntingdon Wright.)</li> +<li class="leftpad">A Book of Burlesques. 1916.</li> +<li class="leftpad">A Little Book in C Major. 1916.</li> +<li class="leftpad">A Book of Prefaces. 1917.</li> +<li class="leftpad">In Defense of Women. 1918.</li> +<li class="leftpad">Damn: a Book of Calumny. 1918.</li> +<li class="leftpad">The American Language. 1919. (Revised ed., 1922.)</li> +<li class="leftpad">Prejudices: First Series. 1919.</li> +<li class="leftpad">The American Credo; a Contribution toward the Interpretation of the +National Mind. 1920. (With George Jean Nathan, <a href="#Nathan_G">q. v.</a>)</li> +<li class="leftpad">Prejudices: Second Series. 1920.</li> +<li class="leftpad">Heliogabalus, a Buffoonery in Three Acts. 1920. (With George Jean +Nathan, <a href="#Nathan_G">q. v.</a>)</li> +<li class="leftpad">Prejudices: Third Series.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Hatteras, O. A. J. Pistols for Two. 1917.</li> +<li class="leftpad">Rascoe, Burton, and Others (Vincent O’Sullivan, <a href="#OSullivan_V">q. v.</a>, and F. C. +Henderson). H. L. Mencken. Brief Appreciations and a Bibliography. +1920.</li> +<li> </li> +<li class="leftpad">Ath. 1920, 1: 10.</li> +<li class="leftpad">Bookm. 41 (’15): 46 (portrait), 56; 53 (’21): 79; 54 (’22): 551 +(portrait).</li> +<li class="leftpad">Cur. Op. 66 (’19): 391 (portrait); 71 (’21): 360.</li> +<li class="leftpad">Dial, 68 (’20): 267.</li> +<li class="leftpad">Freeman, 1 (’20): 88.</li> +<li class="leftpad">Liv. Age, 303 (’19): 798.</li> +<li class="leftpad">New Repub. 21 (’20): 239; 26 (’21): 191; 27 (’21): 10.</li> +<li class="leftpad">Little Review, 5 (’18): Jan., p. 10.</li> +<li class="leftpad">New Statesman, 14 (’20): 748.</li> +</ul> + + + +<p class="author"><a name="Middleton_G" id="Middleton_G"></a><b>George Middleton</b>—dramatist.</p> + +<p>Born at Paterson, New Jersey, 1880. A. B., Columbia, 1902. Married Fola La +Follette, 1911. Literary editor of <i>La Follette’s Weekly</i>, 1912—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*Embers; with The Failures, The Gargoyle, In His House, Madonna, The +Man Masterful: One-Act Plays of Contemporary Life. 1911.</li> +<li class="leftpad">Tradition, with On Bail, Their Wife, Waiting, The Cheat of Pity, and +Mothers: One-Act Plays of Contemporary Life, 1913.</li> +<li class="leftpad">Nowadays; a Contemporaneous Comedy. 1914.</li> +<li><span class='pagenum'><a name="Page_110" id="Page_110">[110]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Criminals; a One-Act Play about Marriage. 1915.</span></li> +<li class="leftpad">Back of the Ballot; a Woman Suffrage Farce in One Act. 1915.</li> +<li class="leftpad">Possession, with The Groove, The Unborn, Circles, A Good Woman, The +Black-Tie: One-Act Plays of Contemporary Life. 1915.</li> +<li class="leftpad">The Road Together; a Contemporaneous Drama in Four Acts. 1916.</li> +<li class="leftpad">Masks, Jim’s Beast, Tides, Among the Lions, The Reason, The House: +One-Act Plays of Contemporary Life. 1920. (With Guy Bolton.)</li> +</ul> + +<p>For bibliography of unpublished work, see <i>Who’s Who in America</i>.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 51 (’20): 472.</li> +<li class="leftpad">Cur. Op. 56 (’14): 376 (portrait); 68 (’20): 783 (portrait).</li> +<li class="leftpad">Freeman, 1 (’20): 449.</li> +<li class="leftpad">Nation, 110 (’20): 693.</li> +<li class="leftpad">New Repub. 24 (’20): 26.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1913-6, 1920.</li> +</ul> + + + +<p class="author"><a name="Mifflin_L" id="Mifflin_L"></a><b>Lloyd Mifflin</b>—poet.</p> + +<p>Born at Columbia, Pennsylvania, 1846. Son of an artist. Educated at +Washington Classical Institute and by tutors. Studied art with his father +and in Germany and Italy. Began as a painter, but later turned to poetry. +Is best known for his sonnets, the form in which most of his poetry is +written. These may be studied in his <i>Collected Sonnets</i>, 1905 (revised +edition, 1907), although several volumes have been published since then.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Lit. 39 (’05): 106 (portrait).</li> +<li class="leftpad">Dial, 40 (’06): 125; 47 (’09): 100.</li> +<li class="leftpad">Nation, 81 (’05): 17, 508.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1905.</li> +</ul> + + + +<p class="author"><a name="Millay_E" id="Millay_E"></a><b>Edna St. Vincent Millay</b>—poet, dramatist.</p> + +<p>Born at Rockland, Maine, 1892. A. B., Vassar, 1917. Connected with the +Provincetown players both as dramatist and as actress.</p> + +<p>Miss Millay’s first poem, “Renascence,” was published in <i>The Lyric +Year</i>, 1912.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. The poems need to be read aloud to give the full effect of their +passion and lyric beauty.<span class='pagenum'><a name="Page_111" id="Page_111">[111]</a></span></p> + +<p>2. Compare Miss Millay’s naïveté with that of Blake. Do you find +suggestions of philosophy behind it or sheer emotion?</p> + +<p>3. Does Miss Millay’s later work show growth toward greatness or toward +sophisticated cleverness?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Renascence and other Poems. 1917.</li> +<li class="leftpad">A Few Figs from Thistles: Poems and Four Sonnets. 1920.</li> +<li class="leftpad">Aria da Capo. 1920. (Play; published in <i>The Monthly Chapbook</i>, 1920.)</li> +<li class="leftpad">Second April. 1921.</li> +<li class="leftpad">The Lamp and the Bell. 1921. (Play.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Freeman, 1 (’20): 307; 4 (’21): 189.</li> +<li class="leftpad">Poetry, 13 (’18): 167; 19 (’21): 151.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1921.</li> +</ul> + + + +<p class="author"><a name="Mills_E" id="Mills_E"></a><b>Enos A(bijah) Mills</b>—Nature writer.</p> + +<p>Born near Kansas City, Kansas, 1870. Self-educated. Worked on a ranch +fourteen years. Foreman in a mine. Went to the Rocky Mountains early in +life. Built a home on Long’s Peak, Colorado, 1886. Has explored the Rocky +Mountains extensively, alone, on foot, and without firearms. Colorado +“snow observer” for Government, 1907, 1908.</p> + +<p>Mr. Mills has done valuable work for the protection of wild animals and +flowers and for the establishment of national parks. His work belongs +with that of Thoreau, Burroughs, and Muir (by whom he was influenced to +continue it) for its freshly observed Nature content.</p> + +<p>Among his best-known books are, perhaps, <i>The Story of a Thousand Year +Pine</i>, 1914, and <i>The Story of Scotch</i>, 1916 (dog story).</p> + +<p>For complete bibliography, see <i>Who’s Who in America</i>.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 51 (’20): 103.</li> +<li class="leftpad">Lit. Digest, 55 (’17): July 14, p. 44.</li> +<li class="leftpad">Sunset, 38 (’17): 40 (portrait).</li> +</ul> +<p><span class='pagenum'><a name="Page_112" id="Page_112">[112]</a></span></p> + + + +<p class="author"><a name="Moeller_P" id="Moeller_P"></a><b>Philip Moeller</b>—dramatist.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Helena’s Husband. 1916.</li> +<li class="leftpad">Madame Sand; a Biographical Comedy. 1917.</li> +<li class="leftpad">Five Somewhat Historical Plays. 1918. (Helena’s Husband; A Road-house +in Arden; Sisters of Susannah; The Little Supper; Pokey.) +(Burlesques.)</li> +<li class="leftpad">Two Blind Beggars and One Less Blind; a Tragic Comedy in One Act. 1918.</li> +<li class="leftpad">Molière; a Romantic Play in Three Acts. 1919.</li> +<li class="leftpad">Sophie, a Comedy. 1919. (Prologue by Carl Van Vechten.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">See <i>Book Review Digest</i>, 1918, 1920.</li> +</ul> + + + +<p class="author"><a name="Monroe_H" id="Monroe_H"></a><b>Harriet Monroe</b> (Illinois)—critic, poet.</p> + +<p>Editor of <i>Poetry</i>, 1912—. Compiler of <i>The New Poetry; an +Anthology</i> (with Alice Corbin, <a href="#Corbin_A">q. v.</a>), 1917. For bibliography of her +poems, cf. <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Moore_M" id="Moore_M"></a><b>Marianne Moore</b>—poet.</p> + +<p>Her reputation was established by her poems in <i>Others</i>, 1916, 1917, +1919, and in the <i>Dial</i> and <i>Poetry</i> (<i>passim</i>). Her first volume, +<i>Poems</i>, was published in 1921. Cf. <i>Poetry</i>, 20 (’22): 208.</p> + + + +<p class="author"><a name="More_P" id="More_P"></a><b>Paul Elmer More</b>—critic, man of letters.</p> + +<p>Born at St. Louis, 1864. A. B., Washington University, 1887; A. M., 1892; +Harvard, 1893. Honorary higher degrees. Taught Sanskrit at Harvard, +1894-5; Sanskrit and classical literature at Bryn Mawr, 1895-7. Literary +editor of <i>The Independent</i>, 1901-3; <i>New York Evening Post</i>, 1903-9. +Editor of <i>The Nation</i>, 1909-14.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Century of Indian Epigrams; Chiefly from the Sanskrit of Bhartrihari. +1898.</li> +<li class="leftpad">The Jessica Letters, an Editor’s Romance. 1904. (With Mrs. L. H. Harris.)</li> +<li><span class='pagenum'><a name="Page_113" id="Page_113">[113]</a></span> +<span style="font-size: 90%">*Shelburne Essays, (11 volumes.) 1904-21.</span></li> +<li class="leftpad">Nietzsche. 1912.</li> +<li class="leftpad">Platonism. 1917.</li> +<li class="leftpad">The Religion of Plato. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Acad. 80 (’11): 353.</li> +<li class="leftpad">Ath. 1909, 1: 67; 1920, 1: 703.</li> +<li class="leftpad">Bookm. (Lond.) 44 (’13): 256; 58 (’20): 207.</li> +<li class="leftpad">Critic, 45 (’04): 395 (portrait).</li> +<li class="leftpad">Cur. Op. 55 (’13): 126.</li> +<li class="leftpad">Ind. 65 (’08): 1337 (portrait).</li> +<li class="leftpad">Outlook, 81 (’05): 678.</li> +<li class="leftpad">Philos. R. 26 (’17): 409.</li> +<li class="leftpad">Putnam’s, 1 (’07): 716 (portrait) 752.</li> +<li class="leftpad">Review, 2 (’20): 54.</li> +<li class="leftpad">R. of Rs. 60 (’19): 190 (portrait).</li> +<li class="leftpad">Sat. Rev. 132 (’21): 323.</li> +<li class="leftpad">Sewanee R. 26 (’18): 63.</li> +<li class="leftpad">Spec. 116 (’16): 632; 125 (’20): 113.</li> +</ul> + + + +<p class="author"><a name="Morley_C" id="Morley_C"></a><b>Christopher (Darlington) Morley</b>—essayist, poet.</p> + +<p>Born at Haverford, Pennsylvania, 1890. A. B., Haverford College, 1910. +Rhodes Scholar at Oxford, 1910-13. Editorial staff Doubleday, Page and +Company, 1913-17; <i>Ladies Home Journal</i>, 1917-18; <i>Philadelphia Evening +Public Ledger</i>, 1918-20. In 1920, began his column, “The Bowling Green” +in the <i>New York Evening Post</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Eighth Sin. 1912.</li> +<li class="leftpad">Parnassus on Wheels. 1917.</li> +<li class="leftpad">Songs for a Little House. 1917.</li> +<li class="leftpad">Shandygaff. 1918.</li> +<li class="leftpad">The Rocking Horse. 1919.</li> +<li class="leftpad">The Haunted Book Shop. 1919.</li> +<li class="leftpad">In the Sweet Dry and Dry. 1919. (With Bart Haley.)</li> +<li class="leftpad">Mince Pie. 1919.</li> +<li class="leftpad">Travels in Philadelphia. 1920.</li> +<li class="leftpad">Kathleen. 1920.</li> +<li class="leftpad">Hide and Seek. 1920. (Poems.)</li> +<li class="leftpad">Chimneysmoke. 1921.</li> +<li class="leftpad">Modern Essays. 1921. (Compilation.)</li> +<li class="leftpad">Plum Pudding. 1921.</li> +<li class="leftpad">Tales from a Roll-Top Desk. 1921.</li> +<li class="leftpad">Where the Blue Begins. 1922.</li> +<li class="leftpad">Thursday Evening. 1922. (Play.)</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_114" id="Page_114">[114]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 46 (’18): 657 (portrait).</li> +<li class="leftpad">Everybody’s 42 (’20): Feb., p. 29 (portrait).</li> +<li class="leftpad">Ind. 94 (’18): 412 (portrait).</li> +<li class="leftpad">Lit. Digest, 63 (’19): Oct. 18, p. 27=Liv. Age, 303 (’19): 170.</li> +<li class="leftpad">Outlook, 124 (’20): 202 (portrait).</li> +</ul> + + + +<p class="author"><a name="Nathan_G" id="Nathan_G"></a><b>George Jean Nathan</b>—critic, man of letters.</p> + +<p>Born at Fort Wayne, Indiana, 1882. A. B., Cornell, 1904. On editorial +staff of the <i>New York Herald</i>, 1904-6. On the staffs of various +magazines, including <i>Harper’s Weekly</i>, the <i>Associated Sunday Magazine</i>, +and the <i>Smart Set</i>, usually as dramatic critic, 1906-14. With James +Huneker (<a href="#Huneker_J">q. v.</a>) dramatic critic for <i>Puck</i>, 1915-6. Dramatic critic for +the National Syndicate of Newspapers since 1912. Editor since 1914 of +<i>The Smart Set</i> (with H. L. Mencken, <a href="#Mencken_H">q. v.</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Europe After 8:15. 1914. (With H. L. Mencken, <a href="#Mencken_H">q. v.</a>, and Willard +Huntingdon Wright.)</li> +<li class="leftpad">Another Book on the Theatre. 1916.</li> +<li class="leftpad">Bottoms Up. 1917.</li> +<li class="leftpad">Mr. George Jean Nathan Presents. 1917.</li> +<li class="leftpad">A Book Without a Title. 1918.</li> +<li class="leftpad">The Popular Theatre. 1918.</li> +<li class="leftpad">Comedians All. 1919.</li> +<li class="leftpad">Heliogabalus. 1920. (With H. L. Mencken, <a href="#Mencken_H">q. v.</a>)</li> +<li class="leftpad">The American Credo. 1920. (With H. L. Mencken, <a href="#Mencken_H">q. v.</a>).</li> +<li class="leftpad">The Theatre, the Drama, the Girls. 1921.</li> +<li class="leftpad">The Critic and the Drama. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Hatteras, O. A. J. Pistols for Two. 1917.</li> +<li> </li> +<li class="leftpad">Bookm. 43 (’16): 282 (portrait only); 53 (’21): 163.</li> +<li class="leftpad">Cur. Op. 63 (’17): 95 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1920.</li> +</ul> + + + +<p class="author"><a name="Nathan_R" id="Nathan_R"></a><b>Robert Nathan</b>—novelist.</p> + +<ul class="bib"> +<li class="leftpad">Author of: Peter Kindred. 1919.</li> +<li class="leftpad" style="padding-left: 4.8em;">Autumn. 1921.</li> +</ul> + +<p>Cf. <i>Book Review Digest</i>, 1919, 1921.<span class='pagenum'><a name="Page_115" id="Page_115">[115]</a></span></p> + + + +<p class="author"><a name="Neihardt_J" id="Neihardt_J"></a><b>John G(neisenau) Neihardt</b>—poet.</p> + +<p>Born at Sharpsburg, Illinois, 1881. Finished scientific course at +Nebraska Normal College, 1897; Litt. D., University of Nebraska, 1917. +Lived among the Omaha Indians, 1901-7, studying them and their folk lore. +Has worked many years on an American epic cycle of pioneer life. Shared +with Gladys Cromwell (<a href="#Cromwell_G">q. v.</a>) the prize of the Poetry Society of America, +1919.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Bundle of Myrrh. 1907.</li> +<li class="leftpad">Man-Song. 1909.</li> +<li class="leftpad">The River and I. 1910.</li> +<li class="leftpad">The Dawn-Builder. 1911.</li> +<li class="leftpad">The Stranger at the Gate. 1912.</li> +<li class="leftpad">The Death of Agrippina. 1913. (Also in <i>Poetry</i>, 2 [’13]:33.)</li> +<li class="leftpad">Life’s Lure. 1914.</li> +<li class="leftpad">The Song of Hugh Glass. 1915.</li> +<li class="leftpad">The Quest. 1916. (Collected lyrics.)</li> +<li class="star">*The Song of Three Friends. 1919.</li> +<li class="leftpad">The Splendid Wayfaring. 1920.</li> +<li class="leftpad">The Two Mothers. 1921. (Eight Hundred Rubles; Agrippina.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">House, J. T. John G. Neihardt: Man and Poet. 1920.</li> +<li> </li> +<li class="leftpad">Bookm. 47 (’18): 395; 49 (’19): 496.</li> +<li class="leftpad">Lit. Digest, 69 (’21): May 14, p. 31 (portrait).</li> +<li class="leftpad">Poetry, 7 (’16): 264; 17 (’20): 94.</li> +<li class="leftpad">Putnam’s, 4 (’08): 473, 506 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919, 1920.</li> +</ul> + + + +<p class="author"><a name="Newton_A" id="Newton_A"></a><b>A(lfred) Edward Newton</b>—essayist.</p> + +<p>Born at Philadelphia, 1863. Educated in private schools. Business man. +Collector of first editions of books, especially of the eighteenth +century.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Amenities of Book-Collecting and Kindred Affections. 1918.</li> +<li class="leftpad">A Magnificent Farce, and Other Diversions of a Book-Collector. 1921.</li> +</ul> + +<p>For reviews, see <i>Book Review Digest</i>, 1921.<span class='pagenum'><a name="Page_116" id="Page_116">[116]</a></span></p> + + + +<p class="author"><a name="Nicholson_M" id="Nicholson_M"></a><b>Meredith Nicholson</b>—novelist, man of letters.</p> + +<p>Born at Crawfordsville, Indiana, 1866. His reputation was founded upon +the novel, <i>The House of a Thousand Candles</i>, 1905. He has published also +several volumes of essays and studies, beginning with <i>The Hoosiers</i> +(National Studies in American Letters), 1900. Note among them <i>The Valley +of Democracy</i>, 1918, a characterization of the Middle West. For +bibliography, cf. <i>Who’s Who In America</i>.</p> + + + +<p class="author"><a name="Norris_C" id="Norris_C"></a><b>Charles Gilman Norris</b>—novelist.</p> + +<p>Brother of Frank Norris, the novelist. Married Kathleen Thompson (cf. +<a href="#Norris_K">Kathleen Norris</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Amateur.</li> +<li class="leftpad">Salt: The Education of Griffith Adams. 1918.</li> +<li class="leftpad">Brass. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 679.</li> +<li class="leftpad">New Repub. 29 (’21): 48. (Lovett.)</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1921.</li> +</ul> + + + +<p class="author"><a name="Norris_K" id="Norris_K"></a><b>Kathleen Norris</b>—novelist.</p> + +<p>Born at San Francisco, 1880. Educated privately. Had experience as +business woman. Married Charles Gilman Norris (<a href="#Norris_C">q. v.</a>), 1909.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Mother. 1911.</li> +<li class="leftpad">The Rich Mrs. Burgoyne. 1912.</li> +<li class="star">*“Saturday’s Child.” 1914.</li> +<li class="leftpad">The Story of Julia Page. 1915.</li> +<li class="leftpad">The Heart of Rachael. 1916.</li> +<li class="leftpad">Martie, the Unconquered. 1917.</li> +<li class="leftpad">The Beloved Woman. 1921.</li> +<li class="leftpad">Lucretia Lombard. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 34 (’11): 437 (portrait); 37 (’13): 109 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1911, 1913-7.</li> +</ul> +<p><span class='pagenum'><a name="Page_117" id="Page_117">[117]</a></span></p> + + + +<p class="author"><a name="Norton_G" id="Norton_G"></a><b>Grace Fallow Norton</b>—poet.</p> + +<p>Born at Northfield, Minnesota, 1876.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Little Gray Songs from St. Joseph’s. 1912.</li> +<li class="leftpad">The Sister of the Wind. 1914.</li> +<li class="leftpad">Roads. 1916.</li> +<li class="leftpad">What is Your Legion? 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Poetry, 5 (’14): 87; 11 (’17): 164.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1912, 1914, 1916.</li> +</ul> + + + +<p class="author"><a name="OBrien_F" id="OBrien_F"></a><b>Frederick O’Brien</b>—travel writer.</p> + +<p>Mr. O’Brien’s account of his experiences in the Marquesas Islands created +a literary fashion for the South Sea Islands.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">White Shadows in the South Seas. 1919.</li> +<li class="leftpad">Mystic Isles of the South Seas. 1921.</li> +</ul> + +<p>See <i>Book Review Digest</i>, 1919, 1921.</p> + + + +<p class="author"><a name="ONeill_E" id="ONeill_E"></a><b>Eugene Gladstone O’Neill</b>—dramatist.</p> + +<p>Born in New York City, 1888. Son of the actor, James O’Neill. Studied at +Princeton, 1906-7. Much of the material used in his plays seems to be +drawn from or based upon his adventurous experiences between 1907 and +1914. Actor and newspaper reporter. Spent two years at sea. In 1909, is +said to have gone on a gold-prospecting expedition in Spanish Honduras +(cf. <i>Gold</i>). Lived in the Argentine. Threatened tuberculosis gave him +his first leisure (cf. <i>The Straw</i>). In 1914-5, he studied dramatization +at Harvard. In 1918, when he married, he went to live in a deserted +life-saving station near Provincetown. Associated with the Provincetown +Players. In 1920, his <i>Beyond the Horizon</i> was given the Pulitzer Prize.<span class='pagenum'><a name="Page_118" id="Page_118">[118]</a></span></p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. What effect has Mr. O’Neill’s life experience had upon the quality of +his plays?</p> + +<p>2. What evidence of originality do you find in his (1) themes, (2) +background, and (3) technique?</p> + +<p>3. Consider the influence of Joseph Conrad (cf. Manly and Rickert, +<i>Contemporary British Literature</i>) upon O’Neill. Read especially <i>The +Nigger of the “Narcissus.”</i></p> + +<p>4. How has Mr. O’Neill been influenced by the plays of John Millington +Synge?</p> + +<p>5. What do you make of the fact that Mr. O’Neill has struck out in +various directions instead of working a particular vein?</p> + +<p>6. What reasons do you find for the common opinion that he is our most +promising dramatist? What limitations or weaknesses do you think may +interfere with his development? Do you think he will become a great +dramatist?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Thirst, and Other One-Act Plays. 1914. (The Web, Warnings, Fog, +Recklessness.)</li> +<li class="leftpad">Before Breakfast. 1916.</li> +<li class="leftpad">The Moon of the Caribbees, and Other Plays of the Sea. 1919. (Bound +East for Cardiff; The Long Voyage Home; In the Zone; Ile; Where the +Cross is Made; The Rope.)</li> +<li class="star">*Chris Christopherson. 1919. (Produced as Anna Christie, quoted with +illustrations, Cur. Op. 72 [’22]: 57.)</li> +<li class="star">*Beyond the Horizon. 1920.</li> +<li class="leftpad">Gold. 1920.</li> +<li class="leftpad">The Emperor Jones; Diff’rent; The Straw. 1921.</li> +<li class="leftpad">The Hairy Ape; Anna Christie; The First Man. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 53 (’21): 511; 54 (’22): 463.</li> +<li class="leftpad">Century, 103 (’22): 351 (portrait).</li> +<li class="leftpad">Cur. Op. 65 (’18): 159 (portrait); 68 (’20): 339.</li> +<li class="leftpad">Everybody’s, 43 (’20): July, p. 49 (portrait).</li> +<li class="leftpad">Freeman, 1 (’20): 44.</li> +<li class="leftpad">Ind. 105 (’21): 158 (portrait).</li> +<li class="leftpad">Nation, 113 (’21): 626.</li> +<li class="leftpad">New Repub. 25 (’21): 173.</li> +<li class="leftpad">Theatre Arts M. 4 (’20): 286; 5 (’21): 174 (portrait only).</li> +</ul> +<p><span class='pagenum'><a name="Page_119" id="Page_119">[119]</a></span></p> + + + +<p class="author"><a name="Oppenheim_J" id="Oppenheim_J"></a><b>James Oppenheim</b>—novelist, short-story writer, poet.</p> + +<p>Born at St. Paul, Minnesota, 1882. Two years later his family moved to +New York, where he has lived ever since. Special student at Columbia, +1901-3. Has done settlement work, as assistant head worker of the Hudson +Guild Settlement. Superintendent of the Hebrew Technical School for +Girls, 1904-7. In 1916-7 edited the magazine, <i>The Seven Arts</i> (cf. +<i>Poetry</i>, 9 [’16-’17]: 214).</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. The following influences have entered largely into Oppenheim’s work: +Whitman, the Bible, and the theories of psycho-analysis developed by +Freud and Jung. Without considering these, no fair estimate of the value +of his work can be reached.</p> + +<p>2. In what respects does his poetry reflect the Oriental temperament?</p> + +<p>3. What strength do you find in his work? what weakness?</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Doctor Rast. 1909. (Short stories.)</li> +<li class="leftpad">Monday Morning and Other Poems. 1909.</li> +<li class="leftpad">Wild Oats. 1910. (Novel.)</li> +<li class="leftpad">The Pioneers. 1910. (Poetic play.)</li> +<li class="star">*Pay-Envelopes. 1911. (Short stories.)</li> +<li class="leftpad">The Nine-Tenths. 1911. (Novel.)</li> +<li class="leftpad">The Olympian: A Story for the City. 1912.</li> +<li class="leftpad">Idle Wives. 1914.</li> +<li class="star">*Songs for the New Age. 1914.</li> +<li class="leftpad">The Beloved. 1915.</li> +<li class="leftpad">War and Laughter. 1916. (Poems.)</li> +<li class="leftpad">The Book of Self. 1917. (Poems.)</li> +<li class="leftpad">Night. 1918. (Poetic drama in one act.)</li> +<li class="star">*The Solitary. 1919. (Poems.)</li> +<li class="leftpad">The Mystic Warrior. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Acad. 89 (’15): 218.</li> +<li class="leftpad">Bookm. 30 (’09): 322 (portrait), 393.</li> +<li class="leftpad">Dial, 67 (’19): 301.</li> +<li class="leftpad">Ind. 88 (’16): 533 (portrait).</li> +<li class="leftpad">Nation, 109 (’19): 441.</li> +<li class="leftpad">New Statesman, 6 (’16): 332.</li> +<li class="leftpad">Outlook, 102 (’12): 207 (portrait).</li> +<li><span class='pagenum'><a name="Page_120" id="Page_120">[120]</a></span> +<span style="font-size: 0.9em; padding-left: 0.5em;">Poetry, 5 (’14): 88; 11 (’18): 219; 16 (’20): 49; 20 (’22): 216.</span></li> +<li class="leftpad">R. of Rs. 47 (’13): 243 (portrait)</li> +</ul> + + + +<p class="author"><a name="OSullivan_V" id="OSullivan_V"></a><b>Vincent O’Sullivan</b>—novelist.</p> + +<p>Of American birth, but has lived many years in England. His work +published in the time of the <i>Yellow Book</i> was especially admired by the +English critic, Edward Garnett, who maintained that Mr. O’Sullivan should +rank high among our writers. American editions of <i>The Good Girl</i> and +<i>Sentiment</i> were published in 1917.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Book of Bargains. 1896. (With frontispiece by Aubrey Beardsley.)</li> +<li class="leftpad">Poems. 1896.</li> +<li class="leftpad">The Houses of Sin. 1897. (Poems.)</li> +<li class="leftpad">Green Window. 1899.</li> +<li class="leftpad">A Dissertation upon Second Fiddles. 