diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-22 07:20:30 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 07:20:30 -0800 |
| commit | c1a5967d89e70b03bdbb95584f345209e3bc5d9b (patch) | |
| tree | bd51089c3880e67d1a0839a67e9a1257ed91c80a | |
| parent | 31567144bdfd8b78ca881a4776a6e58a2507116a (diff) | |
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/67209-0.txt | 3104 | ||||
| -rw-r--r-- | old/67209-0.zip | bin | 59332 -> 0 bytes | |||
| -rw-r--r-- | old/67209-h.zip | bin | 194514 -> 0 bytes | |||
| -rw-r--r-- | old/67209-h/67209-h.htm | 4659 | ||||
| -rw-r--r-- | old/67209-h/images/cover.jpg | bin | 87569 -> 0 bytes | |||
| -rw-r--r-- | old/67209-h/images/musigraph.jpg | bin | 23405 -> 0 bytes | |||
| -rw-r--r-- | old/67209-h/images/poetry.jpg | bin | 18340 -> 0 bytes |
10 files changed, 17 insertions, 7763 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..9a68172 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #67209 (https://www.gutenberg.org/ebooks/67209) diff --git a/old/67209-0.txt b/old/67209-0.txt deleted file mode 100644 index 3442245..0000000 --- a/old/67209-0.txt +++ /dev/null @@ -1,3104 +0,0 @@ -The Project Gutenberg eBook of The Little Review, January-February -1916 (Vol. 2, No. 10), by Margaret C. Anderson - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Little Review, January-February 1916 (Vol. 2, No. 10) - -Author: Various - -Editor: Margaret C. Anderson - -Release Date: January 21, 2022 [eBook #67209] - -Language: English - -Produced by: Jens Sadowski and the Online Distributed Proofreading Team - at http://www.pgdp.net. This book was produced from images - made available by the Modernist Journal Project, Brown and - Tulsa Universities. - -*** START OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, -JANUARY-FEBRUARY 1916 (VOL. 2, NO. 10) *** - - - - - - THE LITTLE REVIEW - - - Literature Drama Music Art - - MARGARET C. ANDERSON - EDITOR - - JANUARY-FEBRUARY, 1916 - - Poems: H. D. - Late Spring - Night - A Deeper Music Margaret C. Anderson - Blue-Prints: Harriet Dean - Debutante - The Pillar - The Pathos of Proximity Alexander S. Kaun - Solitude David O’Neil - The Novelist Sherwood Anderson - Asperities: Mitchell Dawson - Threat - In Passing - Teresa - Amy Lowell’s Book F. S. Flint - The Picnic Marjory Seiffert - Editorials and Announcements - “American Art” “The Critic” - Photography C. A. Z. - Book Discussion - The Reader Critic - - Published Monthly - - 15 cents a copy - - MARGARET C. ANDERSON, Publisher - Fine Arts Building - CHICAGO - - $1.50 a year - - Entered as second-class matter at Postoffice, Chicago - - - - - THE LITTLE REVIEW - - - Vol. II - - JANUARY-FEBRUARY, 1916 - - No. 10 - - Copyright, 1916, by Margaret C. Anderson - - - - - Poems - - - H. D. - - - Late Spring - - We can not weather all this gold - Nor stand under the gold from elm-trees - And the re-coated sallows. - We can not hold our heads erect - Under this golden dust. - - We can not stand - Where enclosures for the fruit - Drop hot—radiant—slight petals - From each branch. - - We can not see: - The dog-wood breaks—white— - The pear-tree has caught— - The apple is a red blaze— - The peach has already withered its own leaves— - The wild plum-tree is alight. - - - Night - - The night has cut each from each - And curled the petals back from the stalk - And under it in crisp rows: - - Under at an unfaltering pace, - Under till the rinds break, - Back till each bent leaf - Is parted from its stalk: - - Under at a grave pace, - Under till the leaves are bent - Back till they drop upon the earth, - Back till they are all broken. - - O night, - You take the petals of the roses in your hand, - But leave the stark core of the rose - To perish on the branch. - - - - - A Deeper Music - - - MARGARET C. ANDERSON - -A piano, alone on a stage; shadowed light around and above it; ivory and -ebony moving out of the shadow; and the silence that hangs there before -the musician plays. There is nothing like it in the world,—nothing more -wonderful.... - - * * * * * - -There are “revolutions” going on in all the arts. The revolution in -poetry is coming in for a lot of discussion, so that even the layman is -conscious of it. His feeling about it is that some effeminate beings -called Imagists are trying to emasculate the noble art of poetry. But -the thing is happening right under his nose and he is careful to keep -posted, in order to be able to defend his favorite theory. As for the -stage, he knows that Gordon Craig and Rhinehart have been using screens -instead of marble pillars painted against red velvet curtains. In -painting he knows all about the cubists and futurists; he even knows -that the donkey’s tail story was something of a joke. In sculpture he -has heard of an unreasonable reaction from Rodin, and he has probably -seen Brzeska’s head of Ezra Pound. In the ballet he has a rather clear -idea of why the old classical form wouldn’t serve; perhaps because the -Russians have demonstrated so clearly what it was they could do with the -new form. In opera he thinks very little is happening. He is right. - -But the slowest revolution of all—and the most interesting—is that which -is just beginning in the art of the piano. It is the slowest because it -is not the public alone that is bound to the old form. The masters -themselves have not visioned toward a need that would make a new form -inevitable. The need is—a deeper music. And it is the most interesting -because the convention that has bound the piano,—virtuosity,—is a more -worthy convention than that which has restricted any of the other arts. - -There is a universe of the arts in the piano. But it is not a universe -now. It is a stunt. The piano has been used for stunts for years and -years and years. It will go on being used that way for years. Well, I am -the last one to deprecate the art of these stunts. I think they are -beautiful—some of them. I think they have their place. But they have -served it too well. I love them more than I love all the opals and -rubies and sapphires and emeralds and topaz and amethyst and pearl a -jeweller can dip his fingers into and spread out for your dazzled -senses. But I love poetry more than jewels. And I love music more than -poetry. In the music of the piano you get the best illustration that -music is a thing beginning and ending in itself, a thing not of story or -image but of sound, a thing that must be understood quite simply in its -own terms,—as Hiram Kelly Moderwell puts it, a thing that must be heard -and not seen. And in the revolution that is beginning you get this first -pure principle combined with another; that the music of the piano must -reach to the passion of life. This is quite different from saying that -music must be a dramatization of human life. It is merely saying that -ballet dancing could never have produced an Isadora Duncan. - -I imagine that Harold Bauer must have said something of this sort to -himself. He has certainly said it on the piano. His attitude toward the -piano has this sort of prophecy in it. It is a matter of the beauty of -sound. The methods of approach of all the “masters” have been the same. -They have imposed something upon the piano. But Bauer has approached the -handling of the piano as Debussy approached composition—or Schönberg. - -When Schönberg wrote that “the alleged tones believed to be foreign to -harmony do not exist; they are merely tones foreign to our accepted -harmonic system”, and that “tonality is not a hard and fast compulsion -directing the course of music but a concept which makes it possible for -us to give our ideas the requisite aspect of compactness”, he was saying -practically what Bauer has suggested about the touching of the piano: -that virtuosity is only a means to an end, that the springs of the art -have been drying up, and that until the musician can _hear_ better he is -not worthy of the sounds the piano has to give him. You can’t play César -Franck with the same hands you use for Liszt. You must change your hands -into different “feelers”. The piano will give you the quality of almost -every instrument. It is as though Bauer had said: “They call this an -instrument of percussion. They have laid down its limitation. But I -doubt very much whether it will stay within that limitation. I suspect -it does not stop there but goes on into a realm where sound is of -infinite development.” That is why you hear an organ when he plays César -Franck; that is why you realize how the Imagists have worked when he -plays Debussy; that is why you get a sense of painting in all his music. -Bauer puts on the sound like paint. He knows, as Romain Rolland has -said, that every art tends to become a universe in itself; that music -becomes painting and poetry, that painting becomes music, etc. And Bauer -is not a genius. He has merely suggested what will happen to the piano, -and paved the way for an openness of mind about it. He has made a good -many people gossip of how his scales won’t compare with those of the -other great ones; but he has made a good many more suspect that there -has been something lacking in the ultimatums of the piano athletes. He -has done many simple and dynamic things to bring the piano into its own. - -But the full achievement of this will go beyond what has been heard yet -anywhere; and the man who does it will be scorned as the greatest fool -or madman of his time before it is fully understood. It doesn’t matter. -The thing will happen—I hardly know how. I hardly even know words with -which to tell what it will be like. It can only be told on the piano. - -In his _Spiritual Adventures_ Arthur Symons has a story of a musician -who says more true things about the piano than I have ever found -anywhere else. One of them is this: “Most modern music is a beggar for -pity. The musician tries to show us how he has suffered and how hopeless -he is. He sets his toothache and his heartache to music, putting those -sufferings into the music without remembering that sounds have their own -agonies which alone they can express in a perfect manner.” This is where -the “lions and panthers of the piano” have failed most: they have not -loved the sounds enough. They have not allowed each sound its full life. -This is the real reason why the piano has stopped short of itself. They -might almost as well have played bells. You can strike bells which will -bring out any number of tunes, loud or soft, with every possible variety -of phrasing. _But your interest will be in the tune rather than in the -sound._ You can’t limit the piano to the tunes that can be played upon -it. You don’t treat a violin that way, nor an organ. And of course you -can register a piano almost as fully as an organ with the “stops” that -are in the ends of your fingers. How fascinating it is, and how -wonderful! - -But most piano recitals are like recitations—or some sort of performance -on a school platform. Their beauty ends with the beauty of style, -phrasing, finish, tone, taste. It is diction rather than music. It is -science. Busoni is not a prophet; he is an orchestra. Hofmann loves -style more than he does sound. Godowsky loves