1902.</li> +<li class="leftpad">Human Affairs. 1905.</li> +<li class="leftpad">The Good Girl. 1912.</li> +<li class="leftpad">Sentiment and Other Stories. 1913.</li> +</ul> + +<p>See <i>Book Review Digest</i>, 1917.</p> + + + +<p class="author"><a name="Page_T" id="Page_T"></a><b>Thomas Nelson Page</b>—novelist, short-story writer.</p> + +<p>Born on a Virginia plantation, 1853. Studied a short time at Washington +and Lee University. Many higher honorary degrees. Practiced law in +Richmond, Virginia, 1875-93. Ambassador to Italy, 1913-9.</p> + +<p>Mr. Page is one of the pioneer writers in negro dialects. His first +collection of short stories, <i>In Ole Virginia</i>, 1887, is his best-known +work.</p> + +<p>For bibliography, see <i>Cambridge</i>, III (IV), 668. For biography and +criticism, see Halsey, Harkins, Pattee, Toulmin, and the <i>Book Review +Digest</i>, especially for 1906, 1909, 1913.</p> + + + +<p class="author"><a name="Peabody_J" id="Peabody_J"></a><b>Josephine Preston Peabody (Mrs. L. S. Marks)</b>—poet, dramatist.</p> + +<p>Born in New York City. Educated at Girls’ Latin School, Boston, and at +Radcliffe, 1894-6. Instructor in English at<span class='pagenum'><a name="Page_121" id="Page_121">[121]</a></span> Wellesley College, 1901-3. +Her play <i>The Piper</i> obtained the Stratford-on-Avon prize in 1910. Died +in 1922.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Wayfarers—A Book of Verse. 1898.</li> +<li class="leftpad">Fortune and Men’s Eyes—New Poems with a Play. 1900.</li> +<li class="leftpad">Marlowe, a Drama. 1901.</li> +<li class="leftpad">The Singing Leaves. 1903.</li> +<li class="leftpad">Pan—A Choric Idyl. 1904.</li> +<li class="leftpad">The Wings. 1905. (Play.)</li> +<li class="leftpad">The Book of the Little Past. 1908.</li> +<li class="leftpad">The Piper. 1909. (Play.)</li> +<li class="leftpad">The Singing Man. 1911. (Poems.)</li> +<li class="leftpad">The Wolf of Gubbio. 1913. (Play.)</li> +<li class="leftpad">Harvest Moon. 1916. (War poems.)</li> +<li class="leftpad">The Chameleon. 1917.</li> +<li class="leftpad">Portrait of Mrs. W. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Eaton, W. P. Plays and Players, 1916.</li> +<li class="leftpad">Moses.</li> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Bk. Buyer, 21 (’00): 9 (portrait).</li> +<li class="leftpad">Bookm. 32 (’10): 7 (portrait); 47 (’18): 550.</li> +<li class="leftpad">Critic, 40 (’02): 14 (portrait).</li> +<li class="leftpad">Cur. Lit. 49 (’10): 435 (portrait).</li> +<li class="leftpad">New Eng. M. n. s. 33 (’05): 426; 39 (’08): 225 (portrait), 236; +42 (’10): 270 (portrait).</li> +<li class="leftpad">Poetry, 9 (’17): 269.</li> +</ul> + + + +<p class="author"><a name="Perry_B" id="Perry_B"></a><b>Bliss Perry</b>—critic.</p> + +<p>Born at Williamstown, Massachusetts, 1860. A. B., Williams, 1881; A. M., +1883. Studied at the universities of Berlin and Strassburg. Honorary +higher degrees. Professor of English at Williams College, 1886-93; at +Princeton, 1893-1900. Editor of the <i>Atlantic Monthly</i>, 1899-1909. +Professor of English literature at Harvard, 1907—. Harvard lecturer +at University of Paris, 1909-10.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Broughton House. 1890.</li> +<li class="leftpad">Salem Kittredge, and Other Stories. 1894.</li> +<li class="leftpad">The Plated City. 1895.</li> +<li><span class='pagenum'><a name="Page_122" id="Page_122">[122]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">The Powers at Play. 1899. (Short stories.)</span></li> +<li class="leftpad">A Study of Prose Fiction. 1902.</li> +<li class="leftpad">The Amateur Spirit. 1904.</li> +<li class="leftpad">Park St. Papers. 1909.</li> +<li class="leftpad">The American Mind. 1912.</li> +<li class="leftpad">The American Spirit in Literature. 1918.</li> +<li class="leftpad">The Study of Poetry. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 12 (’00): 359, 362 (portrait); 36 (’12): 443.</li> +<li class="leftpad">Dial, 70 (’21): 347.</li> +<li class="leftpad">Lit. W. 30 (’99): 264.</li> +<li class="leftpad">Outlook, 78 (’04): 880 (portrait); 102 (’12): 648.</li> +<li class="leftpad">R. of Rs. 34 (’06): Dec., p. 758; 46 (’12): Dec., p. 749. (Portraits.)</li> +<li class="leftpad">Spec. 110 (’13): 809.</li> +</ul> + + + +<p class="author"><a name="Phelps_W" id="Phelps_W"></a><b>William Lyon Phelps</b>—critic.</p> + +<p>Born at New Haven, Connecticut, 1865. A. B., Yale, 1887; Ph. D. 1891; A. M., +Harvard, 1891. Instructor in English literature at Yale, 1892-6, +assistant professor of the English language and literature, 1896-1901; +Lampson professor since 1901. Deacon in the Baptist Church.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Essays on Modern Novelists. 1910.</li> +<li class="leftpad">Essays on Russian Novelists. 1911.</li> +<li class="leftpad">Essays on Books. 1914.</li> +<li class="leftpad">Browning. 1915.</li> +<li class="leftpad">The Advance of the English Novel. 1916.</li> +<li class="leftpad">The Advance of English Poetry. 1918.</li> +<li class="leftpad">Archibald Marshall. 1918.</li> +<li class="leftpad">The Twentieth Century Theatre. 1918.</li> +<li class="leftpad">Reading the Bible. 1919.</li> +<li class="leftpad">Essays on Modern Dramatists. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 41 (’15): 585 (portrait), 587; 31 (’10): 349 (portrait).</li> +<li class="leftpad">Ind. 71 (’11): 815 (portrait).</li> +<li class="leftpad">Lond. Times, Mar. 17, 1910: 95.</li> +<li class="leftpad">Poetry, 14 (’19): 159.</li> +<li class="leftpad">R. of Rs. 45 (’12): 103 (portrait).</li> +</ul> +<p><span class='pagenum'><a name="Page_123" id="Page_123">[123]</a></span></p> + + + +<p class="author"><a name="Pinski_D" id="Pinski_D"></a><b>David Pinski</b>—dramatist.</p> + +<p>Born in Russia, 1873. Educated at the University of Berlin, 1897-9. Came +to the United States, 1899. Studied at Columbia, 1903-4. President of +Pinski-Massel Press. President of Jewish National Workers’ Alliance. +Socialist-Zionist.</p> + +<p>His reputation is based principally upon his five volumes of plays and +two of stories in Yiddish, but he has also written in English.</p> + + +<p><span class="smcap">Bibliography</span> (of works in English)</p> + + +<ul class="bib"><li class="leftpad">The Treasure. 1916. (Comedy.)</li> +<li class="leftpad">Three Plays. 1918.</li> +<li class="leftpad">Little Heroes; The Stranger. 1918. (In Goldberg, I., Six Plays of the +Yiddish Theatre. Second Series.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cambridge.</li> +<li> </li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918-20.</li> +</ul> + + + +<p class="author"><a name="Piper_E" id="Piper_E"></a><b>Edwin Ford Piper</b> (Nebraska, 1871)—poet.</p> + +<p>Mr. Piper’s volume, (<i>Barbed Wire and Other Poems</i>, 1917) reflects the +prairies of the Middle West.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Poetry, 12 (’18): 276.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917.</li> +</ul> + + + +<p class="author"><a name="Poole_E" id="Poole_E"></a><b>Ernest Poole</b>—novelist.</p> + +<p>Born at Chicago, 1880. A. B., Princeton, 1902. Lived in University +Settlement, New York, 1902-5, studying social conditions, especially in +connection with child labor, and in the movement to fight tuberculosis. +He helped Upton Sinclair (<a href="#Sinclair_U">q. v.</a>) gather stockyards material for <i>The +Jungle</i>. War correspondent in Germany and France, 1914-5. As a socialist, +Mr. Poole also worked for a time in Russia with the revolutionaries.<span class='pagenum'><a name="Page_124" id="Page_124">[124]</a></span></p> + +<p>The familiarity with dockyards and dockmen, which is such a striking +feature of <i>The Harbor</i>, dates back to Mr. Poole’s boyhood.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Voice of the Street. 1906.</li> +<li class="leftpad">The Harbor. 1915.</li> +<li class="leftpad">His Family. 1917.</li> +<li class="leftpad">His Second Wife. 1918.</li> +<li class="leftpad">The Village. 1918.</li> +<li class="leftpad">“The Dark People,” Russia’s Crisis. 1918.</li> +<li class="leftpad">Blind. 1920.</li> +<li class="leftpad">Beggar’s Gold. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 41 (’15): 115 (portrait).</li> +<li class="leftpad">Cur. Op. 58 (’15): 266 (portrait).</li> +<li class="leftpad">Ind. 94 (’18): 229 (portrait).</li> +<li class="leftpad">Mentor, 6 (’18): 7 (portrait).</li> +<li class="leftpad">R. of Rs. 51 (’15): 631 (portrait).</li> +<li class="leftpad">Unpop. R. 6 (’16): 231.</li> +<li class="leftpad">World Today, 18 (’10): 232 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1917, 1918, 1920.</li> +</ul> + + + +<p class="author"><a name="Pound_E" id="Pound_E"></a><b>Ezra (Loomis) Pound</b>—poet, critic.</p> + +<p>Born at Hailey, Idaho, 1885. Of English descent; on his mother’s side +distantly related to Longfellow. Ph. B., Hamilton College. Fellow of the +University of Pennsylvania. Traveled in Spain, in Italy, in Provence, +1906-7; lived in Venice, and finally made his home in England. London +editor of <i>The Little Review</i>, 1917-9, and foreign correspondent of +<i>Poetry</i>, 1912-9.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Mr. Pound is an experimenter in verse, who has come under many +influences and belonged to many schools. His work should be studied +chronologically to discover these changes in interest and relationship. +To be noted among the influences are: (1) the mediæval poetry of +Provence; (2) the Greek poets; (3) the Latin poets of the Empire; (4)<span class='pagenum'><a name="Page_125" id="Page_125">[125]</a></span> +among modern French poets, Laurent Tailhade; (5) the poets of China and +Japan, whom he learned to know through the manuscript notes of Ernest +Fenollosa; (6) the work of the English Imagists (cf. especially the poems +of T. E. Hulme, published in Mr. Pound’s volume called <i>Ripostes</i>); (7) +the work of the Vorticist school of poets and artists (cf. <i>Blast</i>, +edited by Wyndham Lewis), and the more accessible periodical, <i>The +Egoist</i>, of which Richard Aldington (cf. Manly and Rickert, <i>Contemporary +British Literature</i>) is assistant editor.</p> + +<p>2. Consider also this from his own theory of poetry: “Poetry is a sort of +inspired mathematics, which gives us equations, not for abstract figures, +triangles, spheres and the like, but equations for the human emotions. If +one have a mind which inclines to magic rather than science, one will +prefer to speak of these equations as spells or incantations; it sounds +more arcane, mysterious, recondite.”</p> + +<p>Can this be related to the qualities of Mr. Pound’s poetry?</p> + +<p>3. After reading Mr. Pound’s output, discuss the adequacy of the +following: “When content has become for an artist merely something to +inflate and display form with, then the petty serves as well as the +great, the ignoble equally with the lofty, the unlovely like the +beautiful, the sordid as the clean.... Real feeling consequently becomes +rarer, and the artist descends to trivialities of observation, vagaries +of assertion, or mere <i>bravado</i> of standards and expression—pure tilting +at convention.”</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Provença: Poems Selected from Personæ, Exultations, and Canzoniere. +1910.</li> +<li class="leftpad">The Spirit of Romance. 1910.</li> +<li class="leftpad">The Sonnets and Ballate of Cavalcanti. 1912. (Translations.)</li> +<li class="leftpad">Ripostes of Ezra Pound, whereto are Appended the Complete Poetical Works +of T. E. Hulme. 1912.</li> +<li class="leftpad">Gaudier Brzeska; a Memoir. 1916.</li> +<li class="leftpad">Lustra of Ezra Pound, with Earlier Poems. 1917.</li> +<li class="leftpad">Noh; or, Accomplishment; a Study of the Classical Stage of Japan. 1917. +(With Ernest F. Fenollosa.)</li> +<li class="leftpad">Pavannes and Divisions. 1918. (Essays and sketches.)</li> +<li><span class='pagenum'><a name="Page_126" id="Page_126">[126]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Quia Pauper Amavi. 1919. (English edition.)</span></li> +<li class="leftpad">Instigations, 1920. (Criticism.)</li> +<li class="star">*Umbra: the Early Poems of Ezra Pound, All That He Now Wishes to Keep +in Circulation from “Personæ,” “Exultations,” “Ripostes.” With +Translations from Guido Cavalcanti and Arnaut Daniel and Poems by +the Late T. E. Hulme. 1920.</li> +<li class="leftpad">Also in: Des Imagistes. 1914.</li> +<li style="font-size: 90%; padding-left: 3.6em;">Poetry. (<i>Passim.</i>)</li> +<li style="font-size: 90%; padding-left: 3.6em;">The Little Review. (<i>Passim.</i>)</li> +</ul> + +<p>Cf. also Ezra Pound, his Metric and Poetry. 1917. (Bibliography, p. 29.)</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Acad. 81 (’11): 354.</li> +<li class="leftpad">Ath. 1911, 2: 238; 1919, 2: 1065, 1132, 1268.</li> +<li class="leftpad">Bookm. 35 (’12): 156; 46 (’18): 577.</li> +<li class="leftpad">Bookm. (Lond.) 36 (’09): 154 (portrait); 52 (’17): 151.</li> +<li class="leftpad">Chapbook, 1-2: May, 1920: 22. (Fletcher.)</li> +<li class="leftpad">Dial, 54 (’13): 370; 69 (’20): 283 (portrait); 72 (’22): 87.</li> +<li class="leftpad">Egoist, 2 (’15): 71; 4 (’17): 7, 27, 44.</li> +<li class="leftpad">Eng. Rev. 2 (’09): 627.</li> +<li class="leftpad">Ind. 70 (’11): 259 (portrait).</li> +<li class="leftpad">Lond. Times, Sept. 20, 1918: 437.</li> +<li class="leftpad">New Repub. 16 (’18): 83.</li> +<li class="leftpad">New Statesman, 8 (’17): 332, 476.</li> +<li class="leftpad">No. Am. 211 (’20): 658. (May Sinclair.)</li> +<li class="leftpad">Poetry, 7 (’16): 249 (Carl Sandburg); 11 (’18): 330; 12 (’18): 221; +14 (’19): 52 (William Gardner Hale); 15 (’20): 211; 16 (’20): 213.</li> +</ul> + + + +<p class="author"><a name="Quick_H" id="Quick_H"></a><b>(John) Herbert Quick</b> (Iowa, 1861)—novelist.</p> + +<p>Farmer, lawyer, editor of <i>Farm and Fireside</i>, 1909-16. Author of <i>The +Fairview Idea</i>, 1919; and of <i>Vandemark’s Folly</i> 1922, which introduces +fresh material (canalboat life) into fiction, and also contributes to the +literature that deals with the opening up of the middle west.</p> + +<p>See <i>Book Review Digest</i>, 1919.</p> + + + +<p class="author"><a name="Reese_L" id="Reese_L"></a><b>Lizette Woodworth Reese</b>—poet.</p> + +<p>Born at Baltimore, in 1856. Educated in private and public schools. +Teacher in Baltimore high school.</p> + +<p>Her poems, always conventional in form and limited in ideas, are admired +for their simplicity, intensity of emotion, and perfection of technique.<span class='pagenum'><a name="Page_127" id="Page_127">[127]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Branch of May. 1887.</li> +<li class="leftpad">A Handful of Lavender. 1891.</li> +<li class="leftpad">A Quiet Road. 1896.</li> +<li class="leftpad">A Wayside Lute. 1909.</li> +<li class="leftpad">Spicewood. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Rittenhouse.</li> +<li class="leftpad">Untermeyer.</li> +</ul> + + + +<p class="author"><a name="Repplier_A" id="Repplier_A"></a><b>Agnes Repplier</b>—essayist.</p> + +<p>Born at Philadelphia, 1858, of French extraction. Educated at the Sacred +Heart Convent, Torresdale, Pennsylvania. Litt. D., University of +Pennsylvania, 1902. Has traveled much in Europe. Roman Catholic.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Books and Men. 1888.</li> +<li class="leftpad">Points of View. 1891.</li> +<li class="leftpad">Essays in Miniature. 1892.</li> +<li class="leftpad">Essays in Idleness. 1893.</li> +<li class="leftpad">In the Dozy Hours. 1894.</li> +<li class="leftpad">Varia. 1897.</li> +<li class="leftpad">The Fireside Sphinx. 1901.</li> +<li class="leftpad">Compromises. 1904.</li> +<li class="leftpad">In Our Convent Days. 1905.</li> +<li class="leftpad">A Happy Half Century. 1908.</li> +<li class="leftpad">Americans and Others. 1912.</li> +<li class="leftpad">The Cat. 1912. (Compilation.)</li> +<li class="leftpad">Counter Currents. 1915.</li> +<li class="leftpad">Points of Friction. 1920.</li> +</ul> + + +<p>STUDIES AND REVIEWS</p> + +<ul class="bib"> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Critic, 45 (’04): 302; 47 (’05): 204. (Portraits).</li> +<li class="leftpad">Lit. Digest, 48 (’14): 827 (portrait).</li> +<li class="leftpad">Lond. Times, Aug. 10, 1916: 378.</li> +<li class="leftpad">New Repub. 7 (’16): 20. (Francis Hackett.)</li> +<li class="leftpad">New Statesman, 7 (’16): 597.</li> +<li class="leftpad">Outlook, 78 (’04): 880 (portrait).</li> +<li class="leftpad">Spec. 117 (’16): 105.</li> +</ul> +<p><span class='pagenum'><a name="Page_128" id="Page_128">[128]</a></span></p> + + + +<p class="author"><a name="Rice_A" id="Rice_A"></a><b>Alice (Caldwell) Hegan Rice (Mrs. Cale Young Rice)</b>—novelist.</p> + +<p>Born at Shelbyville, Kentucky, 1870. Educated in private schools. One of +the founders of the Cabbage Patch Settlement House, Louisville. Uses her +own experience in charity work in her books.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Mrs. Wiggs of the Cabbage Patch. 1901.</li> +<li class="leftpad">Lovey Mary. 1903.</li> +<li class="leftpad">Sandy. 1905.</li> +<li class="leftpad">Captain June. 1907.</li> +<li class="leftpad">Mr. Opp. 1909.</li> +<li class="leftpad">A Romance of Billy Goat Hill. 1912.</li> +<li class="leftpad">The Honorable Percival. 1914.</li> +<li class="leftpad">Calvary Alley. 1917.</li> +<li class="leftpad">Miss Mink’s Soldier and Other Stories. 1918.</li> +<li class="leftpad">Turn About Tales. 1920. (With Cale Young Rice, <a href="#Rice_C">q. v.</a>)</li> +<li class="leftpad">Quin. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 29 (’09): 412; 32 (’10): 369.</li> +<li class="leftpad">Bookm. (Lond.) 24 (’03): 158 (portrait), 160.</li> +<li class="leftpad">Outlook, 72 (’02): 802 (portrait); 78 (’04): 282, 286 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1905, 1907, 1909, 1912, 1918.</li> +</ul> + + + +<p class="author"><a name="Rice_C" id="Rice_C"></a><b>Cale Young Rice</b> (Kentucky, 1872)—poet, dramatist.</p> + + +<ul class="bib"><li class="leftpad">Collected Plays and Poems. 1915.</li> +<li class="leftpad">For later volumes, cf. <i>Who’s Who in America</i>.</li> +</ul> + + + +<p class="author"><a name="Ridge_L" id="Ridge_L"></a><b>Lola Ridge</b>—poet, critic.</p> + +<p>Born at Dublin, Ireland, but brought up in Sydney, Australia. As a child, +lived also in New Zealand, but studied art in Australia. In 1907 she came +to the United States and supported herself for three years by writing +fiction for the popular magazines. But finding that this work was going +to kill her creative ability, she earned her living in a variety of other +ways—as organizer, advertisement writer, illustrator, artist’s model, +factory worker, etc.—while she wrote poems.<span class='pagenum'><a name="Page_129" id="Page_129">[129]</a></span> Her reputation was made by +the publication of <i>The Ghetto</i> in 1918.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Ghetto and Other Poems. 1918.</li> +<li class="leftpad">Sun-up and Other Poems. 1920.</li> +<li class="leftpad">Also in: Others, 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Dial, 66 (’18): 83. (Aiken.)</li> +<li class="leftpad">New Repub. 17 (’18): 76. (Hackett.)</li> +<li class="leftpad">Poetry, 13 (’19): 335; 17 (’21): 332.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1920.</li> +</ul> + + + +<p class="author"><a name="Riley_J" id="Riley_J"></a><b>James Whitcomb Riley</b>—poet.</p> + +<p>Born at Greenfield, Indiana, 1853, of Irish and Pennsylvania Dutch +ancestry. Educated in the public schools, but received many higher +honorary degrees. Died in 1916.</p> + +<p>Mr. Riley came to be the representative poet of his native state, the +“Hoosier poet,” and many of his poems are written in the dialect of +Indiana, but his reputation is national. His numerous poems were +collected and published in ten volumes, as <i>Complete Works</i>, in 1916. For +detailed bibliography, cf. <i>Cambridge</i>, III (IV), 651.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cambridge.</li> +<li class="leftpad">Pattee.</li> +<li> </li> +<li class="leftpad">Atlan. 118 (’16): 503. (Nicholson.)</li> +<li class="leftpad">Bookm. 20 (’04): 18; 33 (’11): 67 (portrait); 35 (’12): 357 (portrait), +637; 38 (’13): 163 (portrait), 598; 44 (’16): 22 (portraits), 58, 79.</li> +<li class="leftpad">Cur Lit. 41 (’06): 160 (portrait); 57 (’14): 425 (portrait).</li> +<li class="leftpad">Cur. Op. 61 (’16): 196 (portrait).</li> +<li class="leftpad">J. Educ. 84 (’16): 149, 298.</li> +<li class="leftpad">Lit. Digest, 47 (’13): 782; 53 (’16): Aug. 1, pp. 304 (portrait), 408; +51 (’15): 730.</li> +<li class="leftpad">Nation, 97 (’13): 332.</li> +<li class="leftpad">No. Am. 204 (’16): 421.</li> +<li class="leftpad">Outlook, 111 (’15): 249, 273 (portrait), 396; 113 (’16): 778.</li> +<li class="leftpad">R. of Rs. 54 (’16): 327 (portrait).</li> +<li class="leftpad">World’s Work, 22 (’11): 14777 (portrait); 25 (’13): 565.</li> +<li class="leftpad">Yale R. n. s. 9 (’20): 395.</li> +</ul> +<p><span class='pagenum'><a name="Page_130" id="Page_130">[130]</a></span></p> + + + +<p class="author"><a name="Roberts_C" id="Roberts_C"></a><b>Charles George Douglas Roberts</b>—novelist, poet, Nature writer.</p> + +<p>Born at Douglas, New Brunswick, 1860. Studied at the University of New +Brunswick, 1876. Has been a teacher, editor, soldier. In France during +the War.</p> + +<p>Major Roberts has published many volumes of poems, besides novels and +animal stories.</p> + +<p>For bibliography, see <i>Who’s Who</i> (English). For reviews, see <i>Book +Review Digest</i>, 1914, 1916, 1919.</p> + + + +<p class="author"><a name="Robinson_E_A" id="Robinson_E_A"></a><b>Edwin Arlington Robinson</b>—poet.</p> + +<p>Born at Head Tide, Maine, 1869. Educated at Gardiner, Maine, on the +Kennebec River (“Tilbury Town”). Studied at Harvard, 1891-3. Struggled in +various ways to make a living in New York, even working in the subway, +while publishing his first poems. His <i>Captain Craig</i>, 1902, attracted +the attention of Roosevelt, who gave the author a position in the New +York Custom House, which he held 1905-10. Since then he has been able to +give his entire time to poetry.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. A good introduction to Mr. Robinson’s work is Miss Lowell’s review of +his <i>Collected Works</i>, in the <i>Dial</i>, 72 (’22): 130. Although Miss +Lowell’s contention that Mr. Robinson is our greatest living poet would +be disputed by some critics, her article suggests many points of +departure in the study of his very important contribution to American +poetry.</p> + +<p>2. Divide Mr. Robinson’s work into two groups: (1) poems of which the +material is based upon literature; (2) those of which it comes from his +own life experience. Is it possible to say now which of these two groups +has the best chance of long endurance? Can you decide how far literature +has had a good effect upon Mr. Robinson’s work, and how far it has +lessened the value of his poetry?</p> + +<p>3. Consider as a group the poems that grow out of Mr. Robinson’s New +England origin. In what ways is he char<span class='pagenum'><a name="Page_131" id="Page_131">[131]</a></span>acteristic of New England? +Compare his work with that of Mr. Frost in this respect.</p> + +<p>4. Compare and contrast Mr. Robinson’s portraits of persons with names as +titles with similar portraits in the <i>Spoon River Anthology</i>. This type +of verse seems to have been developed independently by both poets.</p> + +<p>5. An interesting study could be made of the influence on Robinson of +Crabbe; another, of the influence of Hardy.</p> + +<p>6. Another interesting study might grow out of the consideration of +Robinson as a poet born twenty years too soon. How much has the temper of +his work been determined by the fact that he had to wait so long for +recognition?</p> + +<p>7. What are the main features of Mr. Robinson’s philosophy as suggested +in the poems?</p> + +<p>8. Can you find many poems that sing? What is to be said of the poet’s +mastery of rhythms?</p> + +<p>9. After reading the best of Mr. Robinson’s work, it is interesting to +look up the comments of various admirers of it published on the occasion +of his fiftieth birthday, in the <i>New York Times</i>, December 21, 1919, or +the quotations from this article in <i>Poetry</i>, 15 (’20): 265, and to see +how far your judgment bears out these extravagant statements.</p> + +<p>10. The influence of Robinson’s work on younger American poets, +especially on Lindsay and Sandburg, makes an interesting study.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Torrent and the Night Before. 1896. (Privately printed.)</li> +<li class="leftpad">The Children of the Night. 1897.</li> +<li class="leftpad">Captain Craig. 1902.</li> +<li class="leftpad">The Town down the River. 1910.</li> +<li class="leftpad">Van Zorn. 1914. (Play.)</li> +<li class="leftpad">The Porcupine. 1915. (Play.)</li> +<li class="leftpad">The Man against the Sky. 1916.</li> +<li class="leftpad">Merlin. 1917.</li> +<li class="leftpad">Lancelot. 1919.</li> +<li class="leftpad">The Three Taverns. 1920.</li> +<li class="star">*Collected Poems. 1921.</li> +<li class="leftpad">Avon’s Harvest. 1921.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_132" id="Page_132">[132]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Lowell.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Atlan. 98 (’06): 330.</li> +<li class="leftpad">Bk. Buyer, 25 (’02): 429.</li> +<li class="leftpad">Bookm. 45 (’17): 429 (portrait); 47 (’18): 551; 50 (’20): 507; +51 (’20): 457.</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 1. (Fletcher.)</li> +<li class="leftpad">Dial, 34 (’03): 18; 72 (’22): 130. (Amy Lowell.)</li> +<li class="leftpad">Fortn. 86 (’06): 429.</li> +<li class="leftpad">Forum, 45 (’11): 80; 51 (’14): 305.