patterns more than sound. -Gabrilowitsch loves delicate sounds intensely, but has no feeling for -the sounds of great chords. Zeisler loves rhythm more than sound. And so -on. Paderewski loves the piano. He is genius, pure and simple—though of -course there is nothing less pure or simple. He may do what he -likes—break sounds into bits, crack them like nuts. It doesn’t matter. -He never fails to communicate a mood to the instrument—the mood of his -personal equation. And that is art. “Przybyszewski playing Chopin”—that -would also be art. What have the excellent piano concerts you hear to do -with art, with inspiration? Piano playing is certainly something to be -surpassed. Music is the thing! And that means ecstasy, madness, -divinity,—the beauty upon which all the ends of the world are come. The -design of sound.... Each sound that comes out of the piano is something -alive.... - - * * * * * - -And now for the interesting part. - -When I talk of the “new music”—which will be different from Debussy and -Schönberg and all the rest of them—I am not talking of how far beyond -the limits of known harmony, or the anarchy which disregards any -harmonic system, we shall go. Undoubtedly, as far as all that is -concerned, “some day some one will dig down to the roots and turn up -music as it is before it is tamed to the scale.” This seems to me a -settled fact. But I am much more interested in the piano itself and the -deliverer who is to set it free from the lie which has grown up around -it and make it vibrate to a truer color. It is all in the plane of -vibration, I believe. It will come about in three ways: through the -mechanical development of the piano, through a new type of music, and -chiefly through the new type of pianist. - -You will have your Mason and Hamlin—(this is not advertising; it is -merely a conviction)—you will have that great dark-winged-victory -standing alone on a stage; you will care a great deal about the color of -the light around and above it—the tones of the walls within which your -beautiful sounds are to live; you will touch that ivory and ebony—oh, -there are no words! You will _see_ those sounds against the color.... - -You may write a program for your audience—something like this: - - I believe the right technical approach is simply a different are - the most beautiful there are anywhere in the world—more beautiful - than the wind in trees or the moan in the sea or the silence that - is heard on deserts; - - I believe that these sounds live only by a certain magic of - invocation. There are no rules for them—unless perhaps you want - to read Bergson. - - I believe the right technical approach is simply a different kind - of friendship—or love affair—with each sound. - - I believe that tone goes way beyond the range between pianissimo - and fortissimo, between legato and staccato, etc. Tone is - radiance, eagerness, light, darkness, devastation, something that - melts, something that cries and burns, something that shatters. - - I do not believe in playing “programs”—ending with a blaze of - Liszt. I couldn’t play the _Campanella_ to save my life, but I - don’t see that it matters. - - I do not believe in “program” music—beginning with Bach (now that - the public has learned to applaud him) and ending with Liszt. I - couldn’t play the _Campenella_ to save my life, but I don’t see - that it matters. - - I do not believe in nature music—babbling brooks and warbling - birds. I believe in nature mood, just as I do in the mood of all - great phenomena. - - The music I have made will be sometimes merely the curve of a - mood—like the curve of line in Watts’s _Orpheus and Eurydice_; or - merely the design of a color or a scent. But always it will keep - close to two fundamentals: that “hard gemlike flame” and the - rhythm of sex. - -All this will come under the classification of those things which are so -worth knowing that they can never be taught. It will belong to that -individual who can say the new word—his own word. It will make the piano -something we have scarcely dreamed of. It will make up an art that has -nothing to do with the four walls of a room. It could not be set to -“Questions and Answers” in _The Ladies’ Home Journal_. It will have -little to do with accomplishment, but everything to do with that which -is of all things the highest manifestation of life. - - - - - Blue-Prints - - - HARRIET DEAN - - - Debutante - -You are a faded shawl about the shoulders of your mother. A puff of wind -catches at your fluttering edge to jerk you away. But she draws you -close, growing cold in the warm young breeze. She holds you with her -shiny round pin, as all young ones are clasped to old by round things -grown shiny with age. - -In your wistful tired eyes I see the trembling of her shawl as she -breathes. - - - The Pillar - - When your house grows too close for you, - When the ceilings lower themselves, crushing you, - There on the porch I shall wait, - Outside your house. - You shall lean against my straightness, - And let night surge over you. - - - - - The Pathos of Proximity[1] - - - ALEXANDER S. KAUN - - [1] _The Works of Oscar Wilde in 13 volumes. Ravenna edition. New - York: G. P. Putnam’s Sons._ - -Pull down the shades. Turn out the lights. So. We do not want loud -electricity. We shall have a jewelled light. For I am rich to-night. -Come, let us recline on Bagdad cushions and Teheran rugs (“Only savages -sit”, Mme. Zinovyeva, the Russian Lesbian, told us), and I shall scatter -over the fantastic patterns jewels and stones. How softly they illumine -the thick dark—these varicolored glowflies, these streams of wine, -emerald wine, and amethyst wine, and wine of topazes “yellow as the eyes -of tigers, and topazes pink as the eyes of a wood pigeon, and green -topazes that are as the eyes of cats”, and wine of opals “that burn -always with an icelike flame”, and wine of onyxes that are like “the -eyeballs of a dead woman”, and wine streams of sapphires and chrysolites -and rubies and turquoises and ambers and pearls.... I am rich to-night, -and we shall bathe our eyes in quivering rainbows, and our fingers shall -wander lightly through dimly-jewelled ripples, stirring up old visions, -exotic unhuman faces, enchanting monsters, dancing rhythmic words, -fantastic moonlit thoughts. - - What songless tongueless ghost of sin crept through the - curtains of the night? - -“In exquisite raiment, and to the delicate sound of flutes, the sins of -the world are passing in dumb show before us. Things that we have dimly -dreamed of are suddenly made real. Things of which we have never dreamed -are gradually revealed.” - - Lift up your large black satin eyes which are like cushions - where one sinks! - Fawn at my feet, fantastic Sphinx, and sing me all your memories! - -A symphony of memories. A life as brilliant and as swift as a meteor. A -life of no shadows. Sun and flowers. A continuous rainbow. An Apollonian -race over iridescent rose-and-azure-clouds. A sudden plunge over hideous -precipice. The song broken. Yet the chord vibrates. - -Uneasiness. The moon filters through the stained embrasure. - - Regardez la lune ... On dirait une femme qui sort d’un tombeau. - Elle ressemble à une femme morte. On dirait qu’elle cherche des - mortes. - - ... Elle ressemble à une petite princesse qui porte un voile - jaune, et des pieds d’argent. Elle ressemble à une princesse qui - a des petites colombes blanches.... On dirait qu’elle danse. - - ... On dirait une femme hystérique, une femme hystérique qui va - cherchant des amants partout. Elle est nue aussi. Elle est toute - nue. Les nuages cherchent à la vêtir, mais elle ne veut pas. Elle - chancelle à travers les nuages comme une femme ivre.... - - ... Cachez la lune! Cachez les étoiles! - -No, it is not the moon that causes the uneasiness. It is that Egyptian -scarabæus in lapis lazuli that bedims the scattered jewels and enveils -me in sadness. An image beckons to me out of the ultramarine glimmer, an -image of a king, a lord, possessor of a golden tongue and of a -scintillating mind, yet an image repulsive in its carnal vulgarity, its -dull inexpressive eyes, its fat jowl, its unreserved mouth. On a stout, -democratic finger guffaws the scarabæus. - - * * * * * - -Lights! Turn on the lights. - -I have been sybariticizing with thirteen beautiful little volumes of -Oscar Wilde, recently published by G. P. Putnam’s Sons. It is a useful, -although often painful, ordeal—ventilating the store-room of your old -gods. There was a time when I worshipped Wilde unqualifiedly. As a -freshman I wrote a pathetic paper in which I demanded the canonization -of the author of _De Profundis_. Alas, I have come to discern spots on -the sun. - -As a decorative artist Wilde has no flaws. The perfect design applied in -his multifarious productions makes one compare him to the titans of the -High Renaissance: Nihil tetigit quod non ornavit. The graceful form -justifies even his obvious moral-fairy-tales, even his unoriginal, -Keats-esque and Poe-esque poems. It is for the style that we accept his -_De Profundis_, that insincerest attempt for sincerity. But Wilde strove -for more than mere external artistic effect. In his critical essays he -lifted the critic to the heights of co- and re-creation, and instructed -him to demand from a work of art eternal values. “The critic rejects -those obvious modes of art that have but one message to deliver and -having delivered it become dumb and sterile, and seeks rather for such -modes as suggest reveries and moods and by their imaginative beauty make -all interpretations true and no interpretation final.” We, his disciples -in aesthetic valuations, come to our master with his own criterion, and -find him on more than one occasion grievously wanting in the -requirements that he had set up for the artist. He either has no message -to deliver, as in his clever plays, or he delivers his message in such -an outspoken way that no field is left for suggestion or imaginative -interpretation. He had transgressed Mallarmé’s maxim—“To name is to -kill; to suggest is to create” not only in _The Ballad of Reading Gaol_, -the work that belongs to the crushed, semi-penitent Wilde; he committed -this unpardonable sin in his masterpiece, _Salomé_! That wonderful -harmonious ghastliness, woven out of moods and motives, surcharged with -suggestive tragedy and fatalism, suddenly breaks into a criminal -vulgarity through the introduction of a “real” dead head, which drives -away illusion and atmosphere, and strikes your nostrils with the odor of -theatrical grease paint. - -The rehabilitation of Oscar Wilde was imposed upon the Anglo-Saxon world -by the continent, especially by Germany, the expropriator of English -geniuses, where the production of Wilde’s plays has rivalled in -frequency those of Shakespeare. I know of a German pundit who chose as a -topic for his doctor’s dissertations “The Influence of Pater on Oscar -Wilde”. But continental depreciation is as fast as Anglo-Saxon -appreciation is slow. Neue Zeiten, neue Vögel; neue Vögel, neue Lieder. -European literature in recent decades has had more meteors than stars. -Wilde’s flash is rapidly vanishing. You may call me a Cassandra, but I -venture a prophecy that soon Wilde will find his peaceful place in -American colleges alongside with Austen, Eliot, Meredith, etc. - -_Salomé_ will always remain one of the world’s great symphonies,—a -symphony in which the motive of doom rends your soul from the first -sound to the last. _Poems in Prose_ will never lose their charm as -ivory-carved bits of ideal conversation—the art in which Wilde was -supreme, the art that is almost unknown in this country where it is -substituted by talk. His other works are doomed to be time’s victims. -Not because they are worthless, but for the reason of their -adaptability. One must be a prophet, a Nietzsche, who hurls his seeds -over many generations, in order to endure. Wilde was aware of this -danger, and he wished to be misunderstood, but he lacked the profundity -for such a merit. He did not mirror his age; but he had realized the -potentialities of his age, had popularized them to such a degree that -they have become the possession of the crowd. We are not any longer -dazzled by the clever witticisms in his _Plays_; they have become almost -commonplace. Even the graceful, radiating _Intentions_ appear to us -somewhat obvious. Why?—It is the pathos of proximity! Wilde’s paradoxes, -_mots_, theories, have proven so appropriate, adaptable, and digestible -for our age, that it took only one decade to absorb them into our blood -and marrow. Cleverism for the sake of cleverism has come to be an -epidemic in our days; cleverists find Wilde an inexhaustible source for -parasitic exploitation. Our Hunekers (and under this appellative I have -in mind the legions of our omniscient boulevardiers-critics) don a -Wildesque robe, and have little trouble in passing as genuine before the -good-natured public. Unfortunately the constitution of the Hunekers is -too weak to absorb Wilde’s big truths; they prefer the digestible chaff. - -Adaptability spells forgetability. Crime and punishment. - - - - - Solitude - - - DAVID O’NEIL - - Youth! - If there be madness - In your soul, - Go to the mountain solitudes - Where you can grow up - To your madness. - - - - - The Novelist - - - SHERWOOD ANDERSON - -The novelist is about to begin the writing of a novel. For a year he -will be at the task and what a year he will have! He is going to write -the story of Virginia Borden, daughter of Fan Borden, a Missouri river -raftsman. There in his little room he sits, a small, hunched-up figure -with a pencil in his hand. He has never learned to run a type-writer and -so he will write the words slowly and painfully, one after another on -the white paper. - -What a multitude of words! For hours he will sit perfectly still, -writing madly and throwing the sheets about. That is a happy time. The -madness has possession of him. People will come in at the door and sit -about, talking and laughing. Sometimes he jumps out of his chair and -walks up and down. He lights and relights his pipe. Overcome with -weariness he goes forth to walk. When he walks he carries a heavy -walking stick and goes muttering along. - -The novelist tries to shake off his madness but he does not succeed. In -a store he buys cheap writing tablets and, sitting on a stone near where -some men are building a house, begins again to write. He talks aloud and -occasionally fingers a lock of hair that falls down over his eyes. He -lets his pipe go out and relights it nervously. - -Days pass. It is raining and again the novelist works in his room. After -a long evening he throws all he has written away. - -What is the secret of the madness of the writer? He is a small man and -has a torn ear. A part of his ear has been carried away by the explosion -of a gun. Above the ear there is a spot, as large as a child’s hand, -where no hair grows. - -The novelist is a clerk in a store in Wabash Avenue in Chicago. When he -was a quite young man he began to clerk in the store and for a time -promised to be successful. He sold goods, and there was something in his -smile that won its way into all hearts. How he liked the people who came -into the store and how the people liked him! - -In the store now the novelist does not promise to be successful. There -is a kind of conspiracy in the store. Although he tries earnestly he -continues to make mistakes and all of his fellows conspire to forgive -and conceal his mistakes. Sometimes when he has muddled things badly -they are impatient and the manager of the store, a huge, fat fellow with -thin grey hair, takes him into a room and begins to scold. - -The two men sit by a window and look down into Wabash Avenue. It is -snowing and people hurry along with bowed heads. So much do the novelist -and the fat grey-haired man like each other that the scolding does not -last. They begin to talk and the hours pass. Presently it is time to -close the store for the night and the two go down a flight of stairs to -the street. - -On the corner stand the novelist and the store-manager, still talking. -Presently they go together to dine. The manager of the store looks at -his watch and it is eight o’clock. He remembers a dinner engagement with -his wife and hurries away. On the street car he blames himself for his -carelessness. “I should not have tried to reprimand the fellow,” he -says, and laughs. - -It is night and the novelist works in his room. The night is cold and he -opens a window. There is, in his closet, a torn woolen jacket given him -by a friend, and he wraps the jacket about him. It has stopped snowing -and the stars are in the sky. - -The talk with the store-manager has inflamed the mind of the novelist. -Again he writes furiously. What he is now writing will not fit into the -life-story of Virginia Borden but, for the moment, he thinks that it -will and he is happy. Tomorrow he will throw all away, but that will not -destroy his happiness. - -Who is this Virginia Borden of whom the novelist writes and why does he -write of her? He does not know that he will get money for his story and -he is growing old. What a foolish affair. Presently there may be a new -manager in the store and the novelist will lose his place. Once in a -while he thinks of that and then he smiles. - -The novelist is not to be won from his purpose. Virginia Borden is a -woman who lived in Chicago. The novelist has seen and talked with her. -Like the store-manager she forgot herself talking to him. She forgot the -torn ear and the bald spot where no hair grew and the skin was snow -white. To talk with the novelist was like talking aloud to herself. It -was delightful. For a year she knew him and then went away to live with -a brother in Colorado where she was thrown from a horse and killed. - -When she lived in Chicago many people knew Virginia Borden. They saw her -going here and there in the streets. Once she was married to a man who -was leader of an orchestra in a theater but the marriage was not a -success. Nothing that Virginia Borden did in the city was successful. - -The novelist is to write the life-story of Virginia Borden. As he begins -the task a great humbleness comes over him. Tears come into his eyes. He -is afraid and trembles. - -In the woman who talked and talked with him the novelist has seen many -strange, beautiful, unexpected little turns of mind. He knows that in -Virginia Borden there was spirit that, but for the muddle of life, might -have become a great flame. - -It is the dream of the novelist that he will make men understand the -spirit of the woman they saw in the streets. He wants to tell the -store-manager of her and the little wiry man who has a desk next to his -own. In the Wabash Avenue store there is a woman who sits on a high -stool with her back to the novelist. He wants to tell her of Virginia -Borden, to make her see the reality of the woman who failed, to make all -see that such a woman once lived and went about among the women of -Chicago. - -As the novelist writes events grow in his mind. His mind is forever -active and he is continually making up stories about himself. As the -Virginia Borden whom men saw was a caricature of the Virginia Borden who -lived in the mind of the novelist, so he knows that he is himself but a -shadow of something very real. - -And so the novelist puts himself into the book. In the book he is a -large, square-shouldered man with tiny eyes. He is one who came to -Chicago from a village in Poland and was leader of an orchestra in a -theatre. As the orchestra leader the novelist married Virginia Borden -and lived in a house with her. - -You see the novelist wants to explain himself also. He is a lover and so -vividly does he love that he has the courage to love even himself. And -so it is the lover that sits writing and the madness of the writer is -the madness of the lover. As he writes he is making love. Surely all can -understand that! - - Because sexual love is the most useful and common type of - excitement we are apt to think it necessary to life, when the - truth is that it is excitement itself which is life’s - essential.—_Rebecca West._ - - - - - Asperities - - - MITCHELL DAWSON - - - Threat - - If you should come into my cave - Bringing molded beads of sunlight - For offering— - I would trample your beads - And crush you - With that great bone of darkness - Which I have gnawed for years - And which has left me - Meagre as a gnarled root. - - - In Passing - - One moment— - Your friend - Has squeezed great drops from you - Upon his palette; - With your color he has wrought— - Masterpieces, you say? - But the empty tube - Grown flat in his hand, - Will he hold it or pick up another, - Your friend— - - - Teresa - - Do you remember Antonino— - Swift-winged, green in the sun? - Into the snap-dragon throat of desire - Flew Antonino. - Snap!... - The skeleton of Antonino has made - A good husband, a good provider. - - - - - Amy Lowell’s New Book - - - F. S. FLINT - -Amy Lowell has sent me her book, _Six French Poets_,[2] who are: Emile -Verhaeren, Albert Samain, Remy de Gourmont, Henri de Régnier, Francis -Jammes, and Paul Fort; and it occurs to me that I must be her severest -critic—are we not rivals? When, in the summer of 1914, before the war -was dreamed of, she told me over her dinner-table of her intention to -write this book and of the names of the poets she had chosen, I objected -to Samain. Samain, I said, was exquisite, but not important; and he -could only be read a few pages at a time without weariness. Stuart -Merrill and Francis Vielé-Griffin, I went on, are both more considerable -poets; and both are Americans; and since you insist on including Remy de -Gourmont as one of your poets, you might increase your number to seven, -in many ways an appropriate number where poets are concerned; and so on. -But she only motioned the waiter to fill my glass with champagne; and -what can a man do against such argument and such a will? And now, even -if I wished to damn her book (I do not), she will have already heaped -coals of fire upon my head in her preface, where she says kind things -about me because I happened to mention the names of one or two books to -her, information she