</li> +<li class="leftpad">Ind. 55 (’03): 446.</li> +<li class="leftpad">Lit. Digest, 64 (’20): Jan. 10: p. 32 (portrait), 40.</li> +<li class="leftpad">Nation, 75 (’02): 465; 111 (’20): 453.</li> +<li class="leftpad">New Eng. M. 33 (’05): 425.</li> +<li class="leftpad">New Repub. 2 (’15): 267; 7 (’16): 96 (Amy Lowell); 23 (’20): 259.</li> +<li class="leftpad">No. Am. 211 (’20): 121.</li> +<li class="leftpad">Outlook, 105 (’13): 736, 744 (portrait); 112 (’16): 786; 123 (’19): 535.</li> +<li class="leftpad">Poetry, 8 (’16): 46; 10 (’17): 211; 15 (’20): 265; 16 (’20): 217; +20 (’22): 278.</li> +<li class="leftpad">Scrib. M. 66 (’19): 763.</li> +</ul> + + + +<p class="author"><a name="Robinson_E_M" id="Robinson_E_M"></a><b>Edwin Meade Robinson</b>—poet, novelist.</p> + +<p>Born at Lima, Indiana, 1879. Not related to Edwin Arlington Robinson. +Newspaper man, first on the <i>Indianapolis Sentinel</i>, later on the +<i>Cleveland Plain Dealer</i>, in which he conducts a column. Besides his +successful volume of verse, <i>Piping and Panning</i>, 1920, Mr. Robinson has +published a novel which has attracted attention as an honest record of a +growing boy, <i>Enter Jerry</i>, 1920. For reviews, see <i>Book Review Digest</i>, +1920, 1921.</p> + + + +<p class="author"><a name="Sandburg_C" id="Sandburg_C"></a><b>Carl Sandburg</b>—poet.</p> + +<p>Born at Galesburg, Illinois, of Swedish stock. Has little schooling but +wide experience of life. At thirteen drove a milk wagon, and for the next +six years did all kinds of rough work—as porter in a barber shop, +scene-shifter, truck-handler in a brickyard, turner apprentice in a +pottery, dishwasher in hotels, harvest hand in Kansas.</p> + +<p>During the Spanish-American War served as private in Porto Rico.</p> + +<p>Studied at Lombard College, Galesburg, 1898-1902, where<span class='pagenum'><a name="Page_133" id="Page_133">[133]</a></span> he was captain +of the basket-ball team and editor-in-chief of the college paper.</p> + +<p>After leaving college, earned his living in various ways—as advertising +manager for a department store, salesman, newspaperman, “safety first” +expert. Worked also as district organizer for the Social-Democratic party +of Wisconsin and was secretary to the mayor of Milwaukee, 1910-12.</p> + +<p>In 1904 he had published a small pamphlet of poems, but his first real +appearance before the public was in <i>Poetry</i>, 1914. In the same year he +was awarded the Levinson prize for his “Chicago.” In 1918 he shared with +Margaret Widdemer (<a href="#Widdemer_M">q. v.</a>) the prize of the Poetry Society of America; and +in 1921, shared this with Stephen Vincent Benét (<a href="#Benet_S">q. v.</a>).</p> + +<p>Mr. Sandburg has a good voice and sings his poems to the accompaniment of +the guitar.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. In judging Mr. Sandburg’s work, it is important to remember that his +theory involves complete freedom from conventions of all sorts—in +thinking, in metrical form, and in vocabulary. His aim seems to be to +reproduce the impressions that all phases of life make upon him.</p> + +<p>2. Consider whether his early prairie environment had anything to do with +the large scale of his imagination, the appeal to him of enormous periods +of time, masses of men, and forces.</p> + +<p>3. Do you find elements of universality in his exaggerated localisms? Do +they combine to form a definite philosophy?</p> + +<p>4. What effect do the eccentricities and crudities of form have upon you? +Do you consider them an essential part of his poetic expression or +blemishes which he may one day overcome?</p> + +<p>5. Do you find elements of greatness in Mr. Sandburg’s work? Do you think +they are likely to outweigh his obvious defects?</p> + +<p>6. Compare and contrast his democratic ideals with those of Lindsay.<span class='pagenum'><a name="Page_134" id="Page_134">[134]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Chicago Poems. 1916.</li> +<li class="leftpad">Cornhuskers. 1918.</li> +<li class="leftpad">The Chicago Race Riots. 1919.</li> +<li class="leftpad">Smoke and Steel. 1920.</li> +<li class="leftpad">Slabs of the Sunburnt West. 1922.</li> +<li class="leftpad">Rootabaga Stories. 1922. (Children’s stories.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Lowell.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. 47 (’18): 389 (Phelps); 52 (’21): 242, 285 (<i>for</i> 385); +53 (’21) 389 (portrait); 54 (’21): 360.</li> +<li class="leftpad">Chapbook, 1-2, May, 1920: 15. (Fletcher.)</li> +<li class="leftpad">Dial, 61 (’16): 528; 65 (’18): 263 (Untermeyer).</li> +<li class="leftpad">Liv. Age, 308 (’21): 231.</li> +<li class="leftpad">New Repub. 22 (’20): 98; 25 (’20): 86.</li> +<li class="leftpad">Poetry, 8 (’16): 90; 13 (’18): 155; 15 (’20): 271; 17 (’21): 266.</li> +<li class="leftpad">Survey, 45 (’20): 12.</li> +</ul> + + + +<p class="author"><a name="Santayana_G" id="Santayana_G"></a><b>George Santayana</b>—poet, critic.</p> + +<p>Born at Madrid, Spain, 1863. Came to the United States, 1872. A. B., +Harvard, 1886; A. M., Ph. D., 1889. In 1889 began to teach philosophy at +Harvard; professor, 1907-12.</p> + +<p>While Mr. Santayana’s chief work is in philosophy, he belongs to +literature by the beauty of his poems, especially his sonnets, and by the +quality of his prose.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*Sonnets and Other Poems. 1894.</li> +<li class="leftpad">The Sense of Beauty. 1896.</li> +<li class="leftpad">Lucifer—A Theological Tragedy. 1899.</li> +<li class="leftpad">Interpretations of Poetry and Religion. 1900.</li> +<li class="leftpad">The Hermit of Carmel, and Other Poems. 1901.</li> +<li class="leftpad">The Life of Reason. 1905.</li> +<li class="leftpad">Three Philosophical Poets. 1910.</li> +<li class="leftpad">Winds of Doctrine. 1913.</li> +<li class="leftpad">Philosophical Opinion in America. 1918.</li> +<li class="leftpad">Character and Opinion in the United States. 1920.</li> +<li class="star">*Little Essays. 1920. (Selected with author’s collaboration, by Logan +Pearsall Smith, <a href="#Smith_L">q. v.</a>)</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_135" id="Page_135">[135]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Acad. 79 (’10): 561.</li> +<li class="leftpad">Ath. 1913, 1: 353.</li> +<li class="leftpad">Bookm. 47 (’18): 546.</li> +<li class="leftpad">Bookm. (Lond.) 58 (’20): 208.</li> +<li class="leftpad">Critic, 42 (’03): 129.</li> +<li class="leftpad">Cur. Op. 55 (’13): 120; 69 (’20): 860. (Portraits.)</li> +<li class="leftpad">Harp. W. 58 (’13): 27.</li> +<li class="leftpad">Ind. 61 (’06): 335 (portrait).</li> +<li class="leftpad">Liv. Age, 307 (’20): 50; 310 (’21): 200; 312 (’21): 300. (J. Middleton +Murry.)</li> +<li class="leftpad">Lond. Mer. 2 (’20): 411.</li> +<li class="leftpad">Nation, 109 (’19): 12.</li> +<li class="leftpad">New Repub. 23 (’20): 221; 25 (’21): 321.</li> +<li class="leftpad">New Statesman, 16 (’21): 729.</li> +<li class="leftpad">Outlook, 126 (’20): 729 (portrait).</li> +<li class="leftpad">Spec. 95 (’05): 119; 125 (’20): 239; 126 (’21): 19.</li> +</ul> + + + +<p class="author"><a name="Sarett_L" id="Sarett_L"></a><b>Lew R. Sarett</b>—poet.</p> + +<p>Born at Chicago, 1888. A. B., Beloit, 1911. Studied at Harvard, 1911-2; +LL. B., University of Illinois, 1916. Woodsman and guide in the Northwest +several months each year for nine years. Teacher of English and oratory. +Since 1920, associate professor of oratory, Northwestern University. +Lecturer on the Canadian North and on Indian life. Sarett’s <i>Many, Many +Moons: A Book of Wilderness Poems</i>, 1920 (with an introduction by Carl +Sandburg), is a reflection of his familiarity with Indian material. +Received the Levinson prize for his poem, “The Box of God,” 1921.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Poetry, 17 (’20): 158.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920.</li> +</ul> + + + +<p class="author"><a name="Scollard_C" id="Scollard_C"></a><b>Clinton Scollard</b>—poet.</p> + +<p>Born at Clinton, New York, 1860. A. B., Hamilton College, 1881. Studied at +Harvard and at Cambridge, England. Professor of English literature, +Hamilton College, 1888-96 and 1911—. Has published nearly forty +volumes of graceful, accomplished verse. For bibliography, cf. <i>Who’s Who +in America</i>.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Chaut. 35 (’02): 345.</li> +<li class="leftpad">Critic, 40 (02): 295 (portrait).</li> +<li class="leftpad">Lamp, 29 (’04): 451.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915.</li> +</ul> +<p><span class='pagenum'><a name="Page_136" id="Page_136">[136]</a></span></p> + + + +<p class="author"><a name="Scott_E" id="Scott_E"></a><b>(Mrs.) Evelyn Scott</b>—poet, novelist.</p> + +<p>Mrs. Scott has lived many years in Brazil (cf. <i>Poetry</i>, 15 [’19]: 100).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Precipitations. 1920. (Poems.)</li> +<li class="leftpad">The Narrow House. 1921. (Novel.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cent 103 (’22): 520. (H. S. Canby.)</li> +<li class="leftpad">Dial, 70 (’21): 591, 594.</li> +<li class="leftpad">Lond. Mercury, 5 (’22): 319.</li> +<li class="leftpad">New Repub. 28 (’21): 305. (Padraic Colum.)</li> +<li class="leftpad">Poetry, 17 (’21): 334. (Lola Ridge.)</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920, 1921.</li> +</ul> + + +<p class="author"><a name="Sedgwick_A" id="Sedgwick_A"></a><b>Anne Douglas Sedgwick (Mrs. Basil de Sélincourt)</b>—novelist.</p> + +<p>Born at Englewood, New Jersey, 1873. Educated at home. Left America when +nine years old and has since lived abroad, chiefly in Paris and London. +Studied painting for several years in Paris. Her reputation was made by +<i>Tante</i>, 1911. Her latest book is <i>Adrienne Toner</i>, 1922. For +bibliography, see <i>Who’s Who in America</i>.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Sedgwick, H. D., The New American Type and Other Essays. 1908.</li> +<li> </li> +<li class="leftpad">Ath. 1911, 2: 553.</li> +<li class="leftpad">Atlan. 109 (’12): 682.</li> +<li class="leftpad">Bookm. 34 (’12): 655.</li> +<li class="leftpad">Dial, 52 (’12): 323.</li> +<li class="leftpad">Ind. 72 (’12): 678.</li> +<li class="leftpad">Lond. Mercury, 5 (’22): 431.</li> +<li class="leftpad">Lond. Times, May 13, 1920: 301.</li> +<li class="leftpad">Nation, 94 (’12): 262.</li> +<li class="leftpad">New Statesman, 15 (’20): 137 (Rebecca West); 18 (’21): 200 (Rebecca +West).</li> +</ul> + + +<p class="author"><a name="Seeger_A" id="Seeger_A"></a><b>Alan Seeger</b>—poet.</p> + +<p>Born in New York City, 1888. In his boyhood lived in Mexico, and later in +Paris and London. Entered Harvard, 1906. In 1913, went to Paris. In the +first weeks of the War, enlisted in the Foreign Legion of France and was +in action almost continually. Killed July 4, 1916.<span class='pagenum'><a name="Page_137" id="Page_137">[137]</a></span></p> + +<p>He won fame with his poem, “I Have a Rendezvous with Death.”</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems. 1916. (Introduction by William Archer.)</li> +<li class="leftpad">Letters and Diary. 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 399, 585.</li> +<li class="leftpad">Eng. R. 27 (’18): 199.</li> +<li class="leftpad">Lit. Digest, 53 (’16): 1190; 55 (’17): Oct. 27, p. 24 (portrait).</li> +<li class="leftpad">Liv. Age, 294 (’17): 221.</li> +<li class="leftpad">Lond. Times, June 29, 1917: 307; Dec. 14, 1917: 612.</li> +<li class="leftpad">New Repub. 10 (’17): 160.</li> +<li class="leftpad">New Statesman, 9 (’17): 356.</li> +<li class="leftpad">Poetry, 10 (’17): 38.</li> +<li class="leftpad">R. of Rs. 55 (’17): 208 (portrait).</li> +<li class="leftpad">Scrib. M. 61 (’17): 123.</li> +</ul> + + + +<p class="author"><a name="Seton_E" id="Seton_E"></a><b>Ernest Thompson Seton</b>—Nature writer.</p> + +<p>Born at South Shields, England, 1860. Lived in the backwoods of Canada, +1866-70 and on the Western plains, 1882-87. Educated at the Toronto +Collegiate Institute and (as artist) at the Royal Academy, London. +Official naturalist to the government of Manitoba. Studied art in Paris, +1890-6. One of the illustrators of the <i>Century Dictionary</i>. Prominent in +the organization of the Boy Scout movement in America. For many years +kept full journals of his expeditions and observations (illustrated). +These make the “most complete pictorial animal library in the world.”</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Wild Animals I Have Known. 1898.</li> +<li class="leftpad">The Trail of the Sandhill Stag. 1899.</li> +<li class="leftpad">The Biography of a Grizzly. 1900.</li> +<li class="leftpad">Lobo, Rag and Vixen. 1900.</li> +<li class="leftpad">Lives of the Hunted. 1901.</li> +<li class="leftpad">Pictures of Wild Animals. 1901.</li> +<li class="leftpad">Krag and Johnny Bear. 1902.</li> +<li class="leftpad">Two Little Savages. 1903.</li> +<li class="leftpad">Monarch, the Big Bear. 1904.</li> +<li class="leftpad">Animal Heroes. 1905.</li> +<li class="leftpad">Biography of a Silver Fox. 1909.</li> +<li><span class='pagenum'><a name="Page_138" id="Page_138">[138]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Life-histories of Northern Animals. 1909.</span></li> +<li class="leftpad">Wild Animals at Home. 1913.</li> +<li class="leftpad">The Preacher of Cedar Mountain. 1916.</li> +<li class="leftpad">Wild Animal Ways. 1916.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey.</li> +<li> </li> +<li class="leftpad">Acad. 82 (’12): 523.</li> +<li class="leftpad">Am. M. 91 (’21): 14 (portrait).</li> +<li class="leftpad">Atlan. 91 (’03): 298.</li> +<li class="leftpad">Bookm. 13 (’21): 4; 25 (’07): 452. (Portraits.)</li> +<li class="leftpad">Bookm. (Lond.) 45 (’13): 144 (portrait), 147.</li> +<li class="leftpad">Bk. News, 18 (’00): 490.</li> +<li class="leftpad">Craftsman, 19 (’10): 66 (portrait.)</li> +<li class="leftpad">Critic, 39 (’01): 320 (portrait).</li> +<li class="leftpad">Everybody’s, 23 (’10): 473.</li> +<li class="leftpad">Liv. Age, 232 (’02): 222.</li> +<li class="leftpad">Outlook, 69 (!01): 904 (portrait).</li> +<li class="leftpad">Spec, 105 (’10): 488; 117 (’16): 345.</li> +</ul> + + + +<p class="author"><a name="Sharp_D" id="Sharp_D"></a><b>Dallas Lore Sharp</b>—Nature writer.</p> + +<p>Born at Haleyville, New Jersey, 1870. A. B., Brown, 1895; S. T. B., Boston +University, 1899; Litt. D., Brown, 1917. Ordained for the Methodist +Episcopal ministry, 1896. Pastor, 1896-9; librarian, 1899-1902. On staff +of <i>Youth’s Companion</i>, 1900-3. Has taught English in Boston University +since 1902, professor since 1909.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Wild Life Near Home. 1901.</li> +<li class="leftpad">A Watcher in the Woods. 1903.</li> +<li class="leftpad">Roof and Meadow. 1904.</li> +<li class="leftpad">The Lay of the Land. 1908.</li> +<li class="leftpad">The Face of the Fields. 1911.</li> +<li class="leftpad">Where Rolls the Oregon. 1914.</li> +<li class="leftpad">The Hills of Hingham. 1916.</li> +<li class="leftpad">Ways of the Woods. 1919.</li> +<li class="leftpad">Patrons of Democracy. 1920.</li> +<li class="leftpad">The Seer of Slabsides. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Lit. 37 (’04): 230 (portrait).</li> +<li class="leftpad">Dial, 45 (’08): 297.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1914, 1916.</li> +</ul> +<p><span class='pagenum'><a name="Page_139" id="Page_139">[139]</a></span></p> + + + +<p class="author"><a name="Sheldon_E" id="Sheldon_E"></a><b>Edward Brewster Sheldon</b>—dramatist.</p> + +<p>Born at Chicago, 1886. A. B., Harvard, 1907; A. M., 1908. Mr. Sheldon’s +most successful play thus far is <i>Romance</i>, which was played by Doris +Keane for almost ten years.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Nigger. 1910.</li> +<li class="leftpad">The Boss. 1911. (Quinn, <i>Representative American Plays</i>, 1917.)</li> +<li class="leftpad">Romance. 1914. (Baker, <i>Modern American Plays</i>, 1920.)</li> +<li class="leftpad">The Garden of Paradise. 1915.</li> +</ul> + +<p>For bibliography of unpublished plays, cf. <i>Cambridge</i>, III (IV), 771.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Eaton, W. P. Plays and Players, 1916.</li> +<li class="leftpad">At the New Theatre, 1910.</li> +<li class="leftpad">Moses.</li> +<li> </li> +<li class="leftpad">Harv. Grad. M. 17 (’09): 599 (portrait), 604.</li> +<li class="leftpad">Outlook, 102 (’12): 947.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1910, 1914.</li> +</ul> + + + +<p class="author"><a name="Sherman_S" id="Sherman_S"></a><b>Stuart P(ratt) Sherman</b>—critic.</p> + +<p>Born at Anita, Iowa, 1881. A. B., Williams, 1903; A. M., Harvard, 1904; +Ph. D., 1906. Taught English at Northwestern University, 1906-11; +professor at the University of Illinois since 1911. Associate editor of +the <i>Cambridge History of American Literature</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">On Contemporary Literature. 1917.</li> +<li class="leftpad">American and Allied Ideals. 1918.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Op. 64 (’18): 270 (portrait).</li> +<li class="leftpad">Lamp, 29 (’04): 451, 452 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917.</li> +</ul> + + + +<p class="author"><a name="Sinclair_U" id="Sinclair_U"></a><b>Upton Sinclair</b>—novelist.</p> + +<p>Born at Baltimore, 1878. A. B., College of the City of New York, 1897. Did +graduate work for four years at Columbia. Assisted in the government +investigation of the Chicago stockyards, 1906 (cf. <i>The Jungle</i>). +Socialist.<span class='pagenum'><a name="Page_140" id="Page_140">[140]</a></span> Founded the Helicon Hall communistic colony at Englewood, New +Jersey, 1906-7, and the Intercollegiate Socialist Society.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">King Midas. 1901.</li> +<li class="leftpad">The Journal of Arthur Stirling. 1903. (Autobiographical.)</li> +<li class="star">*The Jungle. 1906.</li> +<li class="leftpad">The Metropolis. 1908.</li> +<li class="leftpad">The Money-changers. 1908.</li> +<li class="leftpad">Plays of Protest. 1911.</li> +<li class="leftpad">Sylvia. 1913.</li> +<li class="leftpad">Sylvia’s Marriage. 1914.</li> +<li class="leftpad">The Cry for Justice. 1915. (Anthology.)</li> +<li class="leftpad">King Coal, a Novel of the Colorado Strike. 1917.</li> +<li class="leftpad">Jimmie Higgins. 1919.</li> +<li class="star">*The Brass Check. 1919. (Arraignment of commercialized newspapers and +plea for an endowed newspaper.)</li> +<li class="leftpad">100%; the Story of a Patriot. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Arena, 35 (’06): 187 (portrait).</li> +<li class="leftpad">Ath. 1912, 1: 558; 2: 247.</li> +<li class="leftpad">Bookm. 23 (’06): 130 (portrait), 195, 244, 584; 24 (’07): 2, 443 +(portrait).</li> +<li class="leftpad">Chaut. 64 (’11): 175 (portrait).</li> +<li class="leftpad">Cur. Lit. 41 (’06): 3 (portrait).</li> +<li class="leftpad">Cur. Op. 66 (’19): 386; 68 (’20): 669 (portrait).</li> +<li class="leftpad">Freeman, 4 (’21): 258, 262.</li> +<li class="leftpad">Ind. 57 (’04): 1133 (portrait); 62 (’07): 711; 71 (’11): 326.</li> +<li class="leftpad">Nation, 113 (’21): 347.</li> +<li class="leftpad">New Statesman, 1 (’13): 209.</li> +<li class="leftpad">Review, 4 (’21): 128.</li> +<li class="leftpad">R. of Rs. 31 (’05): 117; 33 (’06): 760; 34 (’06): 6. (Portraits.)</li> +<li class="leftpad">Spec. 96 (’06): 793; 99 (’07): 231.</li> +<li class="leftpad">World Today, 11 (’06): 676; 21 (’11): 1197. (Portraits.)</li> +</ul> + + + +<p class="author"><a name="Singmaster_E" id="Singmaster_E"></a><b>Elsie Singmaster (Mrs. Harold Lewars)</b>—novelist.</p> + +<p>Born at Schuylkill Haven, Pennsylvania, 1879. A. B., Radcliffe, 1909; +Litt. D., Pennsylvania College, 1916. Her work deals with the +Pennsylvania Dutch.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Gettysburg—Stories of the Red Harvest and the Aftermath. 1913.</li> +<li class="leftpad">Katy Gaumer. 1914.</li> +<li class="leftpad">Emmeline. 1916.</li> +<li class="leftpad">Basil Everman. 1920.</li> +<li><span class='pagenum'><a name="Page_141" id="Page_141">[141]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">John Baring’s House. 1920.</span></li> +<li class="leftpad">Ellen Levis. 1921.</li> +<li class="leftpad">Bennett Malin. 1922.</li> +</ul> + +<p>For reviews, see <i>Book Review Digest</i>, 1917, 1920.</p> + + + +<p class="author"><a name="Smith_L" id="Smith_L"></a><b>Logan Pearsall Smith</b>—essayist.</p> + +<p>American scholar living in England. Belongs to literature through his +<i>Trivia</i>—short prose poems, which suggest comparison with similar +experiments by Baudelaire, Oscar Wilde, and Marcel Schwob.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Youth of Parnassus and Other Stories. 1895.</li> +<li class="leftpad">Trivia. 1902. (Revised ed., 1918.)</li> +<li class="leftpad">More Trivia. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. (Lond.) 55 (’18): 68.</li> +<li class="leftpad">Cur. Op. 64 (’18): 123 (portrait).</li> +<li class="leftpad">Nation (Lond.), 26 (’19): 398.</li> +<li class="leftpad">New Statesman, 10 (’17-’18): 233; 11 (’18): 134.</li> +<li class="leftpad">Spec. 124 (’20): 50.</li> +</ul> + + + +<p class="author"><a name="Steele_W" id="Steele_W"></a><b>Wilbur Daniel Steele</b>—novelist, short-story writer.</p> + +<p>Born at Greensboro, North Carolina, 1886. A. B., University of Denver, +1907. Studied art in Boston, Paris, and New York, 1907-10.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Storm. 1914.</li> +<li class="leftpad">Land’s End. 1918.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 46 (’18): 704 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918.</li> +</ul> + + + +<p class="author"><a name="Sterling_G" id="Sterling_G"></a><b>George Sterling</b>—poet.</p> + +<p>Born at Sag Harbor, New York, 1869. Educated in private and public +schools. About 1895 he moved to the West and now lives in California.<span class='pagenum'><a name="Page_142" id="Page_142">[142]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Testimony of the Suns and Other Poems. 1903.</li> +<li class="leftpad">A Wine of Wizardry and Other Poems. 1908.</li> +<li class="leftpad">The House of Orchids and Other Poems. 1911.</li> +<li class="leftpad">Beyond the Breakers and Other Poems. 1914.</li> +<li class="leftpad">The Caged Eagle and Other Poems. 1916.</li> +<li class="leftpad">The Binding of the Beast and Other Poems. 1917.</li> +<li class="leftpad">Lilith. 1919. (Dramatic poem.)</li> +<li class="leftpad">Rosamond. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 339.</li> +<li class="leftpad">Poetry, 7 (’16): 307.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916.</li> +</ul> + + + +<p class="author"><a name="Stevens_W" id="Stevens_W"></a><b>Wallace Stevens</b>—poet.</p> + +<p>A New York lawyer, living in Hartford, Connecticut, whose work although +not as yet collected into a volume has attracted much attention. Received +the <i>Poetry</i> prize for the best one-act play, in 1916, for his “Three +Travellers Watch a Sunrise,” and the Levinson prize for his +“Pecksniffiana,” 1920.</p> + +<p>Mr. Stevens’s art is purely decorative, and its effects must be studied +as in pictorial art. He is an experimenter in free verse forms as well as +in impressions.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems in Little Review. 1918.</li> +<li style="font-size: 90%; padding-left: 4.3em;">Others 1916, 1917, 1919.</li> +<li style="font-size: 90%; padding-left: 4.3em;">Poetry, vols. 7, 8, 11, 12, 15, 19, 20.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Chapbook, 1-2, May, 1920: 28.</li> +<li class="leftpad">Poetry, 17 (’20): 155.</li> +</ul> + + + +<p class="author"><a name="Stringer_A" id="Stringer_A"></a><b>Arthur Stringer</b> (Canada, 1874)—novelist.</p> + +<p>Author of <i>The Prairie Wife</i>, 1915, and <i>The Prairie Mother</i>, 1920. For +bibliography, see <i>Who’s Who in America</i>.<span class='pagenum'><a name="Page_143" id="Page_143">[143]</a></span></p> + + + +<p class="author"><a name="Strunsky_S" id="Strunsky_S"></a><b>Simeon Strunsky</b>—essayist, man of letters.</p> + +<p>Born at Vitebsk, Russia, 1879. A. B., Columbia, 1900. Department editor of +the <i>New International Encyclopedia</i>, 1900-06, and editorial writer for +the <i>New York Evening Post</i>, 1906—.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Patient Observer. 1911.</li> +<li class="leftpad">Post-Impressions. An Irresponsible Chronicle. 1914.</li> +<li class="leftpad">Belshazzar Court or Village Life in New York City. 1914.</li> +<li class="leftpad">Professor Latimer’s Progress. 1918. (Novel.)</li> +<li class="leftpad">Little Journeys towards Paris. 1918.</li> +<li class="leftpad">Sinbad and His Friends. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 51 (’20): 65.</li> +<li class="leftpad">Cur. Op. 57 (’14): 198; 65 (’18): 51. (Portraits.)</li> +<li class="leftpad">Ind. 80 (’14): 245 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1914, 1918.</li> +</ul> + + + +<p class="author"><a name="Tarbell_I" id="Tarbell_I"></a><b>Ida M(inerva) Tarbell</b>—essayist, historian.</p> + +<p>Born in Erie County, Pennsylvania, 1857. A. B., Allegheny College, 1880; +A. M., 1883. Honorary higher degrees. Associate editor of <i>The +Chautauquan</i>, 1883-91. Studied in Paris at the Sorbonne and the Collège +de France, 1891-4. On staff of <i>McClure’s</i> and associate editor, +1894-1906. Associate editor of the <i>American Magazine</i>, 1906-15.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Early Life of Abraham Lincoln. 1896. (With J. McCan Davis.)</li> +<li class="leftpad">Life of Abraham Lincoln. 1900.</li> +<li class="leftpad">He Knew Lincoln. 1907.</li> +<li class="leftpad">The Business of Being a Woman. 1912.</li> +<li class="leftpad">The Ways of Women. 1915.