did not really need. - - [2] _Six French Poets, by Amy Lowell. New York: Macmillan - Company._ - -Miss Lowell states that she has “made no attempt at an exhaustive -critical analysis of the various works” of her poets. “Rather, I have -tried to suggest certain things which appear to the trained poet while -reading them. The pages and pages of hair-splitting criticism turned out -by erudite gentlemen for their own amusement has been no part of my -scheme. But I think the student, the poet seeking new inspiration, the -reader endeavoring to understand another poetic idiom, will find what -they need to set them on their way.” That is so: this book contains six -causeries in which Miss Lowell tells you why she loves these poets, and -what she loves about them, interrupting her talk every now and then to -read some poem to you which illustrates her meaning, introducing every -now and then a fragment of biography to correspond with the stage of the -poet’s work to which she has brought you, or stopping every now and then -to pick out rare phrases and rare music of words for your especial -delight. No one, I suppose, will have listened to Miss Lowell’s causerie -in so happy a setting as the sitting-room on the third floor of a hotel -in Piccadilly in which she talked to us in the August of 1914. Through -the long French window open in the corner could be seen the length of -Piccadilly, its great electric globes, its shining roadway, and, on the -left, the tops of the trees of Green Park, dark grey in the moonlight; -the noise of the motorbusses and of the taxis reached us in a muted -murmur, and at the corner of the park opposite, beneath a street lamp, -stood a newsboy, whose headlines we strained our eyes from time to time -to catch. It was in this tenseness created by the expectation of news -that Miss Lowell read Paul Fort and Henri de Régnier to us (she reads -French beautifully); and it is the emotion of those evenings, more than -anything else, that her book brings back to me. This is not criticism, I -know; but I am a critic displumed. I have quoted Miss Lowell’s statement -of her aims; let me now give my impression of what she has done. You can -take up her book, and read it from beginning to end without weariness or -boredom; you will be continually interested, continually delighted, -continually moved. Miss Lowell’s method of quoting whole poems and long -poems as well as detached and beautiful fragments has filled her book -with an emotional content that almost makes me afraid to open it; the -fear of too much beauty. And, finally, she has flattered the sense of -personal superiority in us all by allowing little slips to remain where -we may find them, and preen ourselves on our cleverness. When you have -absorbed all these sensations, you will have come to Appendix A, which -is 140 pages of the finest translations into English that exist of the -six poets in question, or, it might truly be said, of the French poets -of the symbolist generation. In these translations, Miss Lowell has -rarely been tempted away from prose, and you have only to compare her -work with the work of other translators to be immediately aware of how -much she has gained by her prudence, her artistry had better be said. -That Miss Lowell had all the equipment for a task of this kind, her own -two books of poems left no doubt at all. In them you will find the same -delight in beautiful word and phrase which has undoubtedly led her to -modern French poetry as to a friendly country, and to the achievement in -these translations. If she had done nothing more than just publish -these, she would have earned our gratitude; but she offers them to you -as the least of her book (as an appendix!) after you have been amused, -interested, instructed and moved. I can conceive of no greater -pleasure—my pleasure in the book is of a different kind—than that of the -lover of poetry who reads in Miss Lowell’s book about modern French -poetry for the first time; it must be like falling into El Dorado. I -should add that the book contains an excellent signed photograph of each -poet. - - - - - The Picnic - - - MARJORIE SEIFFERT - - Here they come in pairs, carrying baskets, - Pale clerks with brilliant neckties and cheap serge suits - Steering girls by the arm, clerks too, - Pretty and slim and smart - Even to yellow kid boots, laced up behind. - - They take the electric cars far into the country; - They descend, gaily chattering, at the Amusement Park. - Under the trees they eat the lunch they have carried— - Potato salad and boiled sausages, cream puffs, pretzels, warm beer. - - They ride in the roller-coaster, two in a seat— - Glorious danger, warm delicious proximity! - The unaccustomed beer floods their veins like heady wine, - And smothered youth awakens with shrill screams of joy. - - The sun sets, and evening is drowned in electric lights; - Arm in arm they wander under the trees - Everywhere meeting others wandering arm in arm - In the same wistful wonder, seeking they know not what. - They have left the park and the crowds, the stars shine out, - A river runs at their feet, behind them a leafy copse, - Away on the other shore the fields of grain - Lie sleeping peacefully in the starlight. - Tonight the world is theirs, a legacy - From those who lived familiar friends with river, field and forest— - Their forebears— - Through the night the same earth-magic moves them - That swayed those ancient ones, long dead— - And these, too, lean and drink, - Drink deeply from the river, the flowing river of life. - - Slowly they return to the crowds and the brilliant lights, - Dazzled they look aside, silently climb on the cars— - They cling to the swaying straps, weary, inert, confused. - The lurching car makes halt, they are thrown in each other’s arms,— - Alien and unmoved they sway apart again,— - The car moves on through the fields and suburbs back to the town. - - They leave the car in pairs, the picnic baskets - Rattling dismally plate and spoon and jar. - Each clerk takes his girl to her lodgings in awkward silence, - Indeed their eyes have not met since by the river - Those wondrous moments - Linked them to earth and night, not to each other. - They look askance,—“Good-night”—the front door closed. - They do not meet again except by chance. - - - - - Editorials and Announcements - - - _Wanted: Some Imaginative Reason_ - -“Nietzsche was an individualist, a hater of the State and of the -Prussians, a sick man, a great artist in words to be read with delight -and—your tongue in your cheek.” This is from John Galsworthy’s “Second -Thoughts on this War” in the January _Scribner’s_. And so it goes on: he -identifies Nietzsche with the new German philosophy (which the poor man -would have hated as he did Prussianism), he talks of the Will to Power -and the Will to Love as two forces at opposite poles (quite in the -manner of the Chestertons), and he derides Shaw’s clear-headed -understanding that there is no real struggle of ideals involved in the -war as the statement of a brilliant intellect with “no flair, no -feelers, none of that instinctive perception of the essence and -atmosphere of things which is a so much surer guide than reason.” These -things are heart-breaking. If the artists can not understand the -prophets of their time why should we expect the masses to do so? - - - _“Homo Sapiens” Is Obscene!_ - -Anthony Comstock’s successor, John Sumner, has arrested Alfred Knopf for -publishing Przybyszewski’s _Homo Sapiens_. It was suggested that -magistrate Simms read the book before passing judgment. The assistant -district attorney protested that “no such cruel punishment be imposed on -the court”; but Mr. Simms promised to try it. - - * * * * * - -_P. S._ Since writing the above something has happened which my brain -still refuses to believe. I have just been told that Mr. Knopf has -pleaded “guilty” to this asinine charge, in order to avoid the expense -and the publicity, and that _Homo Sapiens_ will no longer be circulated -in this country. If it is true it is the most inexcusably ridiculous -thing that has happened for many months. It is incredible! - - - “_The World’s Worst Failure_” - -Read Rebecca West’s brilliant articles in _The New Republic_. - - - _Margaret Sanger and the Issue of Birth Control_ - -Nothing makes me so positively ill as the average radical. The average -conservative is a ghastly figure, but at least he is true to type. The -average radical is a person who professes to believe something that he -does not believe. If he did, he would be in trouble. No one gets into -more involuntary trouble than the splendid fools who think they can do -quite simply what they believe in, and who proceed to do it. - -Margaret Sanger’s trial is set for the twenty-fourth of this month. She -is under three indictments, based on twelve articles, eleven of which -are for _printing the words_—“prevention of conception.” It is these -words which are regarded as “lewd, lascivious, and obscene.” - -Many “radicals” have advised Mrs. Sanger that the wisest thing to do is -to plead guilty to this “obscenity” charge and to throw herself upon the -mercy of the court—which would mean that she could get off with a light -sentence or a small fine. And what would become of her object, which has -been to remove the term “prevention of conception” from this section of -the penal code, where it has been labelled as filthy, vile, and obscene? -No revolution has ever been started by evasion. No one wants Margaret -Sanger to be a martyr. _The point is that every one must see to it that -she is not made a martyr._ There is no other way out of these issues. -You can’t really believe in a thing without knowing that some time you -will have to fight for it. Margaret Sanger is taking the stand that her -type always takes—just because it is the type that insists on believing -hard. _We_ should do all the rest. If you will wire your protest to the -District Attorney, office of U. S. Marshal, Post Office Building, New -York City, it will help. You may write Margaret Sanger, or send -contributions to her, care of Ethel Byrne, 26 Post Avenue, New York -City. Please, please do it! - - - _The Russian Literature Group_ - -The introductory lecture, which took place January 14 and was rather -well attended, will be followed by a series of talks on characteristic -features in Russian literature. The pivots of the discussion will be -Pushkin, Lermontov, Gogol, Turgenev, Dostoevsky, Tolstoy, and the -moderns. Mr. Kaun presents the point of view of a Russian, not that of a -foreign student. - -The next lecture will be Friday, February 11, at 8:30 P. M., in room -612, Fine Arts Building. - - - - - American Art - - - (An Indefinite Comment) - -I report, without regret, my inability to present a definite article -about the Annual Exhibit of American Painters and Sculptors. Not that -the exhibit is vague—American art is a definite thing: travelling -collections, annual exhibits, “friends” and organizations have made it -so. But visit after visit left me without words. The feelings I did have -were alternately those of amusement, anger, disgust, indifference, mild -excitement, and most of the time: “Oh well, what’s the use?” - -In this exhibit the only thrills or “artiste emotions”—such as one -demands of art—were very minor notes and immediately they were -felt—thump! (Register amazement and then anger.) You come across -something good: its neighbors and surroundings deaden its appeal. Thus, -Massonovich’s _Moon-Dark_—poet’s magic! But alas! it is the only -landscape in the exhibit. Next to it is Oliver D. Grover’s Italian -platitude, near it a Redfield—“blast” his “school” of landscapes, -please, someone! Peyraud, Stacey, Butler—oh, what emptiness! The Inness -Room cuts into the exhibit separating two rooms from the rest of the -galleries. Passing through it one is reminded of the Inness -tradition—how it has been ignored! Or at least how his spirit has been -ignored. Monet, Renoir, Manet, and some other modern French are hanging -elsewhere in the Institute; and then there is Whistler; and again recall -Inness; Massonovich, on you rests the perpetuation, not of “American -Landscape” but of that spirit we shall always be searching for in -landscapes, if landscapes we must have. One parting remark about -landscapes. Hayley Lever comes in for some praise and much scolding. He -has a good color sense, but strength and virility in composition seem to -be lacking. Recall what Jerome Blum has done and you will understand why -this half-way person ought to be jolted. - -And the portraits. One of Katherine Dudley’s -decorative-German-poster-“Every Week” cover-design-women, is now the -property of the “Friends”—“American Art as it was in the early part of -the twentieth century”. Yes, indeed, to represent it clearly to -posterity you must include at least one of the numerous society -dilettantes. However, Gordon Stevenson, Blows, Henri, and Davey as -portrait painters are worth watching. - -And the rest of the show? Most of the exhibitors have been represented -for years. Their pictures are all so familiar. Many of the paintings -have appeared year after year. Birge Harrison has a rather atmospheric -beach scene; Beal, Albright, Dougherty, Hassam, Sargent, Mary Cassatt, -Symons, Ballin, Weir, Schofield. All are familiar and recognised in the -Market Place. These people are standing still. I imagine they are old: -grey without magnificence. And being haunted by the truth of that -lingering statement that there is no such thing as an old _artist_—why, -dare we say that they are _not_ artists? - -Sculptor? There is none. - -American Art?—To the Annual Exhibit, Ladies and Gentlemen, for a -definite demonstration! - - “The Critic.” - - - - - Photography - - -“My, isn’t that real! Just as it really is! My dear, haven’t you often -seen Grant Park just like that?—a little changed, of course.”... She who -had spoken was considered not a high-brow but just a good normal -cultured woman. Not being a fanatic about art, or anything else, for -that matter, she knew absolutely what she was talking about. The thing -she was talking about was a painting of Grant Park by Frank C. Peyraud -looking east from the top of some Michigan Boulevard office building.... -It was indeed “real.” Peyraud’s one-man exhibit at the Art Institute -shows him up for what he is—an imitator without imagination, a -reproducer, a copyist of nature in her most obvious moods. Not an artist -or a creator his landscapes are all “real,” “true-to-life” and they are -all enjoyed.... The Public knows where the originals are and the -association and comparison gives them pleasure and the artist fame.... - - * * * * * - -“Oh, _how_ clever, and can’t you just hear the policemen, and the -buggy-wheels and the bark of the dogs and the grind-organ! Oh, its just -wonderful what they can do in music and with an orchestra. I _would_ -like to hear that played again!” A woman speaks—not the one referred to -above but one who holds the same position in her set towards music as -her friend towards “art” in her circle.... Of course, she can appreciate -music, when it is so natural and real.... Carpenter is to be -congratulated: the percussions are given a splendid and unusual chance -to show their versatility—it is they, it seems to me, and they alone who -benefit by this splendid display of music. - -“My dear, I just love Stevenson and you know, my dear, those places in -his novels are _so_ real—you can just see them so plainly. Of course, -I’ve never been in Scotland or England or France or, my dear, even in -New York but really Stevenson is so descriptive, his stories are _so_ -gripping it really is as good as traveling. And I have a lovely new -book,[3] just out with beautiful pictures and awfully dear binding, -showing how the places Stevenson describes actually exist! You know this -book amounts to a liberal education—it’s just the same as going abroad. -I just adore places and scenes and travel in books—don’t you? And -Stevenson,” she ended with a sigh, “is _so_ romantic.” Which reminds me -of a line of the Intolerable Wilde’s in a letter from Reading—“I see -that romantic surroundings are the worst surroundings possible for -romantic writers.” ... “And, my dear, it brings Art so close to everyday -life, does it not?—to have artists portray for us our everyday -surroundings and show us how nice they are.” - - [3] _On the Trail of Stevenson by Clayton Hamilton._ _New York: - Doubleday, Page and Company._ - -Long, long ago one Woman spoke to an Artist—will her type _never_ become -extinct? - -“But, Mr. Turner” (Artist; contemporary of John Ruskin) “I never saw -such colors in a sky in all my life.” - -“My dear madam,” he returned, “don’t you wish you had?” - - —C. A. Z. - - - - - Book Discussion - - - A Brilliant Enemy - - _Modern Painting, by Willard Huntington Wright. New York: John - Lane Company._ - -It is a hard book. None of Clive Bell’s sunny cynicism, none of -Kandinsky’s colorful musicalness; surely nothing in common with the -watery ecstacies of our official Chicago modernist, Arthur Jerome Eddy. -While reading the voluminous book I experienced an uneasy, an uncertain -feeling in regard to the author: to hate him, or just to dislike him? -Let me confess that when I turned over the last page I lowered my head -in respect for a brilliant enemy. - -It is a hard book, brothers-dilettanti. It gives us a merciless -thrashing, we who love without being able to state why and wherefore. We -are ordered to go to school, children, to study chemistry and color, to -approach a work of art as scientifically equipped as a surgeon venturing -to operate on a human body. As a reward we are promised the bliss of -unadulterated aesthetic emotion. Ah, that aesthetic emotion! For a time -we believed that it was possible to grasp that slippery “blue bird” by -following Clive Bell’s maxim on the significance of form. Alas, this -theory is obsolete. Color itself should become form, proclaims Mr. -Wright, and he quotes the manifesto of his beloved Synchromists: “In our -painting color becomes the generating function. Painting being the art -of color, any quality of a picture not expressed by color is not -painting!” - -With a sigh of relief we reach the chapter on Synchromism. All art up to -the year 1912 has been nothing but preliminary experimentation. In -Rubens were consummated the aims of the old painters (beginning with the -fifteenth century; the Primitives are dismissed as not deserving -consideration)—organization and composition. The new cycle opens in the -nineteenth century with Turner, Constable, and Delacroix, who experiment -in naturalism. Manet introduces thematic freedom—not more. The -Impressionists and Neo-Impressionists close the second, naturalistic, -cycle, having enriched art with laborious investigations into the -secrets of color in relation to light. All these have been but -precursors forging weapons for the third and _last_ (!) cycle—the final -purification of painting. Synchromism, of course. Of this last cycle -Cezanne was—hear, Messieurs and Mesdames Questioners—the primitive! -Still Cezanne and Matisse and Picasso ignored color as a generator of -form, until two Americans, MacDonald-Wright and Russell, rent asunder -the ultimate veil from purity and truth, and the new and final deity -emanated from their canvasses, the unsurpassable Synchromism. - -There is so much truth in Mr. Wright’s statements, particularly in his -negative statements, that we may disregard his fanatic credo. Who will -deny that painting has been “a bastard art—an agglomeration of -literature, religion, photography, and decoration”? Who will not approve -of the efforts of modern painters to eliminate all extraneous -considerations and make painting as pure an art as music? But why -dogmatize again and anew? Why reduce creative art to scientific -formulae, to mathematical calculations, to Procrustean standards? Why -ridicule those who paint _comme l’oiseau chante_? Why belittle Kandinsky -for his too-subjective symphonies? Why be so hard, Mr. Wright, so -finite, so sententious, so encyclical? Why not have a little sense of -humor, pray? - - - Gorky’s Memories - - _My Childhood, by Maxim Gorky. New York: The Century Company._ - -That Gorky is deteriorating has become a truism. Exaggerated as the -importance of his early works has been, one could not deny their -freshness, elementary adroitness, soulfulness. But the god-fire was soon -exhausted in the none-too-deep spirit of the tramp-poet. He gave us the -few good songs he knew about the life of the has-beens, and then went -hoarse. The public, Hauptmann’s Huhn, is not irresponsible for Gorky’s -false notes. Compel the canary to imitate the nightingale and the poor -bird will lose her short, simple, pretty twitter, and rend her little -heart with shrill ejaculations. I have in mind Gorky’s later dramas and -stories. - -The book before me makes me think that Gorky has come to recognize his -fallacy in attempting to treat subjects alien to his inherent capacity. -At any rate in this case he is free from pretentiousness. His childhood -memories are related simply, realistically, sans philosophizing, sans -allegorizing. It is left for the reader to deduce the “moral” from the -sordid panorama that is revealed before him, that malodorous dunghill -swarming with human beings, whose crawling and writhing is called life. -The book should have been much shorter; the super-abundance of details -makes it Dreiserian or Bennetian. - -And here I should like to touch upon a sore which reviewers customarily -do not discuss, for fear of _mauvais ton_. Why are the English -translations so careless and comical? The book in question is full of -such glaring errors, such nonsensical misunderstandings, such atrocious -ignorance, that it has made me pull my hair in despair of solving the -dilemma whether I should laugh at the comicalness or whether I should -rage at the impertinence. I am quite sure that the translator (his name -is not revealed) knows as much Russian as Percy Pinkerton, the crucifier -of Artzibashev; he mutilated Gorky from a German translation, I suspect. -The book has another jolly feature—illustrations. They are reproductions -from popular Russian paintings, with inscriptions that are supposed to -illustrate the text. The naive forgery is too crude and unskilful to -mislead even the unsuspecting reader. Will the publishers ever acquire -respect for the printed word? - - - Instruction - - _The Greatest of Literary Problems, by James Phinney Baxter. - Boston: Houghton Mifflin._ - -Have you the sense of humor to guess which is the Problem? Shakespeare -or Bacon! About seven hundred gigantic pages on this vital question, -with illustrations and data. Are you curious to know who wins? I shall -not tell. Why should the reader be spared the reviewer’s agony in wading -through the bewildering labyrinth of speculations and arguments till he -reaches ... the same point that he started from. Bon voyage! - - - Instruction Plus - - _Tales from Old Japanese Dramas, by Asataro Miyamori. New York: - G. P. Putnam’s Sons._ - - _Some Musicians of Former Days, by Romain Rolland. New York: - Henry Holland Company._ - -These books, like the preceding one, are intended to be instructive; -they attain their purpose, however, thanks to gracefulness of style and -fascination of subject. Mr. Miyamori has condensed the plots of the most -famous _joruri_—the epical dramas of the Yeddo period, which are to this -day chanted in Japanese theatres. It is an exotic atmosphere of oriental -fairyland, tapestries of childlike love and naive passion, of smiling -bloody tragedies and blissful harakiris. When lovers are prevented from -being married they do not employ the cumbersome process of elopment, but -transport themselves into the other world by committing _shinju_ or -double suicide. The author tells us that Metizahormach shinju dramas -have had such powerful influence on the audiences that there have been -numerous instances of lovers performing that delicious suicide after -leaving the theatre. I fear that for the occidental reader the dramas -will not prove as convincing—alas. - -After _Musicians of To-Day_ the last book of Rolland has little appeal. -Journalistic notes, interesting information, brilliant suggestions—and -we look in vain for the profound spirit of the old Romain. - - - Hospitable Mr. Braithwaite - - _Anthology of Magazine Verse for 1915, by William Stanley - Braithwaite. New York: Gomme and Marshall._ - -Mr. Braithwaite has chosen the guests for his house party with kindly -catholicity. Amy Lowell, John Gould Fletcher, and H. D. sit -uncomfortably in his New England parlor eyeing one another furtively. -Clement Wood clowns in a corner. Vachel Lindsay before the mantel-piece -declaims to James Oppenheim and Louis Untermeyer, who listen with an air -of importance. Edgar Lee Masters sits on the _corpus juris_ and -meditates upon the beauties of silence. Sara Teasedale dances in the -hallway. Harriet Monroe reclines on a porch chair, listening to the -rain. A crowd in the library recreate themselves by reading from a set -of British Poets. Percy MacKaye gloomily reads the war news to a group -in the dining-room, while little Arvia, his daughter, lisps happily to -herself. And alone in the kitchen is Robert Frost roasting chestnuts. - -Who will say that Mr. Braithwaite could have better performed the duties -of host? Did he omit any of the “older established names”? And did he -not make a special Cook’s tour to far off islands (not shown in the -atlas of the _Boston Transcript_ office) for the purpose of bringing -home with him certain “new discoveries”? - -Mr. Braithwaite pats his guests admiringly upon the back and regrets -that there are other excellent poets for whom he has no accommodations. -Ezra Pound, Richard Aldington, T. S. Eliot, D. H. Lawrence, Maxwell -Bodenheim, perhaps he will invite you next time. Is it not a pleasant -anticipation? - - - Empty Souls - - _The Later Life, by Louis Couperus. New York: Dodd, Mead and - Company._ - -This is the second part of the tetralogy of “Small Souls” which began to -appear in English last year. The slowly-developing epic is pregnant with -promises, but, oh how slowly the skein unrolls. We are still in the -midst of Dutch bourgeoisie, dull, stony-faced, petty, filthy; again the -incessant rain, ever-cloudy skies, bicycle rides, large dinner-parties -at Mama’s. Small souls. Last year I asked the question whether in -depicting Dutch life Couperus could not find a single big soul, one -interesting individual. This second book gives us pale glimmers of -potentialities, very pale indeed. The big man is big only relatively; he -has been in America, worked in factories, and is now ... lecturing on -peace. - -The book introduces a feature that may interest the sexologist: frequent -passionate love among near kinsmen. Two sisters are in love with their -brothers. A romance between uncle and niece. The heroes and heroines are -awakened to love for the most part at the dangerous age of forty. I -recall that Przybyszewski presents in two of his works love between -brother and sister. Shall we say that ideal sex-relationship requires -the closest kinship of body and spirit? In the Pole’s lovers the force -driving them together is the harmonious coincidence of two morbidly -developed intellects with a common craving for beauty and fullness. In -Couperus we face mutual yearning of small, pale, empty souls. But I am -not interested in sex-problems, not yet. - - K. - - - Two Points of View - - _Violette of Pere Lachaise, by Anna Strunsky Walling. New York: - Frederic A. Stokes._ - -A gigantic background—the eternal graves and trees and monuments of the -old Paris cemetery. The rest is fudge. A mouse born out of the bowels of -a mountain. Nauseating feminine sentimentalism. Boring talk, talk, talk. - - K. - -The reviewer above is absolutely mistaken about Mrs. Walling’s book, I -believe. It is the story of one of those human beings—rare people—who -live inner lives of extraordinary intensity. It is radiantly absorbing, -to me. - - M. C. A. - - - - - The Reader Critic - - -_The Editor_: - -_We have had cancellations, congratulations, and a lot of indignant -letters about Ben Hecht’s “Dregs.” I print two of them below. As it -happens, these stories are among the best things_ THE LITTLE REVIEW _has -printed. With the exception of some of the poetry and two stories of -Sherwood Anderson’s, they may be listed as the only “literature” we have -published. Some one has compared them to Gorky. But this is not a very -accurate judgment. As a reviewer pointed out in the November issue, -Gorky could feel his stories, could imagine them deeply, but he could -never quite tell them. The supreme virtue of Ben Hecht’s “Dregs” is that -he could tell them. That is the art. Of course I have nothing to say to -those people who deplore Mr. Hecht’s subject matter and urge me to use -some moral judgment in selecting things for_ THE LITTLE REVIEW. _There -is no such thing as moral judgment in literature. There should be no -such thing in life, but unfortunately_— - -_A Sorrowful Friend_: - -THE LITTLE REVIEW: _Literature, Drama, Music, Art_. Which of these four -shrines did you intend to desecrate in offering Ben Hecht’s “Dregs”? Or -have you added an “unwritten” class to your list, comprehensive enough -to include such bold portrayals of viciousness and filth, of -licentiousness and lust, as these three degenerate—manifestations! - -LITTLE REVIEW—how _could_ you do it? You who have hitherto held so -bravely to the tenets of beauty and truth in thought and expression, -held to them courageously through storms of adverse criticism, consent -to print descriptions of the bestial abnormalities of the scum of -mankind! If _you_, who profess to look to a higher, better realization -of life, consent to crawl in the gutter with the vermin, what can we -expect of the lesser publications? - -You have polluted an edition of your magazine; it is true that flames -will destroy the manuscript, but what of the hideous memory that -remains? Take heed—LITTLE REVIEW; remember that cleanliness is akin to -godliness and—look to your soul! - -_Florence Kiper Frank, Chicago_: - -May I call your attention to the fact that Mr. Edward J. O’Brien, in his -annual review of the year’s fiction, not only lists all the stories -printed in THE LITTLE REVIEW during 1915 among those possessing -“distinction,” but double-asterisks (verb) the three sketches of Ben -Hecht’s published under the title “Dregs.” This in the chaste and -genealogical Boston Evening Transcript! And, following to the best of my -ability Mr. O’Brien’s rather vague reference to and nebulous listings of -the stories to be published in his anthology, _The Best Stories of 1915 -and Year Book of American Fiction_, I can but come to the startled -conclusion that Ben Hecht’s three stories are all to be reprinted in the -estimable collection. Good for Ben Hecht, THE LITTLE REVIEW, and Mr. -O’Brien’s catholicity of judgment! Some of us there are who like to have -our opinions backed and bolstered by authority. And what more august -authority than the printed word of Boston. Some of us—but of course not -your insurgents. Perhaps Mr. Hecht will resent congratulations. I tender -them, nevertheless—with apologies. Good stuff, Ben Hecht! Do us -some—more of them. - -_Sada Cowan, New York_: - -I’m truly grateful to your reviewer who found my play, _The State -Forbids_, “negative as literature.” If he had found it bad architecture -or mediocre sculpture I should have been less pleased. - -Play making, to my mind, is not a form of literature (even though its -medium chances to be words) but it is an art of spacing ... focusing ... -building. Structure upon structure! Foundation. Ornament. Design. An art -as distinct from other forms of word utility as color medium is from -plastic art. Drama is related to literature only in so far as all arts -are inter-related. No more than this. By drama I mean, of course, plays -intended (at least in the writer’s mind) for production. These alone are -plays. For one reason or another they may never reach the boards, but -they must have lived in the writer’s fantasy as things produced. _Desk -drawer dramas_ are not plays. - -I believe that the hope of the modern drama lies in the artist who can -learn to look upon himself as a builder ... a _maker_ and not a writer -of plays. - -And so again I thank your critic whose charity has made me feel that I -am on the road which leads to “Somewhere.” Even though at the end of my -journey I may not yet have reached the first mile stone. - -_Virginia York, Washington, D. C._: - -It is published in windy Chicago, THE LITTLE REVIEW. Claimed by -management, editors and its readers to be the very, very last, last word -in prose and poetry; it is sold at fifteen cents a copy. Normal-minded, -healthy folk will find it cheap at that price, because normal-minded, -healthy folk will find in it fifteen laughs for fifteen cents, despite -the fact that it is entirely a serious publication. - -Years ago an editor sent me to the government hospital for the insane -just outside Washington, to interview a certain man. As I passed into -the building an elderly gentleman of profoundly respectful manner -presented me with a neatly-bound pamphlet which he said he had written, -edited and illustrated