</li> +<li class="leftpad">New Ideals in Business. 1916.</li> +<li class="leftpad">The Rising of the Tide. 1919. (Novel.)</li> +<li class="leftpad">In Lincoln’s Chair. 1920.</li> +<li class="leftpad">Peacemakers—Blessed and Otherwise. 1922.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_144" id="Page_144">[144]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 62 (’06): Oct., 569, 574 (portrait); 63 (’06): Nov., p. 79; +78 (’14): Nov., p. 10 (portrait only).</li> +<li class="leftpad">Bookm. 16 (’03): 438. (Portraits.)</li> +<li class="leftpad">Craftsman, 14 (’08): 2 (portrait).</li> +<li class="leftpad">Critic, 46 (’05): 296 (portrait), 366.</li> +<li class="leftpad">Cur. Lit. 37 (’04): 28; 52 (’12): 682. (Portraits.)</li> +<li class="leftpad">Dial, 28 (’00): 192.</li> +<li class="leftpad">Ind. 90 (’17): 34; 91 (’17): 19. (Portraits.)</li> +<li class="leftpad">McClure’s, 24 (’04): 109 (portrait), 217.</li> +<li class="leftpad">Nation, 70 (’00): 164; 104 (’17): 84.</li> +<li class="leftpad">Outlook, 64 (’00): 413; 78 (’04): 283 (portrait).</li> +</ul> + + + +<p class="author"><a name="Tarkington_B" id="Tarkington_B"></a><b>(Newton) Booth Tarkington</b>—novelist, dramatist.</p> + +<p>Born at Indianapolis, Indiana, 1869, of French ancestry on one side. Came +early under the influence of Riley (<a href="#Riley_J">q. v.</a>), a neighbor. Educated at +Phillips Exeter Academy, Purdue University, and Princeton. Honorary +higher degrees. Popular at college for his singing, acting and social +talents. Began to study art but was not successful as an artist. Has +written songs. Takes an active part in the social and political life of +his state. Served in the Indiana legislature, 1902-3.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Consider separately Mr. Tarkington’s studies of boy life (especially +<i>Penrod</i>), and of adolescence (especially <i>Seventeen</i> and <i>Clarence</i>). +Judged by your own experience and observation, are they presented with +true knowledge and humor, or are they a farcical skimming of surface +eccentricities? Compare them with Mark Twain’s books about boys and with +Howells’s <i>Boy’s Town</i>.</p> + +<p>2. Consider separately the historical novels. Is pure romance Mr. +Tarkington’s field? Why or why not?</p> + +<p>3. Consider the justice or the injustice of the following:</p> + +<div class="blockquot"><p>According to all the codes of the more serious kinds of fiction, the +unwillingness—or the inability—to conduct a plot to its legitimate +ending implies some weakness in the artistic character; and this +weakness is Mr. Tarkington’s principal defect.... Now this causes +the more regret for the reason that he has what is next best to +character in a <span class='pagenum'><a name="Page_145" id="Page_145">[145]</a></span>novelist—that is, knack. He has the knack of +romance, when he wants to employ it: a light, allusive manner; a +sufficient acquaintance with certain charming historical epochs and +the “properties” thereto pertaining...; a considerable experience in +the ways of the “world”; gay colors, swift moods, the note of tender +elegy. He has also the knack of satire, which he employs more +frequently than romance ... he has traveled a long way from the +methods of his greener days. Why, then, does he continue to trifle +with his threadbare adolescents, as if he were afraid to write +candidly about his coevals? Why does he drift with the sentimental +tide and make propaganda for provincial complacency?</p></div> + +<p>4. In what direction lies Mr. Tarkington’s future? Is he likely to become +more than a popular writer? What, if any, elements of enduring value do +you find in his work?</p> + +<p>5. What “Hoosier” elements do you find in his work? Compare him with Ade, +Riley, Nicholson, and with the older writers of Indiana, Edward +Eggleston, and Maurice Thompson.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Gentleman from Indiana. 1899.</li> +<li class="star">*Monsieur Beaucaire. 1900. (Dramatized, with E. G. Sutherland.)</li> +<li class="leftpad">The Two Vanrevels. 1902.</li> +<li class="leftpad">Cherry. 1903.</li> +<li class="leftpad">In the Arena. 1905.</li> +<li class="leftpad">The Conquest of Canaan. 1905.</li> +<li class="leftpad">The Beautiful Lady. 1905.</li> +<li class="leftpad">His Own People. 1907.</li> +<li class="leftpad">The Guest of Quesnay. 1908.</li> +<li class="leftpad">Beasley’s Christmas Party. 1909.</li> +<li class="leftpad">Beauty and the Jacobin. 1911.</li> +<li class="leftpad">The Flirt. 1913.</li> +<li class="star">*Penrod. 1914.</li> +<li class="star">*The Turmoil. 1915.</li> +<li class="leftpad">Penrod and Sam. 1916.</li> +<li class="star">*Seventeen. 1916.</li> +<li class="leftpad">The Magnificent Ambersons. 1918.</li> +<li class="leftpad">Ramsey Milholland. 1919.</li> +<li class="star">*Clarence. 1919. (Play.)</li> +<li class="star">*Alice Adams. 1921.</li> +<li class="leftpad">Gentle Julia. 1922.</li> +</ul> + +<p>For bibliography of unpublished plays, cf. <i>Who’s Who in America</i>.<span class='pagenum'><a name="Page_146" id="Page_146">[146]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Eaton, W. P. At the New Theatre. 1910.</li> +<li class="leftpad">Holliday, Robert C. Booth Tarkington. 1918.</li> +<li class="leftpad">Nicholson, Meredith. The Hoosiers. (National Studies in American +Letters.) 1900.</li> +<li class="leftpad">Phelps.</li> +<li> </li> +<li class="leftpad">Am. M. 83 (’17): Jan., p. 9; 86 (’18): Nov., p. 18. (Portraits.)</li> +<li class="leftpad">Bookm. 16 (’02): 214 (portrait), 373; 21 (’05): 5 (portrait); +24 (’07): 605 (portrait); 42 (’16): 505, 507 (portrait); +46 (’17): 259 (portrait); 48 (’18): 493.</li> +<li class="leftpad">Bookm. (Lond.) 55 (’19): 123 (portrait).</li> +<li class="leftpad">Critic, 36 (’00): 399 (portrait); 37 (’00): 396.</li> +<li class="leftpad">Cur. Lit. 30 (’01): 280.</li> +<li class="leftpad">Harp. W. 46 (’02): 1773 (portrait).</li> +<li class="leftpad">Ind. 52 (’00): 67, 2795 (portrait).</li> +<li class="leftpad">Liv. Age, 300 (’19): 541.</li> +<li class="leftpad">Mentor, 6 (’18): supp., p. 3 (portrait).</li> +<li class="leftpad">Nation, 103 (’16): 330; 112 (’21): 233. (Carl Van Doren.)</li> +<li class="leftpad">Outlook, 72 (’02): 817 (portrait); 90 (’08): 701; 126 (’20): 281; +128 (’21): 658 (portrait).</li> +<li class="leftpad">World’s Work, 39 (’20); 496 <a name="corr16" id="corr16"></a><ins class="correction" title="(portrait).">portrait).</ins></li> +</ul> + + + +<p class="author"><a name="Taylor_B" id="Taylor_B"></a><b>Bert Leston Taylor</b> (<b>“B. L. T.”</b>, Massachusetts, 1866)—humorist, poet, +“columnist.”</p> + +<p>Editor of “A Line o’ Type or Two” in the <i>Chicago Tribune</i> until his +death in 1921. Characteristic books are <i>Motley Measures</i>, 1913, and <i>The +So-Called Human Race</i>, 1922. For complete bibliography, cf. <i>Who’s Who in +America</i>.</p> + + + +<p class="author"><a name="Teasdale_S" id="Teasdale_S"></a><b>Sara Teasdale (Mrs. Ernst B. Filsinger)</b>—poet.</p> + +<p>Born at St. Louis, Missouri, 1884. Educated in private schools, St. +Louis. Traveled in Europe and the Near East. Received prizes from the +Poetry Society of America, 1916, 1918.</p> + +<p>Sara Teasdale’s love lyrics have been admired for their simplicity, +feeling, and perfection of form. They need merely to be read to be +appreciated.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Sonnets to Duse, and Other Poems. 1907.</li> +<li class="leftpad">Helen of Troy and Other Poems. 1911.</li> +<li class="leftpad">Rivers to the Sea. 1915.</li> +<li><span class='pagenum'><a name="Page_147" id="Page_147">[147]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Love Songs. 1917.</span></li> +<li class="leftpad">The Answering Voice: One Hundred Love Lyrics by Women. 1917. +(Compilation.)</li> +<li class="leftpad">Vignettes of Italy. 1919. (Songs.)</li> +<li class="leftpad">Flame and Shadow. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Bookm. 42 (’15): 365 (portrait), 457. +47 (’18): 392 (Phelps).</li> +<li class="leftpad">Forum, 65 (’21): 229.</li> +<li class="leftpad">Lit. Digest, 58 (<a name="corr17" id="corr17"></a><ins class="correction" title="’18">18’</ins>): 29 (portrait).</li> +<li class="leftpad">New Repub. 15 (’18): 239.</li> +<li class="leftpad">Poetry, 7 (’15): 148; 12 (’18): 264; 17 (’21): 272.</li> +<li class="leftpad">Touchstone, 2 (’17): 310 (portrait).</li> +</ul> + + + +<p class="author"><a name="Thomas_A" id="Thomas_A"></a><b>Augustus Thomas</b>—dramatist.</p> + +<p>Born at St. Louis, Missouri, 1859. Son of the director of a theatre in +New Orleans. As a boy often went to plays; began to write them at +fourteen; at sixteen or seventeen, organized an amateur company. Educated +in the St. Louis public schools. Page in the 41st Congress. Honorary +A. M., Williams, 1914. Studied law two years; had six years of experience +in railroading. Special writer, and illustrator on St. Louis, Kansas +City, and New York newspapers.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Alabama. 1905.</li> +<li class="leftpad">The Witching Hour. 1908. (Also, Dickinson, <i>Chief Contemporary + Dramatists</i>, 1915.)</li> +<li class="leftpad">As a Man Thinks. 1911. (Also, Baker, <i>Modern American Plays</i>. 1920.)</li> +<li class="leftpad">Arizona. 1914.</li> +<li class="leftpad">In Mizzoura. 1916. (Also, Moses, <i>Representative Plays by American + Dramatists</i>, 1918-21, III.)</li> +<li class="leftpad">For bibliography of unpublished plays, cf. <i>Cambridge</i>, III (IV), 771.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Boynton.</li> +<li class="leftpad">Eaton, W. P. Plays and Players. 1916</li> +<li class="leftpad">—— —— At the New Theatre. 1910.</li> +<li class="leftpad">Moses.</li> +<li> </li> +<li class="leftpad">Bookm. 33 (’11): 353 (portrait), 354.</li> +<li class="leftpad">Collier’s, 44 (’09): 23.</li> +<li class="leftpad">Cur. Lit. 39 (’05): 544; 46 (’09): 544. (Portraits.)</li> +<li class="leftpad">Cur. Op. 64 (’18): 183.</li> +<li><span class='pagenum'><a name="Page_148" id="Page_148">[148]</a></span> +<span style="font-size: 0.9em; padding-left: 0.5em;">Everybody’s, 25 (’11): 681 (portrait).</span></li> +<li class="leftpad">Forum, 39 (’08): 366; 40 (’08): 43; 42 (’09): 575.</li> +<li class="leftpad">Ind. 61 (’06): 737 (portrait).</li> +<li class="leftpad">Outlook, 94 (’10): 212 (portrait); 110 (’15): 836, 865 (portrait).</li> +<li class="leftpad">Scrib. M. 55 (’14): 275 (portrait).</li> +<li class="leftpad">World’s Work, 18 (’09): 11850 (portrait), 11882. (Van Wyck Brooks.)</li> +</ul> + + + +<p class="author"><a name="Tietjens_E" id="Tietjens_E"></a><b>Eunice Tietjens (Mrs. Cloyd Head)</b>—poet.</p> + +<p>Born at Chicago, 1884. Married Paul Tietjens, the composer, 1904; Cloyd +Head, the writer, 1920. Associate editor of <i>Poetry</i>, 1914, 1916. War +correspondent in France, 1917-8.</p> + +<p>Mrs. Tietjens’ <i>Profiles from China</i> is based upon her experience as an +observer of life in China.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Profiles from China. 1917.</li> +<li class="leftpad">Body and Raiment. 1919.</li> +<li class="leftpad">Jake. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Poetry, 10 (’17): 326; 15 (’20): 272.</li> +<li class="leftpad">Spec. 124 (’20): 315.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1917, 1919, 1921.</li> +</ul> + + + +<p class="author"><a name="Tobenkin_E" id="Tobenkin_E"></a><b>Elias Tobenkin</b>—novelist.</p> + +<p>Born in Russia, 1882. Came to the United States as a boy. A. B., +University of Wisconsin, 1905; A. M., 1906. Specialized in German +literature and philosophy. Extensive newspaper experience in Milwaukee, +San Francisco, and Chicago. European correspondent of <i>New York Tribune</i>, +1918-9.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Witte Arrives. 1916.</li> +<li class="leftpad">The House of Conrad. 1918.</li> +<li class="leftpad">The Road. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 45 (’17): 300 (portrait), 303; 47 (’18): 340, 343.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1918.</li> +</ul> +<p><span class='pagenum'><a name="Page_149" id="Page_149">[149]</a></span></p> + + + +<p class="author"><a name="Torrence_R" id="Torrence_R"></a><b>(Frederic) Ridgely Torrence</b>—poet, dramatist.</p> + +<p>Born at Xenia, Ohio, 1875. Educated at Miami University and Princeton. +Librarian in the Astor Library, 1897-1901, and Lenox Library, 1901-3. +Assistant editor of <i>The Critic</i>, 1903-4, and associate editor of the +<i>Cosmopolitan</i>, 1906-7.</p> + +<p>Mr. Torrence’s plays for a negro theatre are worth special study.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The House of a Hundred Lights. 1900.</li> +<li class="leftpad">El Dorado, a Tragedy. 1903.</li> +<li class="leftpad">Abelard and Heloise. 1907. (Poetic drama.)</li> +<li class="leftpad">Granny Maumee; The Rider of Dreams; Simon the Cyrenian. Plays for a +Negro Theatre. 1917.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Atlan. 96 (’05): 712; 98 (’06): 333.</li> +<li class="leftpad">Bk. Buyer, 20 (’00): 96 (portrait).</li> +<li class="leftpad">Fortn. 86 (’06): 434.</li> +<li class="leftpad">New Repub. 10 (’17): 325.</li> +</ul> + + + +<p class="author"><a name="Traubel_H" id="Traubel_H"></a><b>Horace Traubel</b>—poet, biographer.</p> + +<p>Born at Camden, New Jersey, 1873, of part Jewish parentage. Worked as +newsboy, errand boy, printer’s devil, proof reader, reporter, and +editorial writer. Editor of various publications, including <i>The +Conservator</i>. Died in 1919.</p> + +<p>Mr. Traubel is best known for his association with Whitman as friend, +secretary, and literary executor. When Whitman went to Camden in 1873, he +became a member of the Traubel household; and Mr. Traubel’s account of +his life there is of the greatest value for the study of Whitman.</p> + +<p>Although Traubel’s poetry was strongly influenced by Whitman, he worked +out a philosophy of his own which is worth study. An interesting +comparison can be made of his ideas with Whitman’s and with Edward +Carpenter’s (cf. Manly and Rickert, <i>Contemporary British Literature</i>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Chants Communal. 1905.</li> +<li class="leftpad">With Walt Whitman in Camden—a Diary. 1905 (Volume I). 1908 (Volume II). +1914 (Volume III).</li> +<li class="leftpad">Optimos. 1910. (Poems.)</li> +<li class="leftpad">Collects. 1915.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_150" id="Page_150">[150]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Karsner, D. Horace Traubel, His Life and Work. 1919.</li> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Am. M. 76 (’13): Nov., pp. 59 (portrait), 60.</li> +<li class="leftpad">Arena, 40 (’08): 128 (portrait), 183.</li> +<li class="leftpad">Cur. Lit. 39 (’05): 37 (portrait); 52 (’12): 590 (portrait).</li> +<li class="leftpad">Forum, 50 (’13): 708.</li> +<li class="leftpad">Freeman, 1 (’20): 46, 448.</li> +<li class="star">*Open Court, 34 (’20): 49, 87.</li> +</ul> + + + +<p class="author"><a name="Untermeyer_J" id="Untermeyer_J"></a><b>Jean Starr Untermeyer</b>—poet.</p> + +<p>Born at Zanesville, Ohio, 1886. Educated at Putnam Seminary, Zanesville, +and special student at Columbia. In 1907, she married Louis Untermeyer +(<a href="#Untermeyer_L">q. v.</a>).</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Growing Pains. 1918.</li> +<li class="leftpad">Dreams out of Darkness. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li class="leftpad">Poetry, 14 (’19): 47. (Amy Lowell.)</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1918, 1921.</li> +</ul> + + + +<p class="author"><a name="Untermeyer_L" id="Untermeyer_L"></a><b>Louis Untermeyer</b>—poet, critic.</p> + +<p>Born in New York City, 1885. Educated at the De Witt Clinton High School, +New York. An accomplished pianist and professional designer of jewelry. +Married Jean Starr (<a href="#Untermeyer_J">q. v.</a>), 1907. Business man. Associate editor of <i>The +Seven Arts</i> (cf. <i>Poetry</i>, 9 [’16-’17]: 214). Contributing editor to <i>The +Liberator</i>. Socialist.</p> + +<p>Mr. Untermeyer’s early verse was influenced by Heine, Housman, and +Henley, especially the last; but he has broken away from them to an +individual expression of social passions.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Younger Quire. 1911.</li> +<li class="leftpad">First Love. 1911.</li> +<li class="leftpad">Challenge. 1914.</li> +<li><span class='pagenum'><a name="Page_151" id="Page_151">[151]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">“—— and Other Poets.” 1917. (Parodies.)</span></li> +<li class="leftpad">These Times. 1917.</li> +<li class="leftpad">The New Era in American Poetry. 1919.</li> +<li class="leftpad">Including Horace. 1919.</li> +<li class="leftpad">Modern American Poetry. 1919. (Anthology.)</li> +<li class="leftpad">The New Adam. 1920.</li> +<li class="leftpad">Modern British Poetry. 1920. (Anthology.)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 47 (’18): 266. (Phelps.)</li> +<li class="leftpad">Lond. Times, Nov. 17, 1921: 746.</li> +<li class="leftpad">New Statesman, 18 (’21): 114.</li> +<li class="leftpad">Outlook, 122 (’19): 644 (portrait).</li> +<li class="leftpad">Poetry, 4 (’14): 203; 11 (’17): 157; 14 (’19): 159; 17 (’21): 212.</li> +<li class="leftpad">Sat. Rev. 132 (’21): 737.</li> +</ul> + + + +<p class="author"><a name="Van_Doren_C" id="Van_Doren_C"></a><b>Carl Van Doren</b>—critic.</p> + +<p>Born at Hope, Illinois, 1885. A. B., University of Illinois, 1907; Ph. D., +Columbia, 1911. Taught English at the University of Illinois, 1907-16; +assistant professor, 1914-6. Associate in English at Columbia since 1916. +Headmaster of The Brearley School, New York, 1916-9. Literary editor of +<i>The Nation</i>, 1919—. Co-editor of the <i>Cambridge History of American +Literature</i>. His most important books are <i>The American Novel</i>, 1921; +<i>Contemporary American Novelists</i>, 1922.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cur. Op. 71 (’21): 642.</li> +<li class="leftpad">Dial, 71 (’21): 355.</li> +<li class="leftpad">Nation, 113 (’21): 18.</li> +<li class="leftpad">New Repub. 29 (’21): 106.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1921.</li> +</ul> + + + +<p class="author"><a name="Van_Dyke_H" id="Van_Dyke_H"></a><b>Henry van Dyke</b>—man of letters.</p> + +<p>Born at Germantown, Pennsylvania, 1852. Graduate of the Brooklyn +Polytechnic Institute, 1869; A. B., Princeton, 1873, A. M., 1876; Princeton +Theological Seminary, 1877; at the University of Berlin, 1877-9. Many +honorary higher degrees and other marks of distinction. Ordained minister +in the Presbyterian Church, 1879. Pastor in Newport, Rhode Island, +1879-82, and in New York, 1883-1900, 1902, 1911. Professor of English +literature at Princeton University, 1900—. American lecturer at the +University of<span class='pagenum'><a name="Page_152" id="Page_152">[152]</a></span> Paris, 1908-9. United States minister to The Netherlands, +1913-7.</p> + +<p>Most of Mr. Van Dyke’s numerous stories, essays, and poems are to be +found in his <i>Collected Works</i>, 1920. His most recent works are: +<i>Camp-Fires and Guide Posts</i>, 1921, and <i>Songs Out of Doors</i>, 1922.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey.</li> +<li> </li> +<li class="leftpad">Bookm. 30 (’10): 551; 38 (’13): 20. (Portraits.)</li> +<li class="leftpad">Cent. 67 (’04): 579 (portrait).</li> +<li class="leftpad">Critic, 42 (’03): 511, 516 (portrait).</li> +<li class="leftpad">Cur. Lit. 28 (’00): 282.</li> +<li class="leftpad">Nation, 104 (’17): 54.</li> +<li class="leftpad">Outlook, 99 (’11): 704.</li> +<li class="leftpad">R. of Rs. 41 (’10): 509 (portrait).</li> +</ul> + + + +<p class="author"><a name="Van_Loon_H" id="Van_Loon_H"></a><b>Hendrik Willem van Loon</b>—man of letters.</p> + +<p>Born at Rotterdam, Holland, 1882. A. B., Cornell, 1905; Ph. D., Munich, +1911. Associated Press correspondent in Russia during the revolution of +1906 and in various countries of Europe during the war. Lecturer on +history and the history of art.</p> + +<p>Mr. Van Loon has made a place in literature by <i>The Story of Mankind</i>, +1921. Cf. <i>Book Review Digest</i>, 1921.</p> + + + +<p class="author"><a name="Walker_S" id="Walker_S"></a><b>Stuart Walker</b>—dramatist.</p> + +<p>Born at Augusta, Kentucky. A. B., University of Cincinnati, 1902. Studied +at the American Academy of Dramatic Arts. Play-reader, actor, and stage +manager with David Belasco (<a href="#Belasco_D">q. v.</a>), 1909-14. Originator of the Portmanteau +Theatre, 1914, and since 1915 his own producer.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Portmanteau Plays. 1917. (The Triplet, Nevertheless, The Medicine +Show, Six Who Pass While the Lentils Boil.)</li> +<li class="leftpad">More Portmanteau Plays. 1919. (The Lady of the Weeping Willow +Tree, The Very Naked Boy, Jonathan Makes a Wish.)</li> + +<li class="leftpad">Portmanteau Adaptations. 1920.</li> +<li class="leftpad">Sir David Wears a Crown. 1922.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_153" id="Page_153">[153]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">New Repub. 13 (’17): 222; 21 (’19): 60.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919.</li> +</ul> + + + +<p class="author"><a name="Walter_E" id="Walter_E"></a><b>Eugene Walter</b>—dramatist.</p> + +<p>Born at Cleveland, Ohio, 1874. Educated in the public schools. Political +and general news reporter on various newspapers in Cleveland, Detroit, +Cincinnati, Seattle, and New York. Business manager of theatrical and +amusement enterprises, ranging from minstrels and circuses to symphony +orchestras and grand opera companies. Served in the Spanish War. His most +successful play, <i>The Easiest Way</i> (1908), is printed by Dickinson, +<i>Chief Contemporary Dramatists</i>, 1915, and by Moses, <i>Representative +Plays by American Dramatists</i>, 1918-21, III.</p> + +<p>For bibliography of unpublished plays, cf. <i>Cambridge</i>, III (IV), 772.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Eaton, W. P. At the New Theatre. 1910.</li> +<li class="leftpad">Am. M. 71 (’10): 121 (portrait).</li> +<li class="leftpad">Cur. Op. 62 (’17): 403.</li> +<li class="leftpad">Drama, 6 (’16): 110.</li> +</ul> + + + +<p class="author"><a name="Wattles_W" id="Wattles_W"></a><b>Willard Austin Wattles</b>—poet.</p> + +<p>Born at Bayneville, Kansas, 1888. A. B., University of Kansas, 1909; A. M., +1911. Taught English in various schools; since 1914, at the University of +Kansas.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Sunflowers—A Book of Kansas Poems. 1014. (Compilation; includes +some of his poems.)</li> +<li class="leftpad">Lanterns in Gethsemane. 1918.</li> +<li class="leftpad">The Funston Double-Track and Other Poems. 1919.</li> +<li class="leftpad">Silver Arrows. 1920.</li> +</ul> + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li class="leftpad">Ind. 91 (’17): 59 (portrait).</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919.</li> +</ul> +<p><span class='pagenum'><a name="Page_154" id="Page_154">[154]</a></span></p> + + + +<p class="author"><a name="Watts_M" id="Watts_M"></a><b>Mary Stanbery Watts (Mrs. Miles Taylor Watts</b>)—novelist.</p> + +<p>Born at Delaware, Ohio, 1868. Educated at the Convent of the Sacred +Heart, Cincinnati, 1881-4.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Tenants. 1908.</li> +<li class="star">*Nathan Burke. 1910.</li> +<li class="leftpad">The Legacy. 1911.</li> +<li class="leftpad">Van Cleve. 1913.</li> +<li class="star">*The Rise of Jennie Cushing. 1914.</li> +<li class="leftpad">From Father to Son. 1919.</li> +<li class="leftpad">The House of Rimmon. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Overton.</li> +<li> </li> +<li class="leftpad">Bookm. 27 (’08); 157 (portrait), 159; 31 (’10); 454 (portrait).</li> +<li class="leftpad">Cur. Op. 56 (’14): 137 (portrait).</li> +<li class="leftpad">Ind. 71 (’11): 532 (portrait).</li> +<li class="leftpad">New Repub. 2 (’15): 152. (Robert Herrick.)</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916-20.</li> +</ul> + + + +<p class="author"><a name="Webster_H" id="Webster_H"></a><b>Henry Kitchell Webster</b>—novelist.</p> + +<p>Born at Evanston, Illinois, 1875. Ph. M., Hamilton College, 1897. +Instructor in rhetoric at Union College, 1897-8. Since then he has given +his time entirely to writing novels.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Short Line War. 1899. (With Samuel Merwin.)</li> +<li class="leftpad">Calumet “K”. 1901. (With Samuel Merwin.)</li> +<li class="leftpad">The Real Adventure. 1916.</li> +<li class="leftpad">The Painted Scene. 1916. (Short stories.)</li> +<li class="leftpad">The Thoroughbred. 1917.</li> +<li class="leftpad">An American Family. 1918.</li> +<li class="leftpad">Mary Wollaston. 1920.</li> +<li class="leftpad">Real Life. 1921.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 26 (’07): 4 (portrait only).</li> +<li class="leftpad">Everybody’s, 37 (’17): Nov., p. 16 (portrait).</li> +<li class="leftpad">New Repub. 9 (’16): 133.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1916, 1917, 1918, 1920.</li> +</ul> +<p><span class='pagenum'><a name="Page_155" id="Page_155">[155]</a></span></p> + + + +<p class="author"><a name="Welles_W" id="Welles_W"></a><b>Winifred Welles</b>—poet.</p> + +<p>Born at Norwich Town, Connecticut, 1893, and educated in the vicinity. +Her first volume, <i>The Hesitant Heart</i>, 1920, attracted attention for its +lyric beauty.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 51 (’20): 457.</li> +<li class="leftpad">New Repub. 23 (’20): 156.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1920, 1921.</li> +</ul> + + + +<p class="author"><a name="Wellman_R" id="Wellman_R"></a><b>Rita Wellman (Mrs. Edgar F. Leo)</b>—dramatist.