entirely by himself. Examining it later, the -cover-page proved to be a mass of meaningless, whirling lines labeled in -carefully printed letters, “The Croucher At The Door.” The reading -matter was wholly unintelligible. - -A poet-friend has given me the October number of THE LITTLE REVIEW. The -vers libre poetry in the small magazine might easily be called “The -Croucher At The Door” for all the sense to be made of it. In fear and -trembling that my own unworthy brain might finally have addled, -relatives and friends were invited to peruse the contents of the volume. -I thank heaven they could make nothing of it. - -One contribution entitled _Cafe Sketches_, by Arthur Davison Ficke, is -herewith reprinted for the benefit of readers of this page who are -denied access, and accompanying the laugh, to THE LITTLE REVIEW. Mr. -Ficke, after telling in the first verse that he is in a cafe, surrounded -by a “cortege of seven waiters,” mourning for a “boundlessly curious -lady,” recites in mournful meanderings: - - Presently persons will come out - And shake legs. - I do not want legs shaken. - I want immortal souls shaken unreasonably. - I want to see dawn spilled across the blackness - Like a scrambled egg on the skillet; - I want miracles, wonders. - Tidings out of deeps I do not know ... - But I have a horrible suspicion - That neither you - Nor your esteemed consort - Nor I myself - Can ever provide these simple things - For which I am so patiently waiting. - - Base people! - How I dislike you! - -Maybe you think this is funny, but certainly it is not intended to be. -Seriousness, thick, black, dense seriousness is the keynote of THE -LITTLE REVIEW. This is vers libre with a vengeance. “Persons will come -out and shake legs. I do not want legs shaken.” Here we have the spirit -of the dance! It is quite evident Mr. Ficke does not wish joy to be -unconfined. - -There have been many descriptions of dawn, probably none so unique as -“the dawn spilled across the blackness like a scrambled egg on the -skillet.” The second verse is short and to the point, but it is much to -be thankful for both in point of length and the statement that we are -abhorred. - -In order to restore our thoughts to something sane, to take away from us -the taste of such gibberish, consider for a moment the following eight -lines by Harriet Howe, recently published in THE LITERARY DIGEST. -Comparison between the two authors is utterly impossible, totally -unnecessary: - - - SUNSET AFTER RAIN - - The cradle of the valley - Is filled with floating mist, - The summits of the mountains - Are veiled in amethyst. - - The trees spread grateful branches - Above a smiling sod, - For thirsting slaked, for hunger fed, - All things are praising God. - -_Huntly Carter, London_: - -The letter by C. Smith of Chicago, in the October issue of THE LITTLE -REVIEW, is so phenomenally stupid and so intellectually dishonest that -it is almost beneath notice. If I consent to notice it, I do so in order -to warn Smithsonian understudies that they will be severely dealt with -if they attempt to repeat Smith’s brazen offence of writing to a -significant journal and coolly suggesting that a single and relatively -unimportant wrong attribution is to be regarded as a fair and honest -sample of the whole subject matter of an article occupying several pages -and mainly devoted to a metaphysical explanation of the origin and -nature of poetry. Furthermore, suggesting that I am applying to a poet -(Browning) a rigid test of poetry, seeking to prove his words poetically -good or bad by my poetical experience, when as a matter of fact I am -offering certain words, some of which are wrongly attributed to -Browning, as indisputable evidence that in venting the emotions -versifiers find descriptive figures efficacious. - -No doubt some of the words flaunted by Smith are wrongly attributed to -Browning. They are so wrongly attributed that anyone can see they are -wrongly attributed. And any “sane, intelligent and decently responsible -man” (to use Smith’s yellow press tautology) would have given me an -opportunity of saying they are wrongly attributed before venturing to -put on silly airs of hypercriticism. Then he would have learnt that the -first and third line of the quotation belong oddly enough, to another -piece of poetry, and have got mixed up with Browning’s stuff in some -unaccountable way. I have not the least idea how the mix took place. All -I know is that my article was finished off in great haste to catch the -mail. It was sent in handscript and not typescript. And there was no -time to send me a proof; otherwise the quotation would certainly have -been corrected, and the many errors which now appear in my article would -have disappeared. I feel I am justified in saying it was not my -intention to send the words which have crept into print by the discovery -that I have actually written down Browning’s very words. Here is -Browning: - - And the sun looked over the mountain’s rim: - And straight was a path of gold for him, - And the need of a world of men for me. - -The first line of the verse is missing. The three lines however serve -the purpose of my comparison. I had also set down these lines by -Browning: - - One lyric woman in her crocus vest, - Woven of sea-wools. - -I intended to include this with my quotations. For here in my view is a -figure as original and precisely felicitous as anything the Imagists -have given us. - -That this dragging in of some wrongly attributed words—so obviously -wrong as to deceive no one—for the sole purpose of discrediting an -important article is dishonest, is clear from the fact that Smith does -not drag in any other quotation from the many given, nor produce any -other evidence whatsoever in support of his contention that my article -is inept and careless throughout. In fact he has nothing more damaging -to offer than his own fatuous statement that he happens “to consider my -article an ill-digested congeries of vague views”; which, when one comes -to examine it is found to contain a baseless assertion and a clear -admission that my article is above and beyond Smith’s head. - -As to the silliness of Smith’s letter, this may be judged from the -following: Smith begins with the generalization that magazines die -“whose pages are as a rule careless, inconsidered and inept” (note the -repetition and consequent lack of thoroughness). The publications of the -capitalist press answer this description. The news sheets, for instance, -are rotten with carelessness, inconsideredness and ineptness. They would -be rottener if they could. Yet they do not die. On the contrary they -sell by the million. If so, then THE LITTLE REVIEW should sell by the -million. But Smith says it will die. And Smith is a careful, -serviceable, and accurate man. - -By way of comparison Smith relieves himself of this matchless -composition. “Your magazine will die,—as a steam engine would grow -useless in which no direction towards any cylinder was given to the -indubitable forces generated in the boiler.” What is the precise meaning -of this bombastic twaddle? In homely words, it means that a steam engine -is (not “would grow”) useless when the steam power developed in its -boiler is not utilised in any cylinder. Anyone who examines this analogy -will agree with me that Smith is a careful, serviceable, and accurate -man. - -From the general Smith comes to the particular and quotes what he is -pleased to call an example of my “ineptitude and carelessness” as an -example of the general “ineptitude and carelessness” of THE LITTLE -REVIEW. Without knowing anything as to the circumstances under which the -wrongly attributed words found their way into print, without stopping to -inquire to what extent I contributed to the mistake, and upon no other -evidence whatsoever than the said wrongly attributed words, he proceeds -to saddle me with the astounding intention “to obliterate all sense of -accuracy, all love of clear and rational communication, all fidelity to -honest statement, and all interest in truth” (which makes four ways of -uttering the same inverifiable statement). - -Finally Smith challenges the editor of THE LITTLE REVIEW to print his -ghastly ineptitude. She has taken the short way and done so. It serves -Smith right. - -_M. Silverman, Chicago_: - -Your last issue is a failure—with two exceptions, Miss Goldman’s article -on “Preparedness” and Mr. Hecht’s letter. Both of them are human, -understandable, and sincere. They shout—but do not roar. All the others -are ostentatious, plebeian, and lack artistic restraint. They are not -beautiful. They _holler_ and produce a sense of heaviness and -overexertion. Sympathy and politeness are apparently the cardinal -virtues of the highly esteemed editor. Hence this “democratic” hash. - -To be more specific: Your editorial, “Toward Revolution,” is the acme of -nonsense. I tried to take you seriously but I couldn’t. It is -pamphletory, and should have no place in THE LITTLE REVIEW. - -“The Ecstasy of Pain” is a stage hurricane, and, to paraphrase Mr. -Goldbeck, it is like Chicago: vast, but not impressive. It lacks -artistic touch and symmetrical wholeness. The fourth paragraph is -excellent. The rest was unnecessary. The fragmentary mind of Mr. Kaun is -phosphorescent, produces tiny sparks which are soon lost in the -darkness. Higher mathematics is the best remedy for Mr. Kaun’s mind. - -“The Spring Recital” is a bore. The author of _The “Genius”_ seems to -have a mania for torturing the innocent public. I read “The Spring -Recital” twice, yes twice; and when I got through with it I felt -extremely uncomfortable. I don’t understand it and it doesn’t mean -anything to me. I challenge anyone to explain to me: What does this -piece of “dramatic” “quatch” mean? - -All the other articles—well, they are harmless. - -_Woods Dargan, Darlington, S. C._: - -I enclose a check for $1.50, and ask that you enter my name for one -year’s subscription—that is, if you will let one of the rabble creep in. -Frankly, I know no more about art (with a capital A or otherwise) than a -rabbit. I don’t even know what an “Imagist” is! And for the life of me I -cannot understand why the temperamental, fussy gentleman named Alexander -S. Kaun should not use a singular verb with a singular noun, just like -ordinary people. But when he says, as he does in the first line of the -fourth paragraph of his article, “the dearer a person or a thing _are_ -to me, etc.,” I know there must be intellectual purpose in it, some -esoteric effect that gets to the cultured few but passes over my head; -so I bow before the unknown beauty of it, thinking, “Odd, but no doubt -it’s all right.” - -Also, to my untutored mind, the frequent use of profanity in an -everyday, conversational way in two or three of the articles is amusing, -and makes me wonder. It reminds me of the days when I first took up the -art, and used to feel a shudder of delight when I ripped out a good, -mouth-filling, “Damn it all to hell!” Perhaps it has lost its charm for -me as a literary ornament because I swear so much myself, just as a -matter of habit without deriving the