</p> + +<p>Born at Washington, D. C., 1890. Daughter of Walter Wellman, the airman +and explorer. Educated in public schools and the Pennsylvania Academy of +Fine Arts.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Gentile Wife. 1919.</li> +<li class="leftpad">Wings of Desire. 1919. (Novel.)</li> +<li class="leftpad">Funiculi Funicula. 1919. (Mayorga.)</li> +</ul> + + + +<p class="author"><a name="Wharton_E" id="Wharton_E"></a><b>Edith (Newbold Jones) Wharton</b>—novelist, short-story writer.</p> + +<p>Born in New York City, 1862. Educated at home but spent much time abroad +when she was young. Mrs. Wharton is a society woman and a great lover of +outdoors and of animals. Chevalier of the Legion of Honor of France.</p> + + +<p class="noindent"><span class="smcap">Suggestions for Reading</span></p> + +<p>1. Mrs. Wharton’s friendship with Henry James and the derivation of her +methods from his suggest an interesting comparison of the work of these +two writers. For this comparison, books treating of similar material +should be chosen; for example, Mrs. Wharton’s <i>The Custom of the Country</i> +or <i>Madame de Treymes</i> with Mr. James’s <i>Portrait of a Lady</i> or <i>The +Ambassadors</i>. The result will show that Mrs. Wharton, having an +essentially different type of mind, has worked out an interesting set of +variations of Mr. James’s method.</p> + +<p>2. Mrs. Wharton’s novels of American social life should be studied and +judged separately from her Italian historical<span class='pagenum'><a name="Page_156" id="Page_156">[156]</a></span> novel (<i>The Valley of +Decision</i>) and from her New England stories, <i>Ethan Frome</i> and <i>Summer</i>.</p> + +<p>3. Two special phases of Mrs. Wharton’s work which call for study are her +management of supernatural effects in some of her short stories and her +use of satire.</p> + +<p>4. Her short stories offer a basis of comparison with those of Mrs. +Gerould (<a href="#Gerould_K">q. v.</a>), another disciple of Mr. James.</p> + +<p>5. Has Mrs. Wharton enough originality and enough distinction to hold a +permanent high place as a novelist of American manners?</p> + +<p>6. Use the following criticisms by Mr. Carl Van Doren as the basis of a +critical judgment of your own. Decide whether he is in all respects +right:</p> + +<div class="blockquot"><p>From the first Mrs. Wharton’s power has lain in the ability to +reproduce in fiction the circumstances of a compact community in a +way that illustrates the various oppressions which such communities +put upon individual vagaries, whether viewed as sin, or ignorance, +or folly, or merely as social impossibility.</p> + +<p>She has always been singularly unpartisan, as if she recognized it +as no duty of hers to do more for the herd or its members than to +play over the spectacle of their clashes the long, cold light of her +magnificent irony.</p> + +<p>It is only in these moments of satire that Mrs. Wharton reveals much +about her disposition: her impatience of stupidity and affectation +and muddy confusion of mind and purpose; her dislike of dinginess; +her toleration of arrogance when it is high-bred. Such qualities do +not help her, for all her spare, clean movement, to achieve the +march or rush of narrative; such qualities, for all her satiric +pungency, do not bring her into sympathy with the sturdy or burly or +homely, or with the broader aspects of comedy.... So great is her +self-possession that she holds criticism at arm’s length, somewhat +as her chosen circles hold the barbarians. If she had a little less +of this pride of dignity she might perhaps avoid her tendency to +assign to decorum a larger power than it actually exercises, even in +the societies about which she writes.... The illusion of reality in +her work, however, almost never fails her, so alertly is her mind on +the lookout to avoid vulgar or shoddy romantic elements.</p></div> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Greater Inclination. 1899.</li> +<li class="leftpad">The Touchstone. 1900.</li> +<li class="leftpad">Crucial Instances. 1901.</li> +<li class="leftpad">The Valley of Decision. 1902.</li> +<li><span class='pagenum'><a name="Page_157" id="Page_157">[157]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Sanctuary. 1903.</span></li> +<li class="leftpad">The Descent of Man, and Other Stories. 1904.</li> +<li class="leftpad">Italian Villas and Their Gardens. 1904.</li> +<li class="leftpad">Italian Backgrounds. 1905.</li> +<li class="star">*The House of Mirth. 1905.</li> +<li class="star">*Madame de Treymes. 1907.</li> +<li class="leftpad">The Fruit of the Tree. 1907.</li> +<li class="leftpad">The Hermit and the Wild Woman. 1908.</li> +<li class="leftpad">A Motor-flight Through France. 1908.</li> +<li class="leftpad">Artemis to Actæon. 1909.</li> +<li class="leftpad">Tales of Men and Ghosts. 1910.</li> +<li class="star">*Ethan Frome. 1911.</li> +<li class="leftpad">The Reef. 1912.</li> +<li class="star">*The Custom of the Country. 1913.</li> +<li class="leftpad">Fighting France. 1915.</li> +<li class="star">*Xingu and Other Stories. 1916.</li> +<li class="leftpad">Summer. 1917.</li> +<li class="leftpad">The Marne. 1918.</li> +<li class="leftpad">In Morocco. 1920.</li> +<li class="leftpad">French Ways and their Meaning. 1919.</li> +<li class="star">*The Age of Innocence. 1920.</li> +<li class="leftpad">Glimpses of the Moon. 1922.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Björkman, E. Voices of Tomorrow. 1913.</li> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Sedgwick, H. D. The New American Type. 1908.</li> +<li class="leftpad">Underwood.</li> +<li> </li> +<li class="leftpad">Atlan. 98 (’06): 217.</li> +<li class="leftpad">Bookm. 33 (’11): 302 (portrait).</li> +<li class="leftpad">Critic, 37 (’00): 103 (portrait), 173.</li> +<li class="leftpad">Cur. Op. 58 (’15): 272.</li> +<li class="leftpad">Dial, 68 (’20): 80.</li> +<li class="leftpad">Harp. W. 49 (’05): 1750 (portrait).</li> +<li class="leftpad">Lit. Digest, 55 (’17): Aug. 4, p. 37 (portrait).</li> +<li class="leftpad">Lond. Times, Dec. 5, 1919: 710.</li> +<li class="leftpad">Nation, 85 (’07): 514; 97 (’13); 404; 112 (’21): 40. (Carl Van Doren.)</li> +<li class="leftpad">New Repub. 2 (’15): 40; 3 (’15): 20; 10 (’17): 50.</li> +<li class="leftpad">New Statesman, 8 (’16): 234.</li> +<li class="leftpad">No. Am. 182 (’06): 840; 183 (’06): 125 (continuation of previous +article.)</li> +<li class="leftpad">Outlook, 71 (’02): 209, 211 (portrait); 81 (’05): 719; 90 (’08): 698 +(portrait), 702.</li> +<li class="leftpad">Putnam’s, 3 (’08): 590 (portrait).</li> +<li class="leftpad">Quarterly R. 223 (’15): 182 (Percy Lubbock)=Liv. Age, 284 (’15): 604.</li> +<li class="leftpad">Spec. 95 (’05): 470.</li> +</ul> +<p><span class='pagenum'><a name="Page_158" id="Page_158">[158]</a></span></p> + + + +<p class="author"><a name="Wheelock_J" id="Wheelock_J"></a><b>John Hall Wheelock</b>—poet.</p> + +<p>Born at Far Rockaway, Long Island, 1886. A. B., Harvard, 1908; studied at +the University of Göttingen, 1909; University of Berlin, 1910. With +Charles Scribner’s Sons since 1911.</p> + +<p>Strongly influenced by Whitman and Henley.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Human Fantasy. 1911.</li> +<li class="leftpad">The Beloved Adventure. 1912.</li> +<li class="leftpad">Love and Liberation. 1913.</li> +<li class="leftpad">Dust and Light. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li> </li> +<li class="leftpad">Lit. Digest, 55 (’17): Nov. 10, p. 29 (portrait).</li> +<li class="leftpad">Poetry, 4 (’14): 163; 15 (’20): 343.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1919.</li> +</ul> + + + +<p class="author"><a name="White_S" id="White_S"></a><b>Stewart Edward White</b>—novelist, short story writer.</p> + +<p>Born at Grand Rapids, Michigan, 1873, of pioneer ancestry. At the age of +twelve, went with his father to California and for four years lived +mostly in the saddle. At the age of sixteen, went to high school in +Michigan but spent much time in the woods, studying the birds and making +a large collection of specimens. Ph. B., University of Michigan, 1895; +A. M., 1903. Went to the Black Hills in a gold rush, but returned poor and +went to Columbia to study law, 1896-7. He was influenced by Brander +Matthews to write. Made his way into literature via book-selling and +reviewing. Explored in the Hudson Bay wilderness and in Africa, spent a +winter as a lumberman in a lumber camp, and finally went to the Sierras +of California to live. He is a thorough woodsman.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Claim Jumpers. 1901.</li> +<li class="star">*The Blazed Trail. 1902.</li> +<li class="leftpad">Conjuror’s House. 1903.</li> +<li class="leftpad">The Magic Forest. 1903.</li> +<li><span class='pagenum'><a name="Page_159" id="Page_159">[159]</a></span> +<span style="font-size: 90%;">*The Silent Places. 1904.</span></li> +<li class="leftpad">Blazed Trail Stories. 1904.</li> +<li class="leftpad">Arizona Nights. 1907.</li> +<li class="leftpad">The Riverman. 1908.</li> +<li class="star">*The Rules of the Game. 1909.</li> +<li class="leftpad">The Cabin. 1910.</li> +<li class="leftpad">The Land of Footprints. 1912. (Travel.)</li> +<li class="leftpad">African Camp Fires. 1913. (Travel.)</li> +<li class="leftpad">Gold. 1913.</li> +<li class="leftpad">The Rediscovered Country. 1915. (Travel.)</li> +<li class="leftpad">The Gray Dawn. 1915.</li> +<li class="leftpad">The Forty-Niners. 1918. (<i>Chronicles of America Series</i>, vol. 25.)</li> +<li class="leftpad">The Rose Dawn. 1920.</li> +<li class="leftpad">The Killer. 1920.</li> +</ul> + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bookm. 17 (’03): 308 (portrait); 31 (’10): 486 (portrait); 38 (’13): 9.</li> +<li class="leftpad">Bookm. (Lond.) 27 (’05): 253; 46 (’14): 31 (portrait and illustrations).</li> +<li class="leftpad">Mentor, 6 (’18): supp. no. 14 (portrait only).</li> +<li class="leftpad">Outing, 43 (’03): 218 (portrait).</li> +<li class="leftpad">World’s Work, 6 (’03): 3695. (portrait).</li> +</ul> + + + +<p class="author"><a name="Whitlock_B" id="Whitlock_B"></a><b>Brand Whitlock</b>—novelist, short story writer.</p> + +<p>Born at Urbana, Ohio, 1869. Educated in public schools and privately. +Honorary higher degrees. Newspaper experience in Toledo and Chicago, +1887-93. Clerk in office of Secretary of State, Springfield, Illinois, +1893-7. Studied law and was admitted to the bar, (Illinois, 1894; Ohio, +1897). Practiced in Toledo, Ohio, 1897-1905. Elected mayor as Independent +candidate, 1905, 1907, 1909, 1911; declined fifth nomination. Minister +(1913) and ambassador (1919) to Belgium and did distinguished war service +there.</p> + +<p>Mr. Whitlock has made his political experience the basis of his most +interesting contributions to literature.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="star">*The 13th District. 1902.</li> +<li class="leftpad">Her Infinite Variety. 1904.</li> +<li class="leftpad">The Happy Average. 1904.</li> +<li class="star">*The Turn of the Balance. 1907.</li> +<li><span class='pagenum'><a name="Page_160" id="Page_160">[160]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Abraham Lincoln. 1908.</span></li> +<li class="leftpad">The Gold Brick. 1910.</li> +<li class="leftpad">On the Enforcement of Law in Cities. 1910.</li> +<li class="leftpad">The Fall Guy. 1912.</li> +<li class="leftpad">Forty Years of It. 1914.</li> +<li class="leftpad">Memories of Belgium Under the German Occupation. 1918.</li> +<li class="leftpad">Belgium; a Personal Narrative. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Am. M. 69 (’10): 599, 601 (portrait); 82 (’16): Nov., p. 30. (portrait).</li> +<li class="leftpad">Arena, 37 (’07): 560 (portrait), 623.</li> +<li class="leftpad">Bookm. (Lond.) 56 (’19): 58 (portrait), 201.</li> +<li class="leftpad">Cur. Op. 58 (’15): 167 (portrait).</li> +<li class="leftpad">Everybody’s, 38 (’18): Jan., p. 25 (portrait).</li> +<li class="leftpad">Harper’s, 129 (’14): 310.</li> +<li class="leftpad">Lit. Digest, 51 (’15): 1240, 1352 (portrait).</li> +<li class="leftpad">Nation, 105 (’17): 21.</li> +<li class="leftpad">New Repub. 5 (’15): 86.</li> +<li class="leftpad">No. Am. 192 (’10): 93. (Howells.)</li> +<li class="leftpad">Outlook, 111 (’15): 652, 661 (portrait).</li> +<li class="leftpad">R. of Rs. 43 (’11): 119; 52 (’15): 703 (portrait).</li> +<li class="leftpad">Spec. 122 (’19): 795.</li> +</ul> + + + +<p class="author"><a name="Widdemer_M" id="Widdemer_M"></a><b>Margaret Widdemer (Mrs. Robert Haven Schauffler)</b>—poet, novelist.</p> + +<p>Born at Doylestown, Pennsylvania. Educated at home. Graduate of the +Drexel Institute Library School, 1909. Her first published poem, +“Factories,” attracted wide attention for its humanitarian interest. In +1918, she shared with Carl Sandburg (<a href="#Sandburg_C">q. v.</a>) the prize of the Poetry +Society of America. Her verse reflects the attitudes and interests of the +modern woman.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Rose-Garden Husband. 1915. (Novel.)</li> +<li class="star">*Factories, with Other Lyrics. 1915.</li> +<li class="leftpad">Why Not? 1915. (Novel.)</li> +<li class="leftpad">The Wishing-Ring Man. 1917. (Novel.)</li> +<li class="leftpad">The Old Road to Paradise. 1918.</li> +<li class="leftpad">You’re Only Young Once. 1918. (Novel.)</li> +<li class="leftpad">The Board Walk. 1919. (Short stories.)</li> +<li class="leftpad">I’ve Married Marjorie. 1920. (Novel.)</li> +<li class="leftpad">Cross-Currents. 1921.</li> +<li class="leftpad">The Year of Delight. 1921. (Novel.)</li> +<li class="leftpad">A Minister of Grace. 1922. (Short stories.)</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_161" id="Page_161">[161]</a></span></p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li class="leftpad">Bookm. 42 (’15): 458; 47 (’18): 392.</li> +<li class="leftpad">Poetry, 7 (’15): 150; 14 (’19): 273.</li> +<li class="leftpad">See also <i>Book Review Digest</i>, 1915, 1917, 1918, 1920, 1921.</li> +</ul> + +<p class="author"><a name="Wiggin_K" id="Wiggin_K"></a><b>Kate Douglas Wiggin (Mrs. George C. Riggs)</b>—Story-writer.</p> + +<p>Born at Philadelphia, 1859. As a child, lived in New England and was +educated at home, and at Abbott Academy, Andover, Massachusetts. Honorary +Litt. D., Bowdoin, 1906. Studied to be a kindergarten teacher. Later, her +family moved to Southern California and she organized the first free +kindergarten for poor children on the Pacific coast. Her kindergarten +experience is seen in her first two books. She has continued her interest +in kindergarten work. Musician (piano and vocal); composer.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Birds’ Christmas Carol. 1888.</li> +<li class="leftpad">The Story of Patsy. 1889.</li> +<li class="star">*Timothy’s Quest. 1890.</li> +<li class="leftpad">Penelope’s English Experiences. 1893.</li> +<li class="leftpad">Penelope’s Progress. 1898.</li> +<li class="leftpad">Penelope’s Experiences in Ireland. 1901.</li> +<li class="star">*Rebecca of Sunnybrook Farm. 1903. (Play, 1908.)</li> +<li class="leftpad">Rose o’ the River. 1905.</li> +<li class="leftpad">New Chronicles of Rebecca. 1907.</li> +<li class="leftpad">The Old Peabody Pew. 1907. (Play, 1917.)</li> +<li class="leftpad">Mother Carey’s Chickens. 1911. (Play, 1915.)</li> +<li class="leftpad">The Story of Waitstill Baxter. 1913.</li> +<li class="leftpad">Penelope’s Postscripts. 1915. (Play.)</li> +<li class="leftpad">Collected Works. 1917.</li> +<li class="leftpad">Ladies-in-Waiting. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Halsey. (Women.)</li> +<li class="leftpad">Harkins. (Women.)</li> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Overton.</li> +<li class="leftpad">Wiggin, K. D. The Girl and the Kingdom: Learning to Teach.</li> +<li><span class='pagenum'><a name="Page_162" id="Page_162">[162]</a></span> +<span style="font-size: 90%; padding-left: 0.5em;">Atlan. 90 (’02): 276.</span></li> +<li class="leftpad">Bk. Buyer, 8 (’91): 285.</li> +<li class="leftpad">Bookm. 18 (’03): 4 (portrait), 652; 20 (’05): 402 (portrait); +25 (’07): 226 (portrait), 304, 566; 32 (’10): 236 (portrait); +40 (’15): 478.</li> +<li class="leftpad">Bookm. (Lond.) 38 (’10): 149 (portrait); 43 (’12): 9.</li> +<li class="leftpad">Critic, 43 (’03): 388; 47 (’05): 197. (Portraits.)</li> +<li class="leftpad">Cur. Lit. 30 (’01): 277.</li> +<li class="leftpad">J. Educ. 83 (’16): 594 (portrait).</li> +<li class="leftpad">Lamp, 29 (’05): 585.</li> +<li class="leftpad">Lit. Digest, 63 (’19): 30 (portrait).</li> +<li class="leftpad">Outlook, 75 (’03): 847 (portrait).</li> +</ul> + + + +<p class="author"><a name="Wilde_P" id="Wilde_P"></a><b>Percival Wilde</b>—dramatist.</p> + +<p>Born in New York City, 1887. B. S., Columbia, 1906. Banker, inventor, +reviewer. Has been writing plays since 1912, and has had many produced in +Little Theatres.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Dawn, with The Noble Lord, The Traitor, A House of Cards, Playing with +Fire, The Finger of God; One-Act Plays of Life Today. 1915.</li> +<li class="leftpad">Confessional, and Other American Plays. 1916. (Confessional, The Villain +in the Piece, According to Darwin, A Question of Morality, The +Beautiful Story.)</li> +<li class="leftpad">The Unseen Host, and Other War Plays. 1917. (The Unseen Host, Mothers +of Men, Pawns, In the Ravine, Valkyrie.)</li> +</ul> + +<p>For Bibliography of unpublished plays, see <i>Who’s Who in America</i>.</p> + +<p>For Reviews, see the <i>Book Review Digest</i>, 1915-17.</p> + + + +<p class="author"><a name="Wilkinson_M" id="Wilkinson_M"></a><b>Marguerite (Ogden Bigelow) Wilkinson</b> (<b>Mrs. James G. Wilkinson</b>, Nova +Scotia, Canada, 1883)—poet.</p> + +<p>Compiler of <i>Golden Songs of the Golden State</i> (California anthology), +1917, and of <i>New Voices</i>, (studies in modern poetry with extensive +quotations), 1919. Has also published several volumes of poetry.</p> + + + +<p class="author"><a name="Williams_B" id="Williams_B"></a><b>Ben Ames Williams</b>—novelist.</p> + +<p>Born at Macon, Mississippi, 1889. A. B., Dartmouth, 1910. Newspaper writer +until 1916.<span class='pagenum'><a name="Page_163" id="Page_163">[163]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">All the Brothers Were Valiant. 1919.</li> +<li class="leftpad">The Sea Bride. 1919.</li> +<li class="leftpad">The Great Accident. 1920.</li> +<li class="leftpad">Evered. 1921.</li> +</ul> + +<p>For reviews, <i>see Book Review Digest</i>, 1919, 1920, 1921.</p> + + + +<p class="author"><a name="Williams_J" id="Williams_J"></a><b>Jesse Lynch Williams</b> (Illinois, 1871)—novelist, short-story writer.</p> + +<p>First attracted attention with his stories of college life. For +bibliography, see <i>Who’s Who in America</i>.</p> + + + +<p class="author"><a name="Williams_W" id="Williams_W"></a><b>William Carlos Williams</b>—poet.</p> + +<p>Born in 1883. Physician. Lives in Rutherford, New Jersey, where his first +book was privately printed. Co-editor of <i>Contract</i>.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">Poems. 1909.</li> +<li class="leftpad">The Tempers. 1913.</li> +<li class="leftpad">A Book of Poems, Al Que Quiere. 1917.</li> +<li class="leftpad">Kora in Hell: Improvisations. 1920.</li> +<li class="leftpad">Sour Grapes. 1921.</li> +<li class="leftpad">Also in: Des Imagistes. 1914.</li> +<li style="font-size: 90%; padding-left: 3.8em;">Dial. (<i>Passim.</i>)</li> +<li style="font-size: 90%; padding-left: 3.8em;">Egoist. (<i>Passim.</i>)</li> +<li style="font-size: 90%; padding-left: 3.8em;">Little Review. (<i>Passim.</i>)</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Dial, 70 (’21): 352, 565; 72 (’22): 197.</li> +<li class="leftpad">Poetry, 17 (’21): 329.</li> +</ul> + + + +<p class="author"><a name="Wilson_H" id="Wilson_H"></a><b>Harry Leon Wilson</b> (Illinois, 1867)—novelist, dramatist.</p> + +<p>His best-known novel is <i>Ruggles of Red Gap</i>, 1915. Collaborated with +Booth Tarkington (<a href="#Tarkington_B">q. v.</a>) in the plays, <i>The Man from Home</i>, 1908, and +<i>Bunker Bean</i>, 1912. For bibliography, see <i>Who’s Who in America</i>.<span class='pagenum'><a name="Page_164" id="Page_164">[164]</a></span></p> + + + +<p class="author"><a name="Wister_O" id="Wister_O"></a><b>Owen Wister</b>—novelist.</p> + +<p>Born at Philadelphia, 1860. A. B., Harvard, 1882; A. M., LL. B., 1888; +honorary LL. D., University of Pennsylvania, 1907. Admitted to the +Philadelphia bar, 1889. In literary work since 1891.</p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">The Dragon of Wantley—His Tail. 1892.</li> +<li class="leftpad">Red Men and White. 1896.</li> +<li class="leftpad">Lin McLean. 1898. (Short stories.)</li> +<li class="leftpad">The Jimmy John Boss. 1900.</li> +<li class="star">*The Virginian. 1902.</li> +<li class="leftpad">Philosophy 4. 1903.</li> +<li class="leftpad">A Journey in Search of Christmas. 1904.</li> +<li class="star">*Lady Baltimore. 1906.</li> +<li class="leftpad">The Seven Ages of Washington. 1907. (Biography.)</li> +<li class="leftpad">Members of the Family. 1911. (Short stories.)</li> +<li class="leftpad">The Pentecost of Calamity. 1915. (Germany in 1914.)</li> +<li class="leftpad">The Straight Deal; or The Ancient Grudge. 1920.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Cooper.</li> +<li class="leftpad">Bk. Buyer, 25 (’02): 199.</li> +<li class="leftpad">Bookm. 27 (’08): 458, 465 (portrait).</li> +<li class="leftpad">Critic, 41 (’02): 358.</li> +<li class="leftpad">Cur. Lit. 33 (’02): 127 (portrait), 238.</li> +<li class="leftpad">Dial, 59 (’15): 303.</li> +<li class="leftpad">Ind. 60 (’06): 1159 (portrait).</li> +<li class="leftpad">Lond. Times, July 4, 1902: 196.</li> +<li class="leftpad">World’s Work, 5 (’02): 2792, 2795 (portrait); 6 (’03): 3694.</li> +</ul> + + + +<p class="author"><a name="Wood_C" id="Wood_C"></a><b>Charles Erskine Scott Wood</b>—poet.</p> + +<p>Born at Erie, Pennsylvania, 1852. Graduate of U. S. Military Academy, +1874; Ph. B., LL. B., Columbia, 1883. Served in the U. S. Army, 1874-84, in +various campaigns against the Indians. Admitted to the bar, 1884, in +Portland, Oregon, and practiced until he retired, 1919. Painting, as well +as writing, an avocation.</p> + +<p>His knowledge of the Indians and of the desert appears in his principal +work, a long poem in the manner of Whitman, <i>The Poet in the Desert</i>.<span class='pagenum'><a name="Page_165" id="Page_165">[165]</a></span></p> + + +<p class="center"><span class="smcap">Bibliography</span></p> + + +<ul class="bib"><li class="leftpad">A Book of Tales, Being Myths of the North American Indians. 1901.</li> +<li class="leftpad">A Masque of Love. 1904.</li> +<li class="star">*The Poet in the Desert. 1915.</li> +<li class="leftpad">Maia. 1916.</li> +<li class="leftpad">Circe. 1919.</li> +</ul> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Untermeyer.</li> +<li class="leftpad">Cur. Op. 59 (’15): 268.</li> +<li class="leftpad">Poetry, 6 (’15): 311.</li> +<li class="leftpad">Sunset, 28 (’12): 232 (portrait).</li> +</ul> + + + +<p class="author"><a name="Woodberry_G" id="Woodberry_G"></a><b>George Edward Woodberry</b>—poet, critic.</p> + +<p>Born at Beverly, Massachusetts, 1855. A. B., Harvard, 1877. Honorary +higher degrees. Professor of English at the University of Nebraska, +1877-8, 1880-2, and of comparative literature, Columbia, 1891-1904.</p> + +<p>Mr. Woodberry has published many volumes of poetry and criticism. His +critical writings were brought together in his <i>Collected Essays</i> (six +volumes) in 1921. His most recent volume of poetry is <i>The Roamer and +Other Poems</i>, 1920.</p> + + +<p class="center"><span class="smcap">Studies and Reviews</span></p> + +<ul class="bib"> +<li class="leftpad">Bacon, E. M. Literary Pilgrimages, 1902.</li> +<li class="leftpad">Halsey.</li> +<li class="leftpad">Ledoux, L. V. The Poetry of George Edward Woodberry. 1917.</li> +<li class="leftpad">Rittenhouse.</li> +<li> </li> +<li class="leftpad">Bookm. 17 (’03): 336 (portrait); 47 (’18): 549.</li> +<li class="leftpad">Critic, 43 (’03): 321 (portrait), 327.</li> +<li class="leftpad">Cur. Lit. 33 (’02): 513; 42 (’07): 289 (portrait).</li> +<li class="leftpad">Manchester Guardian Wkly., Jan. 20, 1922: 53.</li> +<li class="leftpad">Outlook, 64 (’00): 875.</li> +<li class="leftpad">Poetry, 3 (’13): 69; 11(’17): 103.</li> +<li class="leftpad">Weekly Review, 4 (’21): 273.</li> +</ul> +<p><span class='pagenum'><a name="Page_166" id="Page_166">[166]</a></span></p> + + + +<hr style="width: 65%;" /> +<p class="noindent"><span class='pagenum'><a name="Page_167" id="Page_167">[167]</a></span></p> + +<h2 class="chapterhead"><a name="AUTHORS_FORM" id="AUTHORS_FORM"></a>CLASSIFIED INDEXES</h2> + + +<p class="center">(Since the authors appear in the body of the book in alphabetical order, +page references have been omitted in these indexes.)</p> + + +<p class="indhead">I. POETS</p> + + +<ul class="bib"> +<li><a href="#Adams_F">Adams, Franklin P.</a></li> +<li><a href="#Aiken_C">Aiken, Conrad</a></li> +<li><a href="#Akins_Z">Akins, Zoë</a></li> +<li><a href="#Aldington_M">Aldington, Mrs. Richard (“H. D.”)</a></li> +<li><a href="#Anderson_S">Anderson, Sherwood</a></li> +<li><a href="#Arensberg_W">Arensberg, Walter Conrad</a></li> +<li><a href="#Bangs_J">Bangs, John Kendrick</a></li> +<li><a href="#Benet_S">Benét, Stephen Vincent</a></li> +<li><a href="#Benet_W">Benét, William Rose</a></li> +<li><a href="#Bodenheim_M">Bodenheim, Maxwell</a></li> +<li><a href="#Brody_A">Brody, Alter</a></li> +<li><a href="#Brown_A">Brown, Alice</a></li> +<li><a href="#Burroughs_J">Burroughs, John</a></li> +<li><a href="#Burton_R">Burton, Richard</a></li> +<li><a href="#Bynner_W">Bynner, Witter</a></li> +<li><a href="#Cabell_J">Cabell, James Branch</a></li> +<li><a href="#Carman_B">Carman, Bliss</a></li> +<li><a href="#Clark_B">Clark, Badger</a></li> +<li><a href="#Cleghorn_S">Cleghorn, Sarah Norcliffe</a></li> +<li><a href="#Conkling_G">Conkling, Grace Hazard</a></li> +<li><a href="#Conkling_H">Conkling, Hilda</a></li> +<li><a href="#Corbin_A">Corbin, Alice</a></li> +<li><a href="#Crapsey_A">Crapsey, Adelaide</a></li> +<li><a href="#Cromwell_G">Cromwell, Gladys</a></li> +<li><a href="#Daly_T">Daly, T. A.</a></li> +<li><a href="#Dargan_O">Dargan, Olive Tilford</a></li> +<li><a href="#Davies_M">Davies, Mary Carolyn</a></li> +<li><a href="#Deutsch_B">Deutsch, Babette</a></li> +<li><a href="#Eastman_M">Eastman, Max</a></li> +<li><a href="#Eliot_T">Eliot, T. S.</a></li> +<li><a href="#Erskine_J">Erskine, John</a></li> +<li><a href="#Faulks_T">Faulks, Theodosia (Garrison)</a></li> +<li><a href="#Ficke_A">Ficke, Arthur Davison (“Anne Knish”)</a></li> +<li><a href="#Fletcher_J">Fletcher, John Gould</a></li> +<li><a href="#Frost_R">Frost, Robert</a></li> +<li><a href="#Fuller_H">Fuller, Henry B.</a></li> +<li><a href="#Gale_Z">Gale, Zona</a></li> +<li><a href="#Garland_H">Garland, Hamlin</a></li> +<li><a href="#Gifford_F">Gifford, Fannie Stearns Davis</a></li> +<li><a href="#Giovannitti_A">Giovannitti, Arturo</a></li> +<li><a href="#Guiterman_A">Guiterman, Arthur</a></li> +<li><a href="#Hagedorn_H">Hagedorn, Hermann, Jr.</a></li> +<li><a href="#Howells_W">Howells, William Dean</a></li> +<li><a href="#Johns_O">Johns, Orrick</a></li> +<li><a href="#Johnson_R">Johnson, Robert Underwood</a></li> +<li><a href="#Kilmer_A">Kilmer, Aline</a></li> +<li><a href="#Kilmer_J">Kilmer, Joyce</a></li> +<li><a href="#Knibbs_H">Knibbs, H. H.</a></li> +<li><a href="#Kreymborg_A">Kreymborg, Alfred</a></li> +<li><a href="#Lindsay_V">Lindsay, Vachel</a></li> +<li><a href="#Lowell_A">Lowell, Amy</a></li> +<li><a href="#Mackaye_P">Mackaye, Percy</a></li> +<li><a href="#Markham_E">Markham, Edwin</a></li> +<li><a href="#Marquis_D">Marquis, Don</a></li> +<li><a href="#Martin_E">Martin, Edward Sandford</a></li> +<li><a href="#Masters_E">Masters, Edgar Lee</a></li> +<li><a href="#Mifflin_L">Mifflin, Lloyd</a></li> +<li><a href="#Millay_E">Millay, Edna St. Vincent</a></li> +<li><a href="#Monroe_H">Monroe, Harriet</a></li> +<li><a href="#Moore_M">Moore, Marianne</a></li> +<li><a href="#Morley_C">Morley, Christopher</a></li> +<li><a href="#Neihardt_J">Neihardt, John G.</a></li> +<li><a href="#Norton_G">Norton, Grace Fallow</a></li> +<li><a href="#Oppenheim_J">Oppenheim, James</a></li> +<li><a href="#Peabody_J">Peabody, Josephine Preston</a></li> +<li><a href="#Piper_E">Piper, Edwin Ford</a></li> +<li><a href="#Pound_E">Pound, Ezra</a></li> +<li><span class='pagenum'><a name="Page_168" id="Page_168">[168]</a></span> +<a href="#Reese_L">Reese, Lizette Woodward</a></li> +<li><a href="#Rice_C">Rice, Cale Young</a></li> +<li><a href="#Ridge_L">Ridge, Lola</a></li> +<li><a href="#Riley_J">Riley, James Whitcomb</a></li> +<li><a href="#Roberts_C">Roberts, Charles George Douglas</a></li> +<li><a href="#Robinson_E_A">Robinson, Edwin Arlington</a></li> +<li><a href="#Robinson_E_M">Robinson, Edwin Meade</a></li> +<li><a href="#Sandburg_C">Sandburg, Carl</a></li> +<li><a href="#Santayana_G">Santayana, George</a></li> +<li><a href="#Sarett_L">Sarett, Lew R.</a></li> +<li><a href="#Scollard_C">Scollard, Clinton</a></li> +<li><a href="#Scott_E">Scott, Evelyn</a></li> +<li><a href="#Seeger_A">Seeger, Alan</a></li> +<li><a href="#Sterling_G">Sterling, George</a></li> +<li><a href="#Stevens_W">Stevens, Wallace</a></li> +<li><a href="#Stringer_A">Stringer, Arthur</a></li> +<li><a href="#Taylor_B">Taylor, Bert Leston (“B. L. T.”)</a></li> +<li><a href="#Teasdale_S">Teasdale, Sara</a></li> +<li><a href="#Tietjens_E">Tietjens, Eunice</a></li> +<li><a href="#Torrence_R">Torrence, Ridgely</a></li> +<li><a href="#Traubel_H">Traubel, Horace</a></li> +<li><a href="#Untermeyer_J">Untermeyer, Jean Starr</a></li> +<li><a href="#Untermeyer_L">Untermeyer, Louis</a></li> +<li><a href="#Van_Dyke_H">Van Dyke, Henry</a></li> +<li><a href="#Wattles_W">Wattles, Willard</a></li> +<li><a href="#Welles_W">Welles, Winifred</a></li> +<li><a href="#Wheelock_J">Wheelock, John Hall</a></li> +<li><a href="#Widdemer_M">Widdemer, Margaret</a></li> +<li><a href="#Wilkinson_M">Wilkinson, Marguerite</a></li> +<li><a href="#Williams_W">Williams, William Carlos</a></li> +<li><a href="#Wood_C">Wood, C. E. S.</a></li> +<li><a href="#Woodberry_G">Woodberry, George Edward</a></li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_169" id="Page_169">[169]</a></span></p> + + +<p class="indhead"><a name="SUPPLEMENTARY_LIST_OF_POETS" id="SUPPLEMENTARY_LIST_OF_POETS"></a>SUPPLEMENTARY LIST OF POETS</p> + + +<p>(Not included in this volume, but included in Untermeyer’s <i>Modern +American Poetry</i>, Monroe and Henderson’s <i>The New Poetry</i>, or <i>Others</i> +for 1916, 1917, 1919.)</p> + + +<ul class="bib"> +<li>Aldis, Mary. Monroe. Others, 1916.</li> +<li>Barrett, Wilton Agnew. Monroe.</li> +<li>Beach, Joseph Warren. Monroe.</li> +<li>Branch, Anna Hempstead. Untermeyer.</li> +<li>Britten, Rollo. Monroe.</li> +<li>Brown, Robert Carleton. Others, <a name="corr18" id="corr18"></a><ins class="correction" title="1916.">1916</ins></li> +<li>Burr, Amelia Josephine. Untermeyer.</li> +<li>Cannéll, Skipwith. Monroe. Others, 1916, 1917.</li> +<li>Carnevale, Emanuele. Others, 1919.</li> +<li>Curran, Edwin. Untermeyer.</li> +<li>Dodd, Lee Wilson. Monroe.</li> +<li>D’Orge, Jeanne. Others, 1917, 1919.</li> +<li>Driscoll, Louise. Monroe.</li> +<li>Dudley, Dorothy. Monroe.</li> +<li>Dudley, Helen. Monroe.</li> +<li>Evans, Donald. Others, 1919.</li> +<li>Frank, Florence Kiper. Monroe.</li> +<li>Gilman, Charlotte P. S. Untermeyer.</li> +<li>Glaenzer, Richard Butler. Monroe.</li> +<li>Gorman, Herbert S. Untermeyer.</li> +<li>Gould, Wallace. Others, 1919.</li> +<li>Gregg, Frances. Others, 1916.</li> +<li>Groff, Alice. Others, 1916.</li> +<li>Guiney, Louise Imogen. Untermeyer.</li> +<li>Hartley, Marsden. Others, 1916.</li> +<li>Hartpence, Alanson. Others, 1916.</li> +<li>Helton, Roy. Untermeyer.</li> +<li>Herford, Oliver. Untermeyer.</li> +<li>Holley, Horace. Monroe. Others, 1916.</li> +<li>Hoyt, Helen. Monroe. Others, 1916, 1917.</li> +<li>Iris, Scharmel. Monroe.</li> +<li>Jennings, Leslie Nelson. Untermeyer.</li> +<li>Johnson, Fenton. Others, 1919.</li> +<li>Kemp, Harry. Untermeyer.</li> +<li>Laird, William. Monroe.</li> +<li>Lee, Agnes. Monroe.</li> +<li>Leonard, William Ellery. Monroe. Untermeyer.</li> +<li>Long, Lily A. Others, 1919.</li> +<li>Loy, Mina. Others, 1916, 1917, 1919.</li> +<li>McCarthy, John Russell. Others, 1916.</li> +<li>McClure, John. Others, 1916.</li> +<li>Michelson, Max. Monroe. Others, 1919.</li> +<li>Morton, David. Untermeyer.</li> +<li>Noguchi, Yone. Monroe.</li> +<li>O’Brien, Edward J. Others, 1916.</li> +<li>O’Neil, David. Others, 1917.</li> +<li>O’Sheel, Shaemas. Untermeyer.</li> +<li>Ramos, Edward. Others, 1916.</li> +<li>Ray, Man. Others, 1916.</li> +<li>Reed, John. Monroe.</li> +<li>Reyher, Ferdinand. Others, 1916.</li> +<li>Rodker, John. Others, 1916, 1917.</li> +<li>Sainsbury, Hester. Others, 1916.</li> +<li>Sanborn, Pitts. Others, 1916.</li> +<li>Sanborn, Robert Alden. Others, 1916, 1917, 1919.</li> +<li><span class='pagenum'><a name="Page_170" id="Page_170">[170]</a></span> + Saphier, William. Others, 1919.</li> +<li>Seiffert, Marjorie Allen. Others, 1919.</li> +<li>Shanafelt, Clara. Monroe.</li> +<li>Shaw, Frances. Monroe.</li> +<li>Sherman, Frank Dempster. Untermeyer.</li> +<li>Skinner, Constance Lindsay. Monroe.</li> +<li>Syrian, Ajan. Monroe.</li> +<li>Thomas, Edith Matilda. Untermeyer.</li> +<li>Towne, Charles Hanson. Monroe.</li> +<li>Upward, Allen. Monroe.</li> +<li>White, Hervey. Monroe.</li> +<li>Wilkinson, Florence. Monroe.</li> +<li>Wolff, Adolph. Others. 1916.</li> +<li>Wyatt, Edith. Monroe.</li> +<li>Zorach, Marguerite. Others, 1916.</li> +<li>Zorach, William. Others, 1916.</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_171" id="Page_171">[171]</a></span></p> + + +<p class="indhead">II. DRAMATISTS</p> + + +<ul class="bib"> +<li><a href="#Ade_G">Ade, George</a></li> +<li><a href="#Akins_Z">Akins, Zoë</a></li> +<li><a href="#Austin_M">Austin, Mary Hunter</a></li> +<li><a href="#Belasco_D">Belasco, David</a></li> +<li><a href="#Broadhurst_G">Broadhurst, George H.</a></li> +<li><a href="#Brown_A">Brown, Alice</a></li> +<li><a href="#Bynner_W">Bynner, Witter</a></li> +<li><a href="#Churchill_W">Churchill, Winston</a></li> +<li><a href="#Cobb_I">Cobb, Irvin S.</a></li> +<li><a href="#Cook_G">Cook, George Cram</a></li> +<li><a href="#Crothers_R">Crothers, Rachel</a></li> +<li><a href="#Dargan_O">Dargan, Olive Tilford</a></li> +<li><a href="#Dell_F">Dell, Floyd</a></li> +<li><a href="#Dreiser_T">Dreiser, Theodore</a></li> +<li><a href="#Ferber_E">Ferber, Edna</a></li> +<li><a href="#Freeman_M">Freeman, Mary E. Wilkins</a></li> +<li><a href="#Fuller_H">Fuller, Henry B.</a></li> +<li><a href="#Gale_Z">Gale, Zona</a></li> +<li><a href="#Glaspell_S">Glaspell, Susan</a></li> +<li><a href="#Glass_M">Glass, Montague</a></li> +<li><a href="#Goodman_K">Goodman, Kenneth Sawyer</a></li> +<li><a href="#Hamilton_C">Hamilton, Clayton</a></li> +<li><a href="#Hecht_B">Hecht, Ben</a></li> +<li><a href="#Hergesheimer_J">Hergesheimer, Joseph</a></li> +<li><a href="#Howells_W">Howells, William Dean</a></li> +<li><a href="#James_H">James, Henry</a></li> +<li><a name="corr19" id="corr19"></a><ins class="correction" title="Kennedy,"><a href="#Kennedy_C">Kennedy</a></ins><a href="#Kennedy_C"> Charles Rann</a></li> +<li><a href="#Kreymborg_A">Kreymborg, Alfred</a></li> +<li><a href="#Lovett_R">Lovett, Robert Morss</a></li> +<li><a href="#Mackaye_P">Mackaye, Percy</a></li> +<li><a href="#Marks_J">Marks, Jeannette</a></li> +<li><a href="#Middleton_G">Middleton, George</a></li> +<li><a href="#Millay_E">Millay, Edna St. Vincent</a></li> +<li><a href="#Moeller_P">Moeller, Philip</a></li> +<li><a href="#Morley_C">Morley, Christopher</a></li> +<li><a href="#ONeill_E">O’Neill, Eugene</a></li> +<li><a href="#Peabody_J">Peabody, Josephine Preston</a></li> +<li><a href="#Pinski_D">Pinski, David</a></li> +<li><a href="#Rice_C">Rice, Cale Young</a></li> +<li><a href="#Robinson_E_A">Robinson, Edwin Arlington</a></li> +<li><a href="#Sheldon_E">Sheldon, Edward Brewster</a></li> +<li><a href="#Tarkington_B">Tarkington, Booth</a></li> +<li><a href="#Thomas_A">Thomas, Augustus</a></li> +<li><a href="#Torrence_R">Torrence, Ridgely</a></li> +<li><a href="#Walker_S">Walker, Stuart</a></li> +<li><a href="#Walter_E">Walter, Eugene</a></li> +<li><a href="#Wellman_R">Wellman, Rita</a></li> +<li><a href="#Wilde_P">Wilde, Percival</a></li> +<li><a href="#Wilson_H">Wilson, Harry Leon</a></li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_172" id="Page_172">[172]</a></span></p> + + +<p class="indhead">III. NOVELISTS</p> + + +<ul class="bib"> +<li><a href="#Adams_H">Adams, Henry</a></li> +<li><a href="#Aikman_H">Aikman, H. G.</a></li> +<li><a href="#Allen_J">Allen, James Lane</a></li> +<li><a href="#Anderson_S">Anderson, Sherwood</a></li> +<li><a href="#Andrews_M">Andrews, Mary Raymond Shipman</a></li> +<li><a href="#Atherton_G">Atherton, Gertrude Franklin</a></li> +<li><a href="#Austin_M">Austin, Mary Hunter</a></li> +<li><a href="#Bacheller_I">Bacheller, Irving</a></li> +<li><a href="#Bacon_J">Bacon, Josephine Dodge Daskam</a></li> +<li><a href="#Beach_R">Beach, Rex Ellingwood</a></li> +<li><a href="#Benet_S">Benét, Stephen Vincent</a></li> +<li><a href="#Bjorkman_E">Björkman, Edwin Brooks, C. S.</a></li> +<li><a href="#Brown_A">Brown, Alice</a></li> +<li><a href="#Bullard_A">Bullard, Arthur (“Albert Edwards”)</a></li> +<li><a href="#Burnett_F">Burnett, Frances Hodgson</a></li> +<li><a href="#Cabell_J">Cabell, James Branch</a></li> +<li><a href="#Cable_G">Cable, George W.</a></li> +<li><a href="#Cahan_A">Cahan, Abraham</a></li> +<li><a href="#Cather_W">Cather, Willa Sibert</a></li> +<li><a href="#Chester_G">Chester, George Randolph</a></li> +<li><a href="#Churchill_W">Churchill, Winston</a></li> +<li><a href="#Cleghorn_S">Cleghorn, Sarah</a></li> +<li><a href="#Comfort_W">Comfort, Will Levington</a></li> +<li><a href="#Cournos_J">Cournos, John</a></li> +<li><a href="#Curwood_J">Curwood, James Oliver</a></li> +<li><a href="#Deland_M">Deland, Margaretta Wade</a></li> +<li><a href="#Dell_F">Dell, Floyd</a></li> +<li><a href="#Dos_Passos_J">Dos Passos, John</a></li> +<li><a href="#Dreiser_T">Dreiser, Theodore</a></li> +<li>“Edwards, Albert.” <i>See</i> <a href="#Bullard_A">Bullard, Arthur</a></li> +<li><a href="#Ferber_E">Ferber, Edna</a></li> +<li><a href="#Fisher_D">Fisher, Dorothy Canfield</a></li> +<li><a href="#Fitzgerald_F">Fitzgerald, F. Scott</a></li> +<li><a href="#Fox_J">Fox, John, Jr.</a></li> +<li><a href="#Frank_W">Frank, Waldo David</a></li> +<li><a href="#Freeman_M">Freeman, Mary E. Wilkins</a></li> +<li><a href="#French_A">French, Alice (“Octave Thanet”)</a></li> +<li><a href="#Fuller_H">Fuller, Henry B.</a></li> +<li><a href="#Gale_Z">Gale, Zona</a></li> +<li><a href="#Garland_H">Garland, Hamlin</a></li> +<li><a name="corr20" id="corr20"></a><a href="#Gerould_K">Gerould, </a><ins class="correction" title="Katharine"><a href="#Gerould_K">Katherine</a></ins><a href="#Gerould_K"> Fullerton</a></li> +<li><a href="#Glasgow_E">Glasgow, Ellen</a></li> +<li><a href="#Glaspell_S">Glaspell, Susan</a></li> +<li><a href="#Grant_R">Grant, Robert</a></li> +<li><a href="#Grey_Z">Grey, Zane</a></li> +<li><a href="#Hagedorn_H">Hagedorn, Hermann</a></li> +<li><a href="#Hardy_A">Hardy, Arthur Sherburne</a></li> +<li><a href="#Harris_F">Harris, Frank</a></li> +<li><a href="#Harrison_H">Harrison, Henry Sydnor</a></li> +<li><a href="#Hecht_B">Hecht, Ben</a></li> +<li><a href="#Hergesheimer_J">Hergesheimer, Joseph</a></li> +<li><a href="#Herrick_R">Herrick, Robert</a></li> +<li><a href="#Howells_W">Howells, William Dean</a></li> +<li><a href="#Irwin_W">Irwin, Wallace</a></li> +<li><a href="#James_H">James, Henry</a></li> +<li><a href="#Johnson_O">Johnson, Owen</a></li> +<li><a href="#Johnston_M">Johnston, Mary</a></li> +<li><a href="#King_G">King, Grace</a></li> +<li><a href="#Kyne_P">Kyne, Peter B.</a></li> +<li><a href="#Lee_J">Lee, Jennette</a></li> +<li><a href="#Lefevre_E">Lefevre, Edwin</a></li> +<li><a href="#Lewis_S">Lewis, Sinclair</a></li> +<li><a href="#Lincoln_J">Lincoln, Joseph C.</a></li> +<li><a href="#London_J">London, Jack</a></li> +<li><a href="#Lovett_R">Lovett, Robert Morss</a></li> +<li><a href="#McCutcheon_G">McCutcheon, George Barr</a></li> +<li><a href="#Marks_J">Marks, Jeannette</a></li> +<li><a href="#Martin_G">Martin, George Madden</a></li> +<li><a href="#Martin_H">Martin, Helen Reimensnyder</a></li> +<li><a href="#Masters_E">Masters, Edgar Lee</a></li> +<li><a href="#Nathan_R">Nathan, Robert</a></li> +<li><a href="#Nicholson_M">Nicholson, Meredith</a></li> +<li><a href="#Norris_C">Norris, Charles G.</a></li> +<li><a href="#Norris_K">Norris, Kathleen</a></li> +<li><a href="#Oppenheim_J">Oppenheim, James</a></li> +<li><a href="#OSullivan_V">O’Sullivan, Vincent</a></li> +<li><a href="#Page_T">Page, Thomas Nelson</a></li> +<li><a href="#Perry_B">Perry, Bliss</a></li> +<li><a href="#Poole_E">Poole, Ernest</a></li> +<li><a href="#Quick_H">Quick, Herbert</a></li> +<li><a href="#Rice_A">Rice, Alice Hegan</a></li> +<li><span class='pagenum'><a name="Page_173" id="Page_173">[173]</a></span> + <a href="#Roberts_C">Roberts, Charles G. D.</a></li> +<li><a href="#Scott_E">Scott, Evelyn</a></li> +<li><a href="#Sedgwick_A">Sedgwick, Anne Douglas</a></li> +<li><a href="#Sinclair_U">Sinclair, Upton</a></li> +<li><a href="#Singmaster_E">Singmaster, Elsie</a></li> +<li><a href="#Steele_W">Steele, Wilbur Daniel</a></li> +<li><a href="#Stringer_A">Stringer, Arthur</a></li> +<li><a href="#Strunsky_S">Strunsky, Simeon</a></li> +<li><a href="#Tarkington_B">Tarkington, Booth</a></li> +<li>“Thanet, Octave.” <i>See</i> <a href="#French_A">French, Alice</a></li> +<li><a href="#Tietjens_E">Tietjens, Eunice</a></li> +<li><a href="#Tobenkin_E">Tobenkin, Elias</a></li> +<li><a href="#Watts_M">Watts, Mary S.</a></li> +<li><a href="#Webster_H">Webster, Henry Kitchell</a></li> +<li><a href="#Wharton_E">Wharton, Edith</a></li> +<li><a href="#White_S">White, Stewart Edward</a></li> +<li><a href="#Whitlock_B">Whitlock, Brand</a></li> +<li><a href="#Widdemer_M">Widdemer, Margaret</a></li> +<li><a href="#Wiggin_K">Wiggin, Kate Douglas</a></li> +<li><a href="#Williams_B">Williams, Ben Ames</a></li> +<li><a href="#Williams_J">Williams, Jesse Lynch</a></li> +<li><a href="#Wilson_H">Wilson, Harry Leon</a></li> +<li><a href="#Wister_O">Wister, Owen</a></li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_174" id="Page_174">[174]</a></span></p> + + +<p class="indhead">IV. SHORT-STORY WRITERS</p> + + +<ul class="bib"> +<li><a href="#Ade_G">Ade, George</a></li> +<li><a href="#Allen_J">Allen, James Lane</a></li> +<li><a href="#Anderson_S">Anderson, Sherwood</a></li> +<li><a href="#Andrews_M">Andrews, Mary Raymond Shipman</a></li> +<li><a href="#Austin_M">Austin, Mary Hunter</a></li> +<li><a href="#Bacon_J">Bacon, Josephine Dodge Daskam</a></li> +<li><a href="#Bangs_J">Bangs, John Kendrick</a></li> +<li><a href="#Bercovici_K">Bercovici, Konrad</a></li> +<li><a href="#Brown_A">Brown, Alice</a></li> +<li><a href="#Cabell_J">Cabell, James Branch</a></li> +<li><a href="#Cable_G">Cable, George W.</a></li> +<li><a href="#Cather_W">Cather, Willa Sibert</a></li> +<li><a href="#Chester_G">Chester, George Randolph</a></li> +<li><a href="#Cobb_I">Cobb, Irvin S.</a></li> +<li><a href="#Cohen_O">Cohen, Octavus Roy</a></li> +<li><a href="#Connolly_J">Connolly, James Brendan</a></li> +<li><a href="#Deland_M">Deland, Margaretta Wade</a></li> +<li><a href="#Dreiser_T">Dreiser, Theodore</a></li> +<li><a href="#Ferber_E">Ferber, Edna</a></li> +<li><a href="#Fisher_D">Fisher, Dorothy Canfield</a></li> +<li><a href="#Fitzgerald_F">Fitzgerald, F. Scott</a></li> +<li><a href="#Ford_S">Ford, Sewell</a></li> +<li><a href="#Fox_J">Fox, John</a></li> +<li><a href="#Freeman_M">Freeman, Mary E. Wilkins</a></li> +<li><a href="#French_A">French, Alice (“Octave Thanet”)</a></li> +<li><a href="#Fuller_H">Fuller, Henry B.</a></li> +<li><a href="#Gale_Z">Gale, Zona</a></li> +<li><a href="#Garland_H">Garland, Hamlin</a></li> +<li><a href="#Gerould_K">Gerould, Katharine Fullerton</a></li> +<li><a href="#Glaspell_S">Glaspell, Susan</a></li> +<li><a href="#Glass_M">Glass, Montague</a></li> +<li><a href="#Hergesheimer_J">Hergesheimer, Joseph</a></li> +<li><a href="#Howells_W">Howells, William Dean</a></li> +<li><a href="#Hurst_F">Hurst, Fannie</a></li> +<li><a href="#Irwin_W">Irwin, Wallace</a></li> +<li><a href="#James_H">James, Henry</a></li> +<li><a href="#Johnson_O">Johnson, Owen</a></li> +<li><a href="#King_G">King, Grace</a></li> +<li><a href="#Kyne_P">Kyne, Peter B.</a></li> +<li><a href="#Lee_J">Lee, Jennette</a></li> +<li><a href="#Lefevre_E">Lefevre, Edwin</a></li> +<li><a href="#London_J">London, Jack</a></li> +<li><a href="#Martin_G">Martin, George Madden</a></li> +<li><a href="#Martin_H">Martin, Helen Reimensnyder</a></li> +<li><a href="#Matthews_B">Matthews, Brander</a></li> +<li><a href="#Oppenheim_J">Oppenheim, James</a></li> +<li><a href="#OSullivan_V">O’Sullivan, Vincent</a></li> +<li><a href="#Page_T">Page, Thomas Nelson</a></li> +<li><a href="#Perry_B">Perry, Bliss</a></li> +<li><a href="#Pinski_D">Pinski, David</a></li> +<li><a href="#Rice_A">Rice, Alice Hegan</a></li> +<li><a href="#Singmaster_E">Singmaster, Elsie</a></li> +<li><a href="#Steele_W">Steele, Wilbur Daniel</a></li> +<li>“Thanet, Octave.” <i>See</i> <a href="#French_A">French, Alice</a></li> +<li><a href="#Van_Dyke_H">Van Dyke, Henry</a></li> +<li><a href="#Webster_H">Webster, Henry Kitchell</a></li> +<li><a href="#Wharton_E">Wharton, Edith</a></li> +<li><a href="#White_S">White, Stewart Edward</a></li> +<li><a href="#Widdemer_M">Widdemer, Margaret</a></li> +<li><a href="#Wiggin_K">Wiggin, Kate Douglas</a></li> +<li><a href="#Williams_J">Williams, Jesse Lynch</a></li> +<li><a href="#Wister_O">Wister, Owen</a></li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_175" id="Page_175">[175]</a></span></p> + + +<p class="indhead">V. ESSAYISTS</p> + + +<ul class="bib"> +<li><a href="#Adams_H">Adams, Henry</a></li> +<li><a href="#Beebe_W">Beebe, William</a></li> +<li><a href="#Bradford_G">Bradford, Gamaliel</a></li> +<li><a href="#Brooks_C">Brooks, Charles S.</a></li> +<li><a href="#Broun_H">Broun, Heywood</a></li> +<li><a href="#Burroughs_J">Burroughs, John</a></li> +<li><a href="#Crothers_S">Crothers, Samuel McChord</a></li> +<li><a href="#Eastman_M">Eastman, Max</a></li> +<li><a href="#Erskine_J">Erskine, John</a></li> +<li><a href="#Harris_F">Harris, Frank</a></li> +<li><a href="#Holliday_R">Holliday, Robert Cortes</a></li> +<li><a href="#Kilmer_J">Kilmer, Joyce</a></li> +<li><a href="#Martin_E">Martin, Edward Sandford</a></li> +<li><a href="#Matthews_B">Matthews, Brander</a></li> +<li><a href="#More_P">More, Paul Elmer</a></li> +<li><a href="#Morley_C">Morley, Christopher</a></li> +<li><a href="#Newton_A">Newton, Alfred Edward</a></li> +<li><a href="#Nicholson_M">Nicholson, Meredith</a></li> +<li><a href="#Pound_E">Pound, Ezra</a></li> +<li><a href="#Repplier_A">Repplier, Agnes</a></li> +<li><a href="#Smith_L">Smith, Logan Pearsall</a></li> +<li><a href="#Strunsky_S">Strunsky, Simeon</a></li> +<li><a href="#Tarbell_I">Tarbell, Ida</a></li> +<li><a href="#Van_Dyke_H">Van Dyke, Henry</a></li> +</ul> + + +<p class="indhead">VI. CRITICS</p> + + +<ul class="bib"> +<li><a href="#Aiken_C">Aiken, Conrad</a></li> +<li><a href="#Bjorkman_E">Björkman, Edwin</a></li> +<li><a href="#Brooks_V">Brooks, Van Wyck</a></li> +<li><a href="#Burton_R">Burton, Richard</a></li> +<li><a href="#Eastman_M">Eastman, Max</a></li> +<li><a href="#Eaton_W">Eaton, Walter Prichard</a></li> +<li><a href="#Eliot_T">Eliot, T. S.</a></li> +<li><a href="#Hackett_F">Hackett, Francis</a></li> +<li><a href="#Hamilton_C">Hamilton, Clayton</a></li> +<li><a href="#Holliday_R">Holliday, Robert Cortes</a></li> +<li><a href="#Howells_W">Howells, William Dean</a></li> +<li><a href="#Huneker_J">Huneker, James Gibbons</a></li> +<li><a href="#Lewisohn_L">Lewisohn, Ludwig</a></li> +<li><a href="#Littell_P">Littell, Philip</a></li> +<li><a href="#Lovett_R">Lovett, Robert Morss</a></li> +<li><a href="#Lowell_A">Lowell, Amy</a></li> +<li><a href="#Matthews_B">Matthews, Brander</a></li> +<li><a href="#Mencken_H">Mencken, H. L.</a></li> +<li><a href="#More_P">More, Paul Elmer</a></li> +<li><a href="#Nathan_G">Nathan, George Jean</a></li> +<li><a href="#Perry_B">Perry, Bliss</a></li> +<li><a href="#Phelps_W">Phelps, William Lyon</a></li> +<li><a href="#Pound_E">Pound, Ezra</a></li> +<li><a href="#Santayana_G">Santayana, George</a></li> +<li><a href="#Sherman_S">Sherman, Stuart P.</a></li> +<li><a href="#Untermeyer_L">Untermeyer, Louis</a></li> +<li><a href="#Van_Doren_C">Van Doren, Carl</a></li> +<li><a href="#Woodberry_G">Woodberry, George Edward</a></li> +</ul> + + +<p class="indhead">VII. WRITERS ON COUNTRY LIFE, NATURE, AND TRAVEL</p> + + +<ul class="bib"> +<li><a href="#Baker_R">Baker, Ray Stannard (“David Grayson”)</a></li> +<li><a href="#Beebe_W">Beebe, William</a></li> +<li><a href="#Burroughs_J">Burroughs, John</a></li> +<li><a href="#Eaton_W">Eaton, Walter Prichard</a></li> +<li>“Grayson, David.” <i>See</i> <a href="#Baker_R">Baker, Ray Stannard</a></li> +<li><a href="#Mills_E">Mills, Enos A.</a></li> +<li><a href="#OBrien_F">O’Brien, Frederick</a></li> +<li><a href="#Roberts_C">Roberts, Charles G. D.</a></li> +<li><a href="#Seton_E">Seton, Ernest Thompson</a></li> +<li><a href="#Sharp_D">Sharp, Dallas Lore</a></li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_176" id="Page_176">[176]</a></span></p> + + +<p class="indhead">VIII. HUMORISTS</p> + + +<ul class="bib"> +<li><a href="#Adams_F">Adams, Franklin P.</a></li> +<li><a href="#Ade_G">Ade, George</a></li> +<li><a href="#Bangs_J">Bangs, John Kendrick</a></li> +<li><a href="#Burgess_G">Burgess, Gelett</a></li> +<li><a href="#Cobb_I">Cobb, Irvin S.</a></li> +<li><a href="#Dunne_F">Dunne, Finley Peter</a></li> +<li><a href="#Leacock_S">Leacock, Stephen</a></li> +<li><a href="#Marquis_D">Marquis, Don</a></li> +<li><a href="#Martin_E">Martin, Edward Sandford</a></li> +<li><a href="#Robinson_E_M">Robinson, Edwin Meade</a></li> +<li><a href="#Taylor_B">Taylor, Bert Leston (“B. L. T.”)</a></li> +</ul> + + +<p class="indhead">IX. “COLUMNISTS”</p> + + +<ul class="bib"> +<li><a href="#Adams_F">Adams, Franklin P.</a></li> +<li><a href="#Broun_H">Broun, Heywood</a></li> +<li><a href="#Daly_T">Daly, Thomas Augustine</a></li> +<li><a href="#Marquis_D">Marquis, Don</a></li> +<li><a href="#Morley_C">Morley, Christopher</a></li> +<li><a href="#Robinson_E_M">Robinson, Edwin Meade</a></li> +<li><a href="#Taylor_B">Taylor, Bert Leston (“B. L. T.”)</a></li> +</ul> + + +<p class="indhead">X. WRITERS OF BIOGRAPHY, AUTOBIOGRAPHY, HISTORY</p> + + +<ul class="bib"> +<li><a href="#Adams_H">Adams, Henry</a></li> +<li><a href="#Antin_M">Antin, Mary</a></li> +<li><a href="#Burnett_F">Burnett, Frances Hodgson</a> (The One I Knew the Best of All)</li> +<li><a href="#Burroughs_J">Burroughs, John</a></li> +<li><a href="#Comfort_W">Comfort, Will Levington</a> (Mid-stream)</li> +<li><a href="#Du_Bois_W">Du Bois, William E. B.</a></li> +<li><a href="#Eastman_C">Eastman, Charles Alexander</a></li> +<li><a href="#Garland_H">Garland, Hamlin</a> (A Son of the Middle Border; a Daughter of the Middle + Border)</li> +<li><a href="#Harris_F">Harris, Frank</a></li> +<li><a href="#Howells_W">Howells, William Dean</a></li> +<li><a href="#Huneker_J">Huneker, James G.</a> (Steeplejack)</li> +<li><a href="#James_H">James, Henry</a></li> +<li><a href="#Lindsay_V">Lindsay, Vachel</a> (Prose)</li> +<li><a href="#London_J">London, Jack</a> (Martin Eden, John Barleycorn)</li> +<li><a href="#Sinclair_U">Sinclair, Upton</a> (Arthur Sterling)</li> +<li><a href="#Tarbell_I">Tarbell, Ida</a></li> +<li><a href="#Traubel_H">Traubel, Horace</a></li> +<li><a href="#Van_Loon_H">Van Loon, Hendrik Willem</a> (The Story of Mankind)</li> +<li><a href="#Whitlock_B">Whitlock, Brand</a></li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_177" id="Page_177">[177]</a></span></p> + + +<p class="indhead"><a name="AUTHORS_PLACE_OF_BIRTH" id="AUTHORS_PLACE_OF_BIRTH"></a>XI. AUTHORS GROUPED ACCORDING TO PLACE OF BIRTH</p> + +<p class="center">(In some cases information as to birthplace could not be obtained.)</p> + +<dl> +<dt><span class="smcap">Arkansas</span></dt> +<dd><a href="#Fletcher_J">Fletcher, John Gould</a></dd> +</dl> + +<dl> +<dt><span class="smcap">California</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a></dd> +<dd><a href="#Belasco_D">Belasco, David</a></dd> +<dd><a href="#Frost_R">Frost, Robert</a></dd> +<dd><a href="#Kyne_P">Kyne, Peter B.</a></dd> +<dd><a href="#London_J">London, Jack</a></dd> +<dd><a href="#Norris_C">Norris, Charles G.</a></dd> +<dd><a href="#Norris_K">Norris, Kathleen</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Connecticut</span></dt> +<dd><a href="#Bacon_J">Bacon, Josephine Dodge Daskam</a></dd> +<dd><a href="#Burton_R">Burton, Richard</a></dd> +<dd><a href="#Lee_J">Lee, Jennette</a></dd> +<dd><a href="#Phelps_W">Phelps, William Lyon</a></dd> +<dd><a href="#Welles_W">Welles, Winifred</a></dd> +</dl> + +<dl> +<dt><span class="smcap">District of Columbia</span> (Washington)</dt> +<dd><a href="#Johnson_R">Johnson, Robert Underwood</a></dd> +<dd><a href="#Wellman_R">Wellman, Rita</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Georgia</span></dt> +<dd><a href="#Aiken_C">Aiken, Conrad</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Idaho</span></dt> +<dd><a href="#Pound_E">Pound, Ezra</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Illinois</span></dt> +<dd><a href="#Austin_M">Austin, Mary</a></dd> +<dd><a href="#Corbin_A">Corbin, Alice</a> (Chicago)</dd> +<dd><a href="#Crothers_R">Crothers, Rachel</a></dd> +<dd><a href="#Crothers_S">Crothers, Samuel McChord</a></dd> +<dd><a href="#Dell_F">Dell, Floyd</a></dd> +<dd><a href="#Dunne_F">Dunne, Finley Peter</a> (Chicago)</dd> +<dd><a href="#Fuller_H">Fuller, Henry Blake</a> (Chicago)</dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a></dd> +<dd><a href="#Marquis_D">Marquis, Don</a></dd> +<dd><a href="#Monroe_H">Monroe, Harriet</a> (Chicago)</dd> +<dd><a href="#Neihardt_J">Neihardt, John G.</a></dd> +<dd><a href="#Poole_E">Poole, Ernest</a> (Chicago)</dd> +<dd><a href="#Sandburg_C">Sandburg, Carl</a></dd> +<dd><a href="#Sarett_L">Sarett, Lew A.</a> (Chicago)</dd> +<dd><a href="#Sheldon_E">Sheldon, Edward Brewster</a></dd> +<dd><a href="#Tietjens_E">Tietjens, Eunice</a> (Chicago)</dd> +<dd><a href="#Van_Doren_C">Van Doren, Carl</a></dd> +<dd><a href="#Webster_H">Webster, Henry Kitchell</a> (Chicago)</dd> +<dd><a href="#Williams_J">Williams, Jesse Lynch</a></dd> +<dd><a href="#Wilson_H">Wilson, Harry Leon</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Indiana</span></dt> +<dd><a href="#Ade_G">Ade, George</a></dd> +<dd><a href="#Dreiser_T">Dreiser, Theodore</a></dd> +<dd><a href="#Holliday_R">Holliday, Robert Cortes</a> (Indianapolis)</dd> +<dd><a href="#McCutcheon_G">McCutcheon, George Barr</a></dd> +<dd><a href="#Nathan_G">Nathan, George Jean</a></dd> +<dd><a href="#Nicholson_M">Nicholson, Meredith</a></dd> +<dd><a href="#Riley_J">Riley, James Whitcomb</a></dd> +<dd><a href="#Robinson_E_M">Robinson, Edwin Meade</a></dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (Indianapolis)</dd> +</dl> + +<dl> +<dt><span class="smcap">Iowa</span></dt> +<dd><a href="#Clark_B">Clark, Badger</a></dd> +<dd><a href="#Cook_G">Cook, George Cram</a></dd> +<dd><a href="#Ficke_A">Ficke, Arthur Davison</a></dd> +<dd><a href="#Glaspell_S">Glaspell, Susan</a></dd> +<dd><a href="#Sherman_S">Sherman, Stuart Pratt</a></dd> +</dl> +<p class="noindent"><span class='pagenum'><a name="Page_178" id="Page_178">[178]</a></span></p> + +<dl> +<dt><span class="smcap">Kansas</span></dt> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a></dd> +<dd><a href="#Masters_E">Masters, Edgar Lee</a></dd> +<dd><a href="#Mills_E">Mills, Enos A.</a></dd> +<dd><a href="#Wattles_W">Wattles, Willard</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Kentucky</span></dt> +<dd><a href="#Allen_J">Allen, James Lane</a></dd> +<dd><a href="#Cobb_I">Cobb, Irvin S.</a></dd> +<dd><a href="#Dargan_O">Dargan, Olive Tilford</a></dd> +<dd><a href="#Fox_J">Fox, John</a></dd> +<dd><a href="#Martin_G">Martin, George Madden</a></dd> +<dd><a href="#Rice_A">Rice, Alice Hegan</a></dd> +<dd><a href="#Rice_C">Rice, Cale Young</a></dd> +<dd><a href="#Walker_S">Walker, Stuart</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Louisiana</span></dt> +<dd><a href="#Cable_G">Cable, George Washington</a></dd> +<dd><a href="#King_G">King, Grace Elizabeth</a></dd> +<dd><a href="#Matthews_B">Matthews, Brander</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Maine</span></dt> +<dd><a href="#Millay_E">Millay, Edna St. Vincent</a></dd> +<dd><a href="#Robinson_E_A">Robinson, Edwin Arlington</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Maryland</span></dt> +<dd><a href="#Mencken_H">Mencken, H. L.</a> (Baltimore)</dd> +<dd><a href="#Sinclair_U">Sinclair, Upton</a> (Baltimore)</dd> +</dl> + +<dl> +<dt><span class="smcap">Massachusetts</span></dt> +<dd><a href="#Adams_H">Adams, Henry</a> (Boston)</dd> +<dd><a href="#Bradford_G">Bradford, Gamaliel</a> (Boston)</dd> +<dd><a href="#Burgess_G">Burgess, Gelett</a></dd> +<dd><a name="corr21" id="corr21"></a><a href="#corr21text">Child, Richard Washburn</a></dd> +<dd><a href="#Connolly_J">Connolly, James Brendan</a></dd> +<dd><a href="#Du_Bois_W">Du Bois, William E. B.</a></dd> +<dd><a href="#Eaton_W">Eaton, Walter Prichard</a></dd> +<dd><a href="#Freeman_M">Freeman, Mary E. Wilkins</a></dd> +<dd><a href="#French_A">French, Alice (“Octave Thanet”)</a></dd> +<dd><a name="corr22" id="corr22"></a><a href="#Gerould_K">Gerould, </a><ins class="correction" title="Katharine"><a href="#Gerould_K">Katherine</a></ins><a href="#Gerould_K"> Fullerton</a></dd> +<dd><a href="#Grant_R">Grant, Robert</a> (Boston)</dd> +<dd><a name="corr23" id="corr23"></a><a href="#Hardy_A">Hardy, Arthur </a><ins class="correction" title="Sherburne"><a href="#Hardy_A">Sherborne</a></ins></dd> +<dd><a href="#Herrick_R">Herrick, Robert</a> (Cambridge)</dd> +<dd><a href="#Lincoln_J">Lincoln, Joseph C.</a></dd> +<dd><a href="#Littell_P">Littell, Philip</a></dd> +<dd><a href="#Lovett_R">Lovett, Robert Morss</a> (Boston)</dd> +<dd><a href="#Lowell_A">Lowell, Amy</a> (Brookline)</dd> +<dd><a href="#Perry_B">Perry, Bliss</a></dd> +<dd><a href="#Taylor_B">Taylor, Bert Leston</a></dd> +<dd><a href="#Woodberry_G">Woodberry, George Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Michigan</span></dt> +<dd><a href="#Baker_R">Baker, Ray Stannard (“David Grayson”)</a></dd> +<dd><a href="#Beach_R">Beach, Rex</a></dd> +<dd><a href="#Comfort_W">Comfort, Will Levington</a></dd> +<dd><a href="#Curwood_J">Curwood, James Oliver</a></dd> +<dd><a href="#Ferber_E">Ferber, Edna</a></dd> +<dd><a href="#White_S">White, Stewart Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Minnesota</span></dt> +<dd><a href="#Eastman_C">Eastman, Charles Alexander</a> (Ohiyesa)</dd> +<dd><a href="#Lewis_S">Lewis, Sinclair</a></dd> +<dd><a href="#Norton_G">Norton, Grace Fallow</a></dd> +<dd><a href="#Oppenheim_J">Oppenheim, James</a> (St. Paul)</dd> +</dl> + +<dl> +<dt><span class="smcap">Mississippi</span></dt> +<dd><a href="#Bodenheim_M">Bodenheim, Maxwell</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Missouri</span> (St. Louis)</dt> +<dd><a href="#Akins_Z">Akins, Zoë</a></dd> +<dd><a href="#Bullard_A">Bullard, Arthur (“Albert Edwards”)</a></dd> +<dd><a href="#Churchill_W">Churchill, Winston</a></dd> +<dd><a href="#Eliot_T">Eliot, T. S.</a></dd> +<dd><a href="#Hurst_F">Hurst, Fannie</a></dd> +<dd><a href="#Johns_O">Johns, Orrick</a></dd> +<dd><a href="#More_P">More, Paul Elmer</a></dd> +<dd><a href="#Teasdale_S">Teasdale, Sara</a></dd> +<dd><a href="#Thomas_A">Thomas, Augustus</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Nebraska</span></dt> +<dd><a href="#Piper_E">Piper, Edwin Ford</a></dd> +</dl> + +<dl> +<dt><span class="smcap">New Hampshire</span></dt> +<dd><a href="#Brown_A">Brown, Alice</a></dd> +</dl> + +<dl> +<dt><span class="smcap">New Jersey</span></dt> +<dd><a href="#Brooks_V">Brooks, Van Wyck</a></dd> +<dd><a href="#Faulks_T">Faulks, Theodosia</a></dd> +<dd><a href="#Kilmer_J">Kilmer, Joyce</a></dd> +<dd><a href="#Middleton_G">Middleton, George</a></dd> +<dd><a href="#Sedgwick_A">Sedgwick, Anne Douglas</a></dd> +<dd><span class='pagenum'><a name="Page_179" id="Page_179">[179]</a></span> + <a href="#Sharp_D">Sharp, Dallas Lore</a></dd> +<dd><a href="#Traubel_H">Traubel, Horace</a></dd> +</dl> + +<dl> +<dt><span class="smcap">New York</span></dt> +<dd><a href="#Bacheller_I">Bacheller, Irving</a></dd> +<dd><a href="#Bangs_J">Bangs, John Kendrick</a></dd> +<dd><a href="#Beebe_W">Beebe, William</a> (Brooklyn)</dd> +<dd><a href="#Benet_W">Benét, William Rose</a></dd> +<dd><a href="#Broun_H">Broun, Heywood</a> (Brooklyn)</dd> +<dd><a href="#Burroughs_J">Burroughs, John</a></dd> +<dd><a href="#Bynner_W">Bynner, Witter</a> (Brooklyn)</dd> +<dd><a href="#Conkling_G">Conkling, Grace Hazard</a> (City)</dd> +<dd><a href="#Conkling_H">Conkling, Hilda</a></dd> +<dd><a href="#Crapsey_A">Crapsey, Adelaide</a></dd> +<dd><a href="#Cromwell_G">Cromwell, Gladys</a> (City)</dd> +<dd><a href="#Deutsch_B">Deutsch, Babette</a> (City)</dd> +<dd><a href="#Eastman_M">Eastman, Max</a></dd> +<dd><a href="#Erskine_J">Erskine, John</a> (City)</dd> +<dd><a href="#Hagedorn_H">Hagedorn, Hermann, Jr.</a> (City)</dd> +<dd><a href="#Hamilton_C">Hamilton, Clayton</a> (Brooklyn)</dd> +<dd><a href="#Hecht_B">Hecht, Ben</a> (City)</dd> +<dd><a href="#Irwin_W">Irwin, Wallace</a></dd> +<dd><a href="#James_H">James, Henry</a> (City)</dd> +<dd><a href="#Johnson_O">Johnson, Owen</a> (City)</dd> +<dd><a href="#Knibbs_H">Knibbs, H. H.</a></dd> +<dd><a href="#Kreymborg_A">Kreymborg, Alfred</a> (City)</dd> +<dd><a href="#Mackaye_P">Mackaye, Percy</a> (City)</dd> +<dd><a href="#Martin_E">Martin, Edward Sandford</a></dd> +<dd><a href="#ONeill_E">O’Neill, Eugene</a> (City)</dd> +<dd><a href="#Peabody_J">Peabody, Josephine Preston</a> (City)</dd> +<dd><a href="#Scollard_C">Scollard, Clinton</a></dd> +<dd><a href="#Seeger_A">Seeger, Alan</a></dd> +<dd><a href="#Sterling_G">Sterling, George</a></dd> +<dd><a href="#Untermeyer_L">Untermeyer, Louis</a> (City)</dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (City)</dd> +<dd><a href="#Wheelock_J">Wheelock, John Hall</a></dd> +<dd><a href="#Wilde_P">Wilde, Percival</a> (City)</dd> +</dl> + +<dl> +<dt><span class="smcap">North Carolina</span></dt> +<dd><a href="#Steele_W">Steele, Wilbur Daniel</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Ohio</span></dt> +<dd><a href="#Anderson_S">Anderson, Sherwood</a></dd> +<dd><a href="#Chester_G">Chester, George Randolph</a></dd> +<dd><a href="#Gifford_F">Gifford, Fannie Stearns Davis</a> (Cleveland)</dd> +<dd><a href="#Grey_Z">Grey, Zane</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a></dd> +<dd><a href="#Torrence_R">Torrence, Ridgely</a></dd> +<dd><a href="#Untermeyer_J">Untermeyer, Jean Starr</a></dd> +<dd><a href="#Walter_E">Walter, Eugene</a> (Cleveland)</dd> +<dd><a href="#Watts_M">Watts, Mary S.</a></dd> +<dd><a href="#Whitlock_B">Whitlock, Brand</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Oregon</span></dt> +<dd><a href="#Markham_E">Markham, Edwin</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Pennsylvania</span></dt> +<dd><a href="#Aldington_M">Aldington, Hilda Doolittle (“H. D.”)</a></dd> +<dd><a href="#Benet_S">Benét, Stephen Vincent</a></dd> +<dd><a href="#Daly_T">Daly, T. A.</a> (Philadelphia)</dd> +<dd><a href="#Deland_M">Deland, Margaretta Wade</a></dd> +<dd><a href="#Hergesheimer_J">Hergesheimer, Joseph</a> (Philadelphia)</dd> +<dd><a href="#Huneker_J">Huneker, James Gibbons</a> (Philadelphia)</dd> +<dd><a href="#Martin_H">Martin, Helen Reimensnyder</a></dd> +<dd><a href="#Mifflin_L">Mifflin, Lloyd</a></dd> +<dd><a href="#Morley_C">Morley, Christopher</a></dd> +<dd><a href="#Newton_A">Newton, Alfred Edward</a> (Philadelphia)</dd> +<dd><a href="#Repplier_A">Repplier, Agnes</a> (Philadelphia)</dd> +<dd><a href="#Singmaster_E">Singmaster, Elsie</a></dd> +<dd><a href="#Tarbell_I">Tarbell, Ida</a></dd> +<dd><a href="#Van_Dyke_H">Van Dyke, Henry</a></dd> +<dd><a href="#Widdemer_M">Widdemer, Margaret</a></dd> +<dd><a href="#Wiggin_K">Wiggin, Kate Douglas</a> (Philadelphia)</dd> +<dd><a href="#Wister_O">Wister, Owen</a> (Philadelphia)</dd> +<dd><a href="#Wood_C">Wood, C. E. S.</a></dd> +</dl> + +<dl> +<dt><span class="smcap">South Carolina</span></dt> +<dd><a href="#Cohen_O">Cohen, Octavus Roy</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Tennessee</span></dt> +<dd><a href="#Harrison_H">Harrison, Henry Sydnor</a></dd> +<dd><a name="corr24" id="corr24"></a><a href="#Marks_J">Marks, </a><ins class="correction" title="Jeannette"><a href="#Marks_J">Jeanette</a></ins></dd> +</dl> + +<dl> +<dt><span class="smcap">Virginia</span></dt> +<dd><a href="#Cabell_J">Cabell, James Branch</a> (Richmond)</dd> +<dd><span class='pagenum'><a name="Page_180" id="Page_180">[180]</a></span> + <a href="#Cather_W">Cather, Willa Sibert</a></dd> +<dd><a href="#Cleghorn_S">Cleghorn, Sarah</a></dd> +<dd><a href="#Glasgow_E">Glasgow, Ellen</a> (Richmond)</dd> +<dd><a href="#Johnston_M">Johnston, Mary</a></dd> +<dd><a href="#Page_T">Page, Thomas Nelson</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Washington</span></dt> +<dd><a href="#Davies_M">Davies, Mary Carolyn</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Wisconsin</span></dt> +<dd><a href="#Gale_Z">Gale, Zona</a></dd> +<dd><a href="#Garland_H">Garland, Hamlin</a></dd> +</dl> + + +<p class="indhead">XI. AUTHORS OF FOREIGN AND CANADIAN BIRTH</p> + + +<ul class="bib"> +<li><a href="#Antin_M">Antin, Mary</a> (Russia)</li> +<li><a href="#Bjorkman_E">Björkman, Edwin</a> (Sweden)</li> +<li><a href="#Brody_A">Brody, Alter</a> (Russia)</li> +<li><a href="#Burnett_F">Burnett, Frances Hodgson</a> (England)</li> +<li><a href="#Cahan_A">Cahan, Abraham</a> (Lithuania?)</li> +<li><a href="#Carman_B">Carman, Bliss</a> (Canada)</li> +<li><a href="#Giovannitti_A">Giovannitti, Arturo</a> (Italy)</li> +<li><a href="#Glass_M">Glass, Montague</a><a name="corr25" id="corr25"></a><ins class="correction" title=" ">,</ins> (England)</li> +<li><a href="#Hackett_F">Hackett, Francis</a> (Ireland)</li> +<li><a href="#Harris_F">Harris, Frank</a> (Ireland)</li> +<li><a href="#Kennedy_C">Kennedy, Charles Rann</a> (England)</li> +<li><a href="#Leacock_S">Leacock, Stephen</a> (Canada)</li> +<li><a href="#Lewisohn_L">Lewisohn, Ludwig</a> (Germany)</li> +<li><a href="#Pinski_D">Pinski, David</a> (Russia)</li> +<li><a href="#Ridge_L">Ridge, Lola</a> (Ireland)</li> +<li><a href="#Roberts_C">Roberts, Charles G. D.</a> (Canada)</li> +<li><a href="#Santayana_G">Santayana, George</a> (Spain)</li> +<li><a href="#Seton_E">Seton, Ernest Thompson</a> (England)</li> +<li><a href="#Stringer_A">Stringer, Arthur</a> (Canada)</li> +<li><a href="#Strunsky_S">Strunsky, Simeon</a> (Russia)</li> +<li><a href="#Tobenkin_E">Tobenkin, Elias</a> (Russia)</li> +<li><a href="#Van_Loon_H">Van Loon, Hendrik Willem</a> (Holland)</li> +<li><a href="#Wilkinson_M">Wilkinson, Marguerite</a> (Canada)</li> +</ul> +<p class="noindent"><span class='pagenum'><a name="Page_181" id="Page_181">[181]</a></span></p> + + +<p class="indhead"><a name="SUBJECT_INDEX" id="SUBJECT_INDEX"></a>XII. SUBJECT INDEX (INCLUDING BACKGROUND)</p> + +<p>(This list is not complete but merely suggestive. Titles are given only +in cases where the books might not be readily identified. Some special +information is also given in parenthesis.)</p> + + +<dl> +<dt><span class="smcap">Africa</span></dt> +<dd><a href="#White_S">White, Stewart Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Alaska</span></dt> +<dd><a href="#Beach_R">Beach, Rex</a></dd> +<dd><a href="#London_J">London, Jack</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Animals</span>. <i>See</i> <a href="#nature">Nature</a>.</dt> +</dl> + +<dl> +<dt><span class="smcap">Arizona</span></dt> +<dd><a href="#White_S">White, Stewart Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Art and Artists</span></dt> +<dd><a href="#Ficke_A">Ficke, Arthur Davison</a> (Japanese)</dd> +<dd><a href="#Howells_W">Howells, W. D.</a> (The Coast of Bohemia)</dd> +<dd><a href="#James_H">James, Henry</a></dd> +<dd><a href="#Norris_C">Norris, Charles G.</a> (The Amateur)</dd> +</dl> + +<dl> +<dt><span class="smcap">Boston</span></dt> +<dd><a href="#Grant_R">Grant, Robert</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Business and Professions</span></dt> +<dd><a href="#Aikman_H">Aikman, H. G.</a></dd> +<dd><a href="#Cahan_A">Cahan, Abraham</a> (The Rise of David Levinsky)</dd> +<dd><a href="#Chester_G">Chester, George Randolph</a></dd> +<dd><a href="#Dreiser_T">Dreiser, Theodore</a> (The Financier, The Titan)</dd> +<dd><a href="#Ferber_E">Ferber, Edna</a></dd> +<dd><a href="#Herrick_R">Herrick, Robert</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (The Rise of Silas Lapham, The Quality of Mercy)</dd> +<dd><a href="#Hurst_F">Hurst, Fannie</a></dd> +<dd><a href="#Kyne_P">Kyne, Peter B.</a></dd> +<dd><a href="#Lefevre_E">Lefevre, Edwin</a></dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (The Turmoil)</dd> +</dl> + +<dl> +<dt><span class="smcap">California</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a></dd> +<dd><a href="#Austin_M">Austin, Mary</a></dd> +<dd><a href="#Irwin_W">Irwin, Wallace</a> (Japanese)</dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a></dd> +<dd><a href="#Markham_E">Markham, Edwin</a></dd> +<dd><a href="#Sterling_G">Sterling, George</a></dd> +<dd><a href="#White_S">White, Steward Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Canada</span></dt> +<dd><a href="#Curwood_J">Curwood, James Oliver</a></dd> +<dd><a href="#Roberts_C">Roberts, Charles G. D.</a></dd> +<dd><a href="#Stringer_A">Stringer, Arthur</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Capital and Labor</span></dt> +<dd><a href="#Anderson_S">Anderson, Sherwood</a> (Marching Men)</dd> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (Perch of the Devil)</dd> +<dd><a href="#French_A">French, Alice</a> (The Man of the Hour, The Lion’s Share)</dd> +<dd><a href="#Sinclair_U">Sinclair, Upton</a> (The Jungle, Jimmy Higgins, King Coal)</dd> +<dd><a href="#Tobenkin_E">Tobenkin, Elias</a> (The House of Conrad)</dd> +<dd><a href="#Webster_H">Webster, H. K.</a> (An American Family)</dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (The Fruit of the Tree)</dd> +</dl> +<p class="noindent"><span class='pagenum'><a name="Page_182" id="Page_182">[182]</a></span></p> + +<dl> +<dt><span class="smcap">Chicago</span></dt> +<dd><a href="#Dell_F">Dell, Floyd</a> (The Briary Bush)</dd> +<dd><a href="#Dreiser_T">Dreiser, Theodore</a></dd> +<dd><a href="#Ferber_E">Ferber, Edna</a> (The Girls)</dd> +<dd><a href="#Fuller_H">Fuller, Henry B.</a> (The Cliff Dwellers, With the Procession)</dd> +<dd><a href="#Harris_F">Harris, Frank</a> (The Bomb)</dd> +<dd><a href="#Herrick_R">Herrick, Robert</a></dd> +<dd><a href="#Sandburg_C">Sandburg, Carl</a></dd> +<dd><a href="#Webster_H">Webster, Henry Kitchell</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Children</span></dt> +<dd><a href="#Bacon_J">Bacon, Josephine Dodge Daskam</a></dd> +<dd><a href="#Bjorkman_E">Björkman, Edwin</a> (The Soul of a child)</dd> +<dd><a href="#Burnett_F">Burnett, Frances Hodgson</a></dd> +<dd><a href="#Comfort_W">Comfort, Will Levington</a> (Child and Country)</dd> +<dd><a href="#Conkling_H">Conkling, Hilda</a></dd> +<dd><a href="#James_H">James, Henry</a> (What Maisie Knew)</dd> +<dd><a href="#Martin_G">Martin, George Madden</a></dd> +<dd><a href="#Masters_E">Masters, Edgar Lee</a> (Mitch Miller)</dd> +<dd><a href="#Robinson_E_M">Robinson, Edwin Meade</a> (Enter Jerry)</dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (Penrod)</dd> +</dl> + +<dl> +<dt><span class="smcap">Classical World</span></dt> +<dd><a href="#Aldington_M">Aldington, Mrs. Richard (“H. D.”)</a></dd> +<dd><a href="#Pound_E">Pound, Ezra</a></dd> +</dl> + +<dl> +<dt><span class="smcap">College and University Life</span></dt> +<dd><a href="#Bacon_J">Bacon, Josephine Dodge Daskam</a></dd> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a> (The Bent Twig)</dd> +<dd><a href="#Fitzgerald_F">Fitzgerald, F. Scott</a></dd> +<dd><a href="#Johnson_O">Johnson, Owen</a></dd> +<dd><a href="#Williams_J">Williams, Jesse Lynch</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Colorado</span></dt> +<dd><a href="#Cather_W">Cather, Willa Sibert</a> (Song of the Lark)</dd> +<dd><a href="#Sinclair_U">Sinclair, Upton</a> (King Coal)</dd> +</dl> + +<dl> +<dt><span class="smcap">Country Life</span></dt> +<dd><a name="corr26" id="corr26"></a><ins class="correction" title="Bacheller,"><a href="#Bacheller_I">Bachellor,</a></ins><a href="#Bacheller_I"> Irving</a> (Eben Holden)</dd> +<dd><a href="#Baker_R">Baker, Ray Stannard</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (The Vacation of the Kelwyns)</dd> +</dl> + +<dl> +<dt><span class="smcap">Cowboys</span></dt> +<dd><a href="#Clark_B">Clark, Badger</a></dd> +<dd><a href="#Knibbs_H">Knibbs, H. H.</a></dd> +<dd><a href="#White_S">White, Stewart Edward</a></dd> +<dd><a href="#Wister_O">Wister, Owen</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Creoles</span></dt> +<dd><a href="#Cable_G">Cable, George W.</a></dd> +<dd><a href="#King_G">King, Grace</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Democracy</span></dt> +<dd><a href="#Bynner_W">Bynner, Witter</a></dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a></dd> +<dd><a href="#Sandburg_C">Sandburg, Carl</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Desert</span></dt> +<dd><a href="#Grey_Z">Grey, Zane</a></dd> +<dd><a href="#Wood_C">Wood, C. E. S.</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Education</span></dt> +<dd><a href="#Comfort_W">Comfort, Will Levington</a> (Child and Country)</dd> +<dd><a href="#Dell_F">Dell, Floyd</a> (Were You Ever a Child?)</dd> +<dd><a href="#Norris_C">Norris, Charles G.</a> (Salt)</dd> +</dl> + +<dl> +<dt><span class="smcap">England</span></dt> +<dd><a href="#Burnett_F">Burnett, Frances Hodgson</a></dd> +<dd><a href="#James_H">James, Henry</a></dd> +<dd><a href="#Wiggin_K">Wiggin, Kate Douglas</a></dd> +</dl> + +<dl> +<dt><span class="smcap">France</span></dt> +<dd><a name="corr27" id="corr27"></a><a href="#Hardy_A">Hardy, Arthur </a><ins class="correction" title="Sherburne"><a href="#Hardy_A">Sherborne</a></ins></dd> +<dd><a href="#James_H">James, Henry</a> (The American, The Ambassadors)</dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (The Guest of Quesnay)</dd> +<dd><a href="#Wharton_E">Wharton, Edith</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Genius</span></dt> +<dd><a href="#Austin_M">Austin, Mary</a> (A Woman of Genius)</dd> +<dd><span class='pagenum'><a name="Page_183" id="Page_183">[183]</a></span> + <a name="corr28" id="corr28"></a><ins class="correction" title="Dreiser,"><a href="#Dreiser_T">Drieser,</a></ins><a href="#Dreiser_T"> Theodore</a> (The Genius)</dd> +<dd><a href="#James_H">James, Henry</a> (The Death of the Lion, The Coxon Fund)</dd> +<dd><a href="#Sedgwick_A">Sedgwick, Anne Douglas</a> (Tante)</dd> +</dl> + +<dl> +<dt><span class="smcap">Gypsies</span></dt> +<dd><a href="#Bercovici_K">Bercovici, Konrad</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Hawaii</span></dt> +<dd><a href="#London_J">London, Jack</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Historical</span></dt> +<dd><a href="#Andrews_M">Andrews, Mary Raymond Shipman</a> (The Perfect Tribute, The Counsel +Assigned—Lincoln; The Marshal—Napoleonic period.)</dd> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (The Conqueror—Hamilton)</dd> +<dd><a href="#Brooks_C">Brooks, C. S.</a> (Luca Sarto—15th century France)</dd> +<dd><a href="#Bacheller_I">Bacheller, Irving</a> (A Man for the Ages—Lincoln)</dd> +<dd><a href="#Cable_G">Cable, George W.</a> (Old Louisiana, especially New Orleans)</dd> +<dd><a href="#Churchill_W">Churchill, Winston</a> (Richard Carvel—18th century; The Crisis—Civil War; +The Crossing—early 19th century)</dd> +<dd><a href="#Glasgow_E">Glasgow, Ellen</a> (Civil War and Reconstruction periods)</dd> +<dd><a name="corr29" id="corr29"></a><a href="#Hardy_A">Hardy, Arthur </a><ins class="correction" title="Sherburne"><a href="#Hardy_A">Sherborne</a></ins> (Passe Rose—time of Charlemagne)</dd> +<dd><a href="#Harris_F">Harris, Frank</a> (Great Days—time of Napoleon)</dd> +<dd><a href="#Hergesheimer_J">Hergesheimer, Joseph</a> (The Three Black Pennys, Java Head—early American)</dd> +<dd><a href="#Johnston_M">Johnston, Mary</a> (Colonies—Virginia)</dd> +<dd><a href="#Mackaye_P">Mackaye, Percy</a> (Various periods)</dd> +<dd><a href="#Rice_C">Rice, Cale Young</a> (Various periods)</dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (Monsieur Beaucaire—18th century England; +Cherry—18th century America)</dd> +<dd><a href="#Watts_M">Watts, Mary S.</a> (Nathan Burke—early Ohio)</dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (The Valley of Decision—18th century Italy)</dd> +</dl> + +<dl> +<dt><span class="smcap">Illinois</span></dt> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a></dd> +<dd><a href="#Masters_E">Masters, Edgar Lee</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Imaginary Country</span></dt> +<dd><a href="#Cabell_J">Cabell, James Branch</a> (Poictesme)</dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (Altruria)</dd> +<dd><a href="#McCutcheon_G">McCutcheon, George Barr</a> (Graustark)</dd> +</dl> + +<dl> +<dt><span class="smcap">Immigrants</span></dt> +<dd><a href="#Antin_M">Antin, Mary</a> (Russian)</dd> +<dd><a href="#Cahan_A">Cahan, Abraham</a> (Lithuanian)</dd> +<dd><a href="#Cather_W">Cather, Willa Sibert</a> (Bohemian)</dd> +<dd><a href="#Cournos_J">Cournos, John</a></dd> +<dd><a href="#Daly_T">Daly, T. A.</a> (Irish, Italian)</dd> +<dd><a href="#Mackaye_P">Mackaye, Percy</a> (The Immigrants)</dd> +<dd><a href="#Tobenkin_E">Tobenkin, Elias</a> (Russian)</dd> +</dl> + +<dl> +<dt><span class="smcap">Indiana</span></dt> +<dd><a href="#Ade_G">Ade, George</a></dd> +<dd><a href="#Nicholson_M">Nicholson, Meredith</a></dd> +<dd><a href="#Riley_J">Riley, James Whitcomb</a></dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Indians</span></dt> +<dd><a href="#Austin_M">Austin, Mary</a></dd> +<dd><a href="#Eastman_C">Eastman, Charles A.</a></dd> +<dd><a href="#Garland_H">Garland, Hamlin</a> (The Captain of the Gray Horse <a name="corr30" id="corr30"></a><ins class="correction" title="Troop)">Troop.)</ins></dd> +<dd><a href="#Neihardt_J">Neihardt, John G.</a></dd> +<dd><a href="#Sarett_L">Sarett, Lew R.</a></dd> +<dd><a href="#Wister_O">Wister, Owen</a> (Red Men and White)</dd> +<dd><a href="#Wood_C">Wood, C. E. S.</a></dd> +</dl> +<p class="noindent"><span class='pagenum'><a name="Page_184" id="Page_184">[184]</a></span></p> + +<dl> +<dt><span class="smcap">International Scenes</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (The Aristocrats, American Wives and English Husbands)</dd> +<dd><a href="#Burnett_F">Burnett, Frances Hodgson</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a></dd> +<dd><a href="#James_H">James, Henry</a></dd> +<dd><a href="#Wharton_E">Wharton, Edith</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Iowa</span></dt> +<dd><a href="#Garland_H">Garland, Hamlin</a></dd> +<dd><a href="#Quick_H">Quick, Herbert</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Irish</span></dt> +<dd><a href="#Daly_T">Daly, T. A.</a></dd> +<dd><a href="#Dunne_F">Dunne, Finley Peter</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Italy and Italians</span></dt> +<dd><a href="#Daly_T">Daly, T. A.</a></dd> +<dd><a href="#Fuller_H">Fuller, Henry B.</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (A Foregone Conclusion)</dd> +<dd><a href="#James_H">James, Henry</a> (Roderick Hudson, Daisy Miller, The Portrait of a Lady, +The Wings of a Dove, The Aspern Papers, etc.)</dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (The Valley of Decision)</dd> +</dl> + +<dl> +<dt><span class="smcap">Japanese</span></dt> +<dd><a href="#Irwin_W">Irwin, Wallace</a> (in California)</dd> +</dl> + +<dl> +<dt><span class="smcap">Jews</span></dt> +<dd><a href="#Brody_A">Brody, Alter</a></dd> +<dd><a href="#Cahan_A">Cahan, Abraham</a></dd> +<dd><a href="#Glass_M">Glass, Montague</a></dd> +<dd><a href="#Pinski_D">Pinski, David</a></dd> +<dd><a href="#Ridge_L">Ridge, Lola</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Journalism</span></dt> +<dd><a href="#Cournos_J">Cournos, John</a> (The Wall)</dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (A Hazard of New Fortunes, The World of Chance)</dd> +</dl> + +<dl> +<dt><span class="smcap">Kentucky</span></dt> +<dd><a href="#Allen_J">Allen, James Lane</a></dd> +<dd><a href="#Cobb_I">Cobb, Irvin S.</a></dd> +<dd><a href="#Fox_J">Fox, John</a></dd> +<dd><a href="#Martin_G">Martin, George Madden</a></dd> +<dd><a href="#Rice_A">Rice, Alice Hegan</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Marriage</span></dt> +<dd><a href="#Aikman_H">Aikman, H. G.</a> (Zell)</dd> +<dd><a href="#Churchill_W">Churchill, Winston</a> (A Modern Chronicle)</dd> +<dd><a href="#Deland_M">Deland, Margaretta Wade</a></dd> +<dd><a href="#Dell_F">Dell, Floyd</a> (The Briary Bush)</dd> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a> (The Brimming Cup)</dd> +<dd><a href="#Herrick_R">Herrick, Robert</a> (Together)</dd> +<dd><a href="#Norris_C">Norris, Charles G.</a> (Brass)</dd> +<dd><a href="#Poole_E">Poole, Ernest</a> (His Second Wife)</dd> +<dd><a href="#Webster_H">Webster, Henry Kitchell</a> (Thoroughbred)</dd> +<dd><a href="#Widdemer_M">Widdemer, Margaret</a> (I’ve Married Marjorie)</dd> +<dd><a href="#Williams_J">Williams, Jesse Lynch</a> (And So They Were Married)</dd> +</dl> + +<dl> +<dt><span class="smcap">Middle West</span></dt> +<dd><a href="#Anderson_S">Anderson, Sherwood</a></dd> +<dd><a href="#Cather_W">Cather, Willa Sibert</a></dd> +<dd><a href="#French_A">French, Alice (“Octave Thanet”)</a></dd> +<dd><a href="#Gale_Z">Gale, Zona</a></dd> +<dd><a href="#Garland_H">Garland, Hamlin</a></dd> +<dd><a href="#Lewis_S">Lewis, Sinclair</a></dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a></dd> +<dd><a href="#Masters_E">Masters, Edgar Lee</a></dd> +<dd><a href="#Neihardt_J">Neihardt, John G.</a></dd> +<dd><a href="#Piper_E">Piper, Edwin Ford</a></dd> +<dd><a href="#Quick_H">Quick, Herbert</a></dd> +<dd><a href="#Sandburg_C">Sandburg, Carl</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Montana</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (Perch of the Devil—Butte)</dd> +</dl> + +<dl> +<dt><a name="nature" id="nature"></a><span class="smcap">Nature</span></dt> +<dd><a href="#Beebe_W">Beebe, William</a></dd> +<dd><a href="#Burroughs_J">Burroughs, John</a></dd> +<dd><a href="#Eaton_W">Eaton, Walter Prichard</a></dd> +<dd><a href="#London_J">London, Jack</a></dd> +<dd><a href="#Mills_E">Mills, Enos A.</a></dd> +<dd><a href="#Roberts_C">Roberts, Charles G. D.</a></dd> +<dd><span class='pagenum'><a name="Page_185" id="Page_185">[185]</a></span> + <a href="#Seton_E">Seton, Ernest Thompson</a></dd> +<dd><a href="#Sharp_D">Sharp, Dallas Lore</a></dd> +<dd><a href="#White_S">White, Stewart Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Nebraska</span></dt> +<dd><a href="#Cather_W">Cather, Willa Sibert</a></dd> +<dd><a href="#Piper_E">Piper, Edwin Ford</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Negroes</span></dt> +<dd><a href="#Burnett_F">Burnett, Frances Hodgson</a></dd> +<dd><a href="#Cable_G">Cable, George W.</a></dd> +<dd><a href="#Cohen_O">Cohen, Octavus Roy</a> (contemporary, city)</dd> +<dd><a href="#Du_Bois_W">Du Bois, William B.</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (An Imperative Duty)</dd> +<dd><a href="#King_G">King, Grace</a></dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a> (The Congo)</dd> +<dd><a href="#ONeill_E">O’Neill, Eugene</a> (The Emperor Jones)</dd> +<dd><a href="#Page_T">Page, Thomas Nelson</a></dd> +<dd><a href="#Sheldon_E">Sheldon, Edward</a> (The Nigger)</dd> +<dd><a href="#Torrence_R">Torrence, Ridgely</a> (Plays for a Negro Theatre)</dd> +</dl> + +<dl> +<dt><span class="smcap">New England</span></dt> +<dd><a href="#Brown_A">Brown, Alice</a></dd> +<dd><a href="#Connolly_J">Connolly, James Brendan</a> (Gloucester fishermen)</dd> +<dd><a href="#Freeman_M">Freeman, Mary Wilkins</a></dd> +<dd><a href="#Frost_R">Frost, Robert</a></dd> +<dd><a href="#Hergesheimer_J">Hergesheimer, Joseph</a> (Java Head)</dd> +<dd><a href="#Howells_W">Howells, William Dean</a></dd> +<dd><a href="#Lee_J">Lee, Jennette</a></dd> +<dd><a href="#Lincoln_J">Lincoln, Joseph</a> (Cape Cod)</dd> +<dd><a href="#Nathan_R">Nathan, Robert</a></dd> +<dd><a href="#ONeill_E">O’Neill, Eugene</a> (Beyond the Horizon)</dd> +<dd><a href="#Robinson_E_A">Robinson, Edwin Arlington</a></dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (Ethan Frome, Summer)</dd> +<dd><a href="#Wiggin_K">Wiggin, Kate Douglas</a></dd> +</dl> + +<dl> +<dt><span class="smcap">New Mexico</span></dt> +<dd><a href="#Corbin_A">Corbin, Alice</a></dd> +</dl> + +<dl> +<dt><span class="smcap">New Orleans</span></dt> +<dd><a href="#Cable_G">Cable, George W.</a></dd> +<dd><a href="#King_G">King, Grace</a></dd> +</dl> + +<dl> +<dt><span class="smcap">New York</span></dt> +<dd><a href="#Bercovici_K">Bercovici, Konrad</a> (The Dust of New York)</dd> +<dd><a href="#Ford_S">Ford, Sewell</a></dd> +<dd><a href="#Glass_M">Glass, Montague</a> (Jewish)</dd> +<dd><a href="#Guiterman_A">Guiterman, Arthur</a> (Old New York)</dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (A Hazard of New Fortunes, The World of Chance)</dd> +<dd><a href="#Hurst_F">Hurst, Fannie</a></dd> +<dd><a href="#James_H">James, Henry</a> (Washington Square)</dd> +<dd><a href="#Poole_E">Poole, Ernest</a> (The Harbor)</dd> +<dd><a href="#Strunsky_S">Strunsky, Simeon</a></dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (The Age of Innocence)</dd> +</dl> + +<dl> +<dt><span class="smcap">Nonsense</span></dt> +<dd><a href="#Bangs_J">Bangs, John Kendrick</a></dd> +<dd><a href="#Burgess_G">Burgess, Gelett</a></dd> +<dd><a href="#Leacock_S">Leacock, Stephen</a></dd> +<dd><a href="#Marquis_D">Marquis, Don</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Ohio</span></dt> +<dd><a href="#Anderson_S">Anderson, Sherwood</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (The Leatherwood God, The New Leaf Mills)</dd> +<dd><a href="#Watts_M">Watts, Mary S.</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Orient</span></dt> +<dd><a href="#Benet_W">Benét, William Rose</a> (The Great White Wall)</dd> +<dd><a href="#Comfort_W">Comfort, Will Levington</a></dd> +<dd><a href="#Guiterman_A">Guiterman, Arthur</a> (Chips of Jade)</dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a> (The Chinese Nightingale)</dd> +<dd><a href="#Lowell_A">Lowell, Amy</a> (Fir-Flower Tablets)</dd> +<dd><a href="#Pound_E">Pound, Ezra</a></dd> +<dd><a href="#Tietjens_E">Tietjens, Eunice</a></dd> +</dl> + +<p><span class='pagenum'><a name="Page_186" id="Page_186">[186]</a></span></p> + + +<dl> +<dt><span class="smcap">Paris</span></dt> +<dd><a name="corr31" id="corr31"></a><a href="#Hardy_A">Hardy, Arthur </a><ins class="correction" title="Sherburne"><a href="#Hardy_A">Sherborne</a></ins></dd> +<dd><a href="#Wharton_E">Wharton, Edith</a> (Madame de Treymes)</dd> +</dl> + +<dl> +<dt><span class="smcap">Pennsylvania</span></dt> +<dd><a href="#Deland_M">Deland, Margaretta</a> (Alleghany)</dd> +<dd><a href="#Hergesheimer_J">Hergesheimer, Joseph</a></dd> +<dd><a href="#Martin_H">Martin, Helen R.</a> (Dutch)</dd> +<dd><a href="#Singmaster_E">Singmaster, Elsie</a> (Dutch)</dd> +</dl> + +<dl> +<dt><span class="smcap">Philosophy</span> (popular)</dt> +<dd><a href="#Baker_R">Baker, Ray Stannard (“David Grayson”)</a></dd> +<dd><a href="#Brooks_C">Brooks, Charles S.</a></dd> +<dd><a href="#Crothers_S">Crothers, Samuel McChord</a></dd> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a>, and <a href="#Cleghorn_S">Cleghorn, Sarah</a> (Fellow-Captains)</dd> +<dd><a href="#Morley_C">Morley, Christopher</a></dd> +<dd><a href="#Van_Dyke_H">Van Dyke, Henry</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Pioneers</span></dt> +<dd><a href="#Cather_W">Cather, Willa Sibert</a> (O Pioneers, My Antonia)</dd> +<dd><a href="#Neihardt_J">Neihardt, John G.</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Politics</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (Senator North)</dd> +<dd><a href="#Churchill_W">Churchill, Winston</a> (Coniston, Mr. Crewe’s Career)</dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (The Gentleman from Indiana)</dd> +<dd><a href="#Whitlock_B">Whitlock, Brand</a></dd> +<dd><a href="#Williams_B">Williams, Ben Ames</a> (The Great Accident)</dd> +</dl> + +<dl> +<dt><span class="smcap">Prairie Life</span></dt> +<dd><a href="#Garland_H">Garland, Hamlin</a></dd> +<dd><a href="#Piper_E">Piper, Edwin Ford</a></dd> +<dd><a href="#Stringer_A">Stringer, Arthur</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Primitive Life</span></dt> +<dd><a href="#London_J">London, Jack</a></dd> +<dd><a href="#White_S">White, Stewart Edward</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Psycho-analysis</span></dt> +<dd><a href="#Aiken_C">Aiken, Conrad</a></dd> +<dd><a href="#Aikman_H">Aikman, H. G.</a> (Zell)</dd> +<dd><a href="#Anderson_S">Anderson, Sherwood</a> (The Triumph of the Egg)</dd> +<dd><a href="#Bjorkman_E">Björkman, Edwin</a> (The Soul of a Child)</dd> +<dd><a href="#Dell_F">Dell, Floyd</a> (Moon-Calf)</dd> +</dl> + +<dl> +<dt><span class="smcap">Religion</span></dt> +<dd><a href="#Churchill_W">Churchill, Winston</a> (The Inside of the Cup)</dd> +<dd><a href="#Deland_M">Deland, Margaretta</a> (John Ward, Preacher)</dd> +<dd><a href="#Kennedy_C">Kennedy, Charles Rann</a> (The Servant in the House, The Army with Banners)</dd> +<dd><a href="#Van_Dyke_H">Van Dyke, Henry</a></dd> +<dd><a href="#Wattles_W">Wattles, Willard</a></dd> +</dl> + +<dl> +<dt><span class="smcap">San Francisco</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Sea and Sailors</span></dt> +<dd><a href="#Connolly_J">Connolly, James B.</a> (Gloucester fishermen)</dd> +<dd><a href="#Lincoln_J">Lincoln, Joseph C.</a> (Cape Cod)</dd> +<dd><a href="#ONeill_E">O’Neill, Eugene</a></dd> +<dd><a href="#Williams_B">Williams, Ben Ames</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Social Service and Settlement Work</span></dt> +<dd><a href="#Bercovici_K">Bercovici, Konrad</a></dd> +<dd><a href="#Harrison_H">Harrison, Henry Sydnor</a> (V. V.’s Eyes)</dd> +<dd><a href="#Rice_A">Rice, Alice Hegan</a></dd> +<dd><a href="#Wiggin_K">Wiggin, Kate Douglas</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Socialism</span></dt> +<dd><a href="#Eastman_M">Eastman, Max</a></dd> +<dd><a href="#Giovannitti_A">Giovannitti, Arturo</a></dd> +<dd><a href="#Howells_W">Howells, William Dean</a> (A Hazard of New Fortunes, Annie Kilburn, + The Eye of the Needle, A Traveler from Altruria)</dd> +<dd><a href="#Kennedy_C">Kennedy, Charles Rann</a></dd> +<dd><a href="#Markham_E">Markham, Edwin</a></dd> +<dd><span class='pagenum'><a name="Page_187" id="Page_187">[187]</a></span> + <a href="#Oppenheim_J">Oppenheim, James</a></dd> +<dd><a href="#Poole_E">Poole, Ernest</a></dd> +<dd><a href="#Sinclair_U">Sinclair, Upton</a></dd> +<dd><a href="#Traubel_H">Traubel, Horace</a></dd> +<dd><a href="#Whitlock_B">Whitlock, Brand</a> (The Turn of the Balance)</dd> +</dl> + +<dl> +<dt><span class="smcap">Society</span></dt> +<dd><a href="#Adams_H">Adams, Henry</a> (Democracy, Esther)</dd> +<dd><a href="#Atherton_G">Atherton, Gertrude</a></dd> +<dd><a href="#Grant_R">Grant, Robert</a></dd> +<dd><a href="#James_H">James, Henry</a></dd> +<dd><a href="#Wharton_E">Wharton, Edith</a></dd> +</dl> + +<dl> +<dt><span class="smcap">South America</span></dt> +<dd><a href="#Scott_E">Scott, Evelyn</a> (Brazil)</dd> +</dl> + +<dl> +<dt><span class="smcap">South Seas</span></dt> +<dd><a href="#OBrien_F">O’Brien, Frederick</a></dd> +<dd><a href="#London_J">London, Jack</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Spiritualism, Supernatural</span></dt> +<dd><a href="#Belasco_D">Belasco, David</a> (The Return of Peter Grimm)</dd> +<dd><a href="#Brown_A">Brown, Alice</a> (The Wind between the Worlds)</dd> +<dd><a href="#Freeman_M">Freeman, Mary Wilkins</a> (The Wind in the Rosebush)</dd> +<dd><a href="#Garland_H">Garland, Hamlin</a> (The Tyranny of the Dark, The Shadow World, Victor +Ollnee’s Discipline)</dd> +</dl> + +<dl> +<dt><span class="smcap">Stage</span></dt> +<dd><a href="#Cather_W">Cather, Willa Sibert</a> (Song of the Lark)</dd> +<dd><a href="#Hurst_F">Hurst, Fannie</a></dd> +<dd><a href="#Sheldon_E">Sheldon, Edward B.</a> (Romance)</dd> +<dd><a href="#Watts_M">Watts, Mary S.</a> (The Board-man Family)</dd> +<dd><a href="#Webster_H">Webster, Henry Kitchell</a> (The Real Adventure, The Painted Scene)</dd> +</dl> + +<dl> +<dt><span class="smcap">Vermont</span></dt> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a> (The Brimming Cup, Hillsboro People)</dd> +<dd><a href="#Nathan_R">Nathan, Robert</a> (Autumn)</dd> +</dl> + +<dl> +<dt><span class="smcap">Village and Provincial Town Life</span></dt> +<dd><a href="#Anderson_S">Anderson, Sherwood</a> (Winesburg, Ohio)</dd> +<dd><a href="#Brown_A">Brown, Alice</a> (New England)</dd> +<dd><a href="#Deland_M">Deland, Margaretta</a> (Pennsylvania)</dd> +<dd><a href="#Freeman_M">Freeman, Mary Wilkins</a> (New England)</dd> +<dd><a href="#Gale_Z">Gale, Zona</a> (Wisconsin)</dd> +<dd><a href="#Lewis_S">Lewis, Sinclair</a> (Main Street—Minnesota)</dd> +<dd><a href="#Lindsay_V">Lindsay, Vachel</a> (The Golden Book of Springfield)</dd> +<dd><a href="#Masters_E">Masters, Edgar Lee</a> (Illinois)</dd> +<dd><a href="#Williams_B">Williams, Ben Ames</a> (The Great Accident)</dd> +</dl> + +<dl> +<dt><span class="smcap">Virginia</span></dt> +<dd><a href="#Cabell_J">Cabell, James Branch</a></dd> +<dd><a href="#Glasgow_E">Glasgow, Ellen</a></dd> +<dd><a href="#Johnston_M">Johnston, Mary</a></dd> +<dd><a href="#Page_T">Page, Thomas Nelson</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Wales</span></dt> +<dd><a href="#Marks_J">Marks, Jeannette</a></dd> +</dl> + +<dl> +<dt><span class="smcap">War</span></dt> +<dd><a href="#Andrews_M">Andrews, Mary Raymond Shipman</a></dd> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (The White Morning)</dd> +<dd><a href="#Broun_H">Broun, Heywood</a></dd> +<dd><a href="#Comfort_W">Comfort, Will Levington</a> (Red Fleece)</dd> +<dd><a href="#Deland_M">Deland, Margaretta Wade</a> (Small Things)</dd> +<dd><a href="#Dos_Passos_J">Dos Passos, John</a></dd> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a></dd> +<dd><a href="#Kilmer_J">Kilmer, Joyce</a></dd> +<dd><a href="#Poole_E">Poole, Ernest</a> (Blind)</dd> +<dd><a href="#Seeger_A">Seeger, Alan</a></dd> +<dd><span class='pagenum'><a name="Page_188" id="Page_188">[188]</a></span> + <a href="#Wharton_E">Wharton, Edith</a></dd> +<dd><a href="#Whitlock_B">Whitlock, Brand</a></dd> +<dd><a href="#Wilde_P">Wilde, Percival</a> (The Unseen Host)</dd> +</dl> + +<dl> +<dt><span class="smcap">Washington, D. C.</span></dt> +<dd><a href="#Atherton_G">Atherton, Gertrude</a> (Senator North)</dd> +<dd><a href="#Burnett_F">Burnett, Frances Hodgson</a> (Through One Administration)</dd> +</dl> + +<dl> +<dt><span class="smcap">Wisconsin</span></dt> +<dd><a href="#Gale_Z">Gale, Zona</a></dd> +<dd><a href="#Garland_H">Garland, Hamlin</a></dd> +</dl> + +<dl> +<dt><span class="smcap">Women (Psychology of)</span></dt> +<dd><a href="#Churchill_W">Churchill, Winston</a> (A Modern Chronicle)</dd> +<dd><a href="#Cleghorn_S">Cleghorn, Sarah</a></dd> +<dd><a href="#Deland_M">Deland, Margaretta</a> (The Awakening of Helena Richie, The Rising Tide)</dd> +<dd><a href="#Dreiser_T">Dreiser, Theodore</a> (Sister Carrie, Jennie Gerhardt)</dd> +<dd><a href="#Ferber_E">Ferber, Edna</a> (The Girls)</dd> +<dd><a href="#Fisher_D">Fisher, Dorothy Canfield</a></dd> +<dd><a href="#Hergesheimer_J">Hergesheimer, Joseph</a> (Linda Condon)</dd> +<dd><a href="#Johnson_O">Johnson, Owen</a> (The Salamander, Virtuous Wives)</dd> +<dd><a href="#Norris_K">Norris, Kathleen</a></dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (Alice Adams, Gentle Julia)</dd> +<dd><a href="#Watts_M">Watts, Mary S.</a> (The Rise of Jennie Cushing)</dd> +</dl> + +<dl> +<dt><span class="smcap">Youth (Psychology of)</span></dt> +<dd><a href="#Aikman_H">Aikman, H. G.</a> (Zell)</dd> +<dd><a href="#Allen_J">Allen, James Lane</a> (A Summer in Arcady, The Kentucky Warbler)</dd> +<dd><a href="#Anderson_S">Anderson, Sherwood</a></dd> +<dd><a href="#Bjorkman_E">Björkman, Edwin</a> (The Soul of a Child)</dd> +<dd><a href="#Davies_M">Davies, Mary Carolyn</a></dd> +<dd><a href="#Dell_F">Dell, Floyd</a></dd> +<dd><a href="#Fitzgerald_F">Fitzgerald, F. Scott</a></dd> +<dd><a href="#Hecht_B">Hecht, Ben</a></dd> +<dd><a href="#James_H">James, Henry</a> (The Awkward Age)</dd> +<dd><a href="#Nathan_R">Nathan, Robert</a> (Peter Kindred)</dd> +<dd><a href="#Norris_C">Norris, Charles G.</a> (Salt)</dd> +<dd><a href="#Tarkington_B">Tarkington, Booth</a> (Seventeen, Clarence)</dd> +<dd><a href="#Widdemer_M">Widdemer, Margaret</a> (The Boardwalk)</dd> +<dd><a href="#Williams_B">Williams, Ben Ames</a> (The Great Accident)</dd> +</dl> + + + +<hr style="width: 65%;" /> + +<div style="background-color: #EEE; padding: 0.5em 1em 0.5em 1em;"> +<p class="center noindent"><a name="note" id="note"></a><b>Transcriber’s Note</b></p> + +<p class="noindent">The following errors and inconsistencies have been maintained.</p> + +<p class="noindent">Misspelled words and typographical errors:</p> + +<table style="margin-left: 0%;" cellpadding="0" cellspacing="0" summary="typos"> +<tr> + <td>Page </td> + <td style="padding-left: 1.5em;">Error</td> +</tr> +<tr> + <td align="right"><a href="#corr1">xii</a></td> + <td style="padding-left: 1.5em;">“Loveman, Amy,” should end with a .</td> +</tr> +<tr> + <td align="right"><a href="#corr2">xii</a></td> + <td style="padding-left: 1.5em;">“Littell, Philip,” should end with a .</td> +</tr> +<tr> + <td align="right"><a href="#corr3">xii</a></td> + <td style="padding-left: 1.5em;">“Underwood, John Curtis,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr4">xiii</a></td> + <td style="padding-left: 1.5em;">“Aiken, Conrad,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr5">xv</a></td> + <td style="padding-left: 1.5em;">“Miscellany of American Poetry,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr6">xv</a></td> + <td style="padding-left: 1.5em;">“Stork, Charles Wharton,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr7">xviii</a></td> + <td style="padding-left: 1.5em;">“Morley, Christopher,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr8">xix</a></td> + <td style="padding-left: 1.5em;">“Mackay, Constance D’Arcy,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr9">xix</a></td> + <td style="padding-left: 1.5em;">“Mayorga, Margaret Gardner,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr10">xix</a></td> + <td style="padding-left: 1.5em;">“Shay, Frank,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr11">xix</a></td> + <td style="padding-left: 1.5em;">“Stratton, Clarence,” should end with .</td> +</tr> +<tr> + <td align="right"><a href="#corr12">38</a></td> + <td style="padding-left: 1.5em;">“By the Chrismas Fire” should read “Christmas”</td> +</tr> +<tr> + <td align="right"><a href="#corr13">80</a></td> + <td style="padding-left: 1.5em;">“31 (’14)” should be “31 (’10)”</td> +</tr> +<tr> + <td align="right"><a href="#corr14">82</a></td> + <td style="padding-left: 1.5em;">“my ‘story,’ he said,” missing ” after story,’</td> +</tr> +<tr> + <td align="right"><a href="#corr15">103</a></td> + <td style="padding-left: 1.5em;">“Jeannette(Augustus)” missing space before (</td> +</tr> +<tr> + <td align="right"><a href="#corr16">146</a></td> + <td style="padding-left: 1.5em;">“portrait)” should read “(portrait)”</td> +</tr> +<tr> + <td align="right"><a href="#corr17">147</a></td> + <td style="padding-left: 1.5em;">“Lit. Digest, 58 (18’)” should read “Lit. Digest, 58 (’18)”</td> +</tr> +<tr> + <td align="right"><a href="#corr18">169</a></td> + <td style="padding-left: 1.5em;">“Brown, Robert Carleton. Others, 1916” should have . at end</td> +</tr> +<tr> + <td align="right"><a href="#corr19">171</a></td> + <td style="padding-left: 1.5em;">“Kennedy Charles Rann” should have , after Kennedy</td> +</tr> +<tr> + <td align="right"><a href="#corr20">172</a></td> + <td style="padding-left: 1.5em;">“Gerould, Katherine Fullerton” should read Katharine</td> +</tr> +<tr> + <td align="right"><a href="#corr21">178</a></td> + <td style="padding-left: 1.5em;"><a name="corr21text" id="corr21text"></a>“Child, Richard Washburn” does not have an entry in the main text of the book</td> +</tr> +<tr> + <td align="right"><a href="#corr22">178</a></td> + <td style="padding-left: 1.5em;">“Gerould, Katherine Fullerton” should read Katharine</td> +</tr> +<tr> + <td align="right"><a href="#corr23">178</a></td> + <td style="padding-left: 1.5em;">“Hardy, Arthur Sherborne” should read Sherburne</td> +</tr> +<tr> + <td align="right"><a href="#corr24">179</a></td> + <td style="padding-left: 1.5em;">“Jeanette” should read Jeannette</td> +</tr> +<tr> + <td align="right"><a href="#corr25">180</a></td> + <td style="padding-left: 1.5em;">“Glass, Montague, (England)” has an extra , after Montague</td> +</tr> +<tr> + <td align="right"><a href="#corr26">182</a></td> + <td style="padding-left: 1.5em;">“Bachellor” should read Bacheller</td> +</tr> +<tr> + <td align="right"><a href="#corr27">182</a></td> + <td style="padding-left: 1.5em;">“Hardy, Arthur Sherborne” should read Sherburne</td> +</tr> +<tr> + <td align="right"><a href="#corr28">183</a></td> + <td style="padding-left: 1.5em;">“Drieser, Theodore” should read Dreiser</td> +</tr> +<tr> + <td align="right"><a href="#corr29">183</a></td> + <td style="padding-left: 1.5em;">“Hardy, Arthur Sherborne” should read Sherburne</td> +</tr> +<tr> + <td align="right"><a href="#corr30">183</a></td> + <td style="padding-left: 1.5em;">“(The Captain of the Gray Horse Troop.)” has an extra . before the )</td> +</tr> +<tr> + <td align="right"><a href="#corr31">186</a></td> + <td style="padding-left: 1.5em;">“Hardy, Arthur Sherborne” should read Sherburne</td> +</tr> +</table> + +<p class="noindent">The following words were inconsistently capitalized:</p> + +<p class="noindent">One-Act / One-act<br /> +Present-Day / Present-day<br /> +Who’s Who In America / Who’s Who in America</p> + +<p class="noindent">The following word was inconsistently spelled:</p> + +<p class="noindent">Björkman / Bjorkman</p> + +<p class="noindent">Other inconsistencies:</p> + +<p class="noindent">ff. used in page references is sometimes closed up with the page numbers +and sometimes spaced.</p> +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Contemporary American Literature, by +John Matthews Manly and Edith Rickert + +*** END OF THIS PROJECT GUTENBERG EBOOK CONTEMPORARY AMERICAN LITERATURE *** + +***** This file should be named 18625-h.htm or 18625-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/8/6/2/18625/ + +Produced by Juliet Sutherland, Julia Miller, and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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