oldtime pleasure from it. - -Other places where these boys put it all over me are in music and -Russians. It is one of my secret sorrows that I know I know nothing -about music. I like it, but it never occurs to me to fade away and fill -an early grave if I hear somebody’s nocturne murdered—that is, if I know -it is being murdered, which is highly unlikely. And as to the Russians, -old Dostoevsky is my limit so far, but I’m game, and am going in for all -the others,—the more gloomy and morbid the better. - -Then, there’s this Mr. Theodore Dreiser. As we say in this neck of the -woods, in our uncouth manner, “He must be a bear-cat.” (By the way, I’d -give a lot to know what “demiurge” means in the sense in which it is -applied to him. Mr. Masters used it in _The New York Times_ some weeks -ago, and now I find it again in Mr. Powys’ appreciation. I don’t know -what they mean.) Well, I’ve had his book, _The “Genius,”_ for sometime, -and mean to read it all as soon as I can get round to it. Perhaps I’ll -know what “demiurge” means then—but I doubt it. - -For all that I have said I would not have you think that I am wholly -lacking in soul. I have some things in common with these fellows, for I -have no religion or morals, and I enjoy getting drunk, riotously, -gloriously drunk, once or twice a year. - -And now, after telling you at more length than any decent person should -what has puzzled me in your Review, permit me to say what I like. The -first part of your own contribution, “Life Itself,” strikes me as the -real thing. I understand all that, being a common person. For the last -part, as I’ve said, I know nothing of art, and life doesn’t mean those -things to me, naturally. But I like it. I can, after a fashion, see how -it _might_ mean them. The review of Dreiser by Mr. Powys that I have -mentioned already is good writing and good sense. How true it is, I am -not yet in a position to guess. Then, Mr. Edgar Masters always writes -vividly, deeply. I am glad to add “So We Grew Together” to what I know -of his stuff. It is almost as good a portrait and short story as some of -the best of the Anthology. - -That fellow Ben Hecht can write. Personally, I have a sort of leaning -toward the dregs, but, as a general thing, I don’t know that there’s -much use in writing about them just so. But he’s certainly good. He can -write. I never heard of him before, but I shall look out for him in -future. - -For the sake of what I find good I’m willing to put up with what I fail -to grasp, and so I look forward to much pleasure and instruction from -THE LITTLE REVIEW. Luck to it. As long as you, Miss Lowell, Mr. Masters, -and Mr. Hecht contribute, so long will it be cheap at any price. And, -who knows? I may yet learn from my friend Mr. Kaun the hidden beauties -of a singular subject with a plural verb. - - - - - _The January-February Issue_ - - - On account of having no funds during January we have been forced - to combine the two issues. Subscriptions will be extended - accordingly. - - - - - FINE ARTS THEATRE - - - For TWO WEEKS, Beginning - January 17, 1916 - - - THE CHICAGO PLAYERS - with - MME. BORGNY HAMMER - - Evenings (Except Wednesdays and Thursdays) - and Saturday Matinees - - - “AGNETE” - by - AMALIE SKRAM - (First Time in English) - - Wednesday and Thursday Evenings - and Special Matinees - - JANUARY 20, 21, 26 and 27 - - - “THERESE RAQUIN” - by - EMILE ZOLA - - FINE ARTS THEATRE - - - - - BLACKSTONE HOTEL - - French Room - - Eight talks on Literature, Art and the Drama on successive - Saturday afternoons at half-past three, during the entire months - of January and February, beginning January the eighth. - - Lecturer - - - JESSE QUITMAN - - Saturday, January 29th, 3:30—Subject to be announced. - Saturday, February 5th, 3:30—Subject to be announced. - Saturday, February 12th, 3:30—Subject to be announced. - Saturday, February 19th, 3:30—Subject to be announced. - Saturday, February 26th, 3:30—Subject to be announced. - - An Invitation Cordially Extended - - No Door Fee - - - Free Coal to Those Who Can’t - Afford to Buy It - - Nobody is going to be cold this winter if the Consumers Company - can help it. We even want those who can’t afford to pay for coal - now, to use Consumers coal, because at some time in the future - their circumstances may change; they may be able to pay for coal - then and if they once use Consumers coal they will never use any - other. In any event we want them to keep warm. - - You can call it either charity or advertising, it makes no - difference to us as long as we accomplish the results we are - after, but we will give 50 pounds of coal free every day, as we - have for the past three winters, on presentation at any of our - yards listed below of our coal certificates which may be had from - any Physician, Minister, Priest, Rabbi, Newspaper, the Salvation - Army, the Volunteers of America, Associated Charities, the - Visiting Nurses Association, any Woman’s Club or Charitable - Organization. And we give it freely without any fuss or - foolishness. - - Last year we distributed 70,720 fifty-pound lots of Consumers - coal. You may call them advertising samples or charity just as - you choose. In either event we _know_ that we kept _70,720 - families warm_. This is our Christmas offering and in this manner - _we propose to make Christmas last all winter_. If we profit by - it later—when these good folks are in position to become _paying_ - customers, you won’t care, will you? We think not. - - Consumers Company - - FRED W. UPHAM, President. - - - BUY YOUR BOOKS HERE - - If you wish to assist The Little Review without cost to yourself - you may order books—any book—from the Gotham Book Society and The - Little Review will be benefitted by the sales. By this method The - Little Review hopes to help solve a sometimes perplexing business - problem—whether the book you want is listed here or not the - Gotham will supply your needs. Price the same, or in many - instances much less, than were you to order direct from the - publisher. All books are exactly as advertised. Send P. O. Money - Order, check, draft or postage stamps. Order direct from the - Gotham Book Society, 142 W. 23rd St., N. Y., Dept. K. Don’t fail - to mention Department K. Here are some suggestions of the books - the Gotham Book Society is selling at publishers’ prices. All - prices cover postage charges. - - POETRY AND DRAMA - - SEVEN SHORT PLAYS. By Lady Gregory. Contains the following plays - by the woman who holds one of the three places of most importance - in the modern Celtic movement, and is chiefly responsible for the - Irish theatrical development of recent years: “Spreading the - News,” “Hyacinth Halvey,” “The Rising of the Moon,” “The - Jackdaw,” “The Workhouse Ward,” “The Traveling Man,” “The Gaol - Gate,” together with music for songs in the plays and explanatory - notes. Send $1.60. - - THE MAN WHO MARRIED A DUMB WIFE. By Anatole France. Translated by - Curtis Hidden Page. Illustrated. Founded on the plot of an old - but lost play mentioned by Rabelais. Send 85c. - - THE GARDENER. By Rabindranath Tagore. The famous collection of - lyrics of love and life by the Nobel Prizeman. Send $1.35. - - DOME OF MANY-COLORED GLASS. New Ed. of the Poems of Amy Lowell. - Send $1.35. - - SPOON RIVER ANTHOLOGY. By Edgar Lee Masters. Send $1.35. - - DREAMS AND DUST. A book of lyrics, ballads and other verse forms - in which the major key is that of cheerfulness. Send $1.28. - - SOME IMAGIST POETS. An Anthology. The best recent work of Richard - Aldington, “H. D.,” John Gould, Fletcher, F. S. Flint, D. H. - Lawrence and Amy Lowell. 83c, postpaid. - - THE WAGES OF WAR. By J. Wiegand and Wilhelm Scharrelman. A play - in three acts, dedicated to the Friends of Peace. Life in Russia - during Russo-Japanese War. Translated by Amelia Von Ende. Send - 95c. - - THE DAWN (Les Aubes). A symbolic war play, by Emile Verhaeren, - the poet of the Belgians. The author approaches life through the - feelings and passions. Send $1.10. - - CHILD OF THE AMAZONS, and other Poems by Max Eastman. “Mr. - Eastman has the gift of the singing line.”—Vida D. Scudder. “A - poet of beautiful form and feeling.”—Wm. Marion Reedy. Send - $1.10. - - THE POET IN THE DESERT. By Charles Erskine Scott Wood. A series - of rebel poems from the Great American Desert, dealing with - Nature, Life and all phases of Revolutionary Thought. Octavo gray - boards. Send $1.10. - - CHALLENGE. By Louis Untermeyer. “No other contemporary poet has - more independently and imperiously voiced the dominant thought of - the times.”—Philadelphia North American. Send $1.10. - - ARROWS IN THE GALE. By Arturo Giovannitti, introduction by Helen - Keller. This book contains the thrilling poem “The Cage.” Send - $1.10. - - SONGS FOR THE NEW AGE. By James Oppenheim. “A rousing volume, - full of vehement protest and splendor.” Beautifully bound. Send - $1.35. - - AND PIPPA DANCES. By Gerhart Hauptmann. A mystical tale of the - glassworks, in four acts. Translated by Mary Harned. Send 95c. - - AGNES BERNAUER. By Frederick Hebbel. A tragedy in five acts. Life - in Germany in 15th century. Translated by Loueen Pattie. Send - 95c. - - IN CHAINS (“Les Tenailles”). By Paul Hervieu. In three acts. A - powerful arraignment of “Marriage a La Mode.” Translated by - Ysidor Asckenasy. Send 95c. - - SONGS OF LOVE AND REBELLION. Covington Hall’s best and finest - poems on Revolution, Love and Miscellaneous Visions. Send 56c. - - RENAISSANCE. By Holger Drachman. A melodrama. Dealing with studio - life in Venice, 16th century. Translated by Lee M. Hollander. - Send 95c. - - THE MADMAN DIVINE. By Jose Echegaray. Prose drama in four acts. - Translated by Elizabeth Howard West. Send 95c. - - TO THE STARS. By Leonid Andreyieff. Four acts. A glimpse of young - Russia in the throes of the Revolution. Time: The Present. - Translated by Dr. A. Goudiss. Send 95c. - - PHANTASMS. By Roberto Bracco. A drama in four acts, translated by - Dirce St. Cyr. Send 95c. - - THE HIDDEN SPRING. By Roberto Bracco. A drama in four acts, - translated by Dirce St. Cyr. Send 95c. - - THE DRAMA LEAGUE SERIES. A series of modern plays, published for - the Drama League of America. Attractively bound. - - THE THIEF. By Henry Bernstein. (Just Out). - - A FALSE SAINT. By Francois de Curel. - - THE TRAIL OF THE TORCH. By Paul Hervieu. - - MY LADY’S DRESS. By Edward Knoblauch. - - A WOMAN’S WAY. By Thompson Buchanan. - - THE APOSTLE. By Paul Hyacinthe Loyson. - - Each of the above books 82c, postpaid. - - DRAMATIC WORKS, VOLUME VI. By Gerhart Hauptmann. The sixth - volume, containing three of Hauptmann’s later plays. Send $1.60. - - THE DAWN (Les Aubes). A symbolic war play, by Emile Verhaeren, - the poet of the Belgians. “The author approaches life through the - feelings and passions. His dramas express the vitality and - strenuousness of his people.” Send $1.10. - - THE GREEK COMMONWEALTH. By Alfred A. Zimmern. Send $3.00. - - EURIPIDES: “Hippolytus,” “Bacchae,” Aristophanes’ “Frogs.” - Translated by Gilbert Murray. Send $1.75. - - THE TROJAN WOMEN. Translated by Gilbert Murray. Send 85c. - - MEDEA. Translated by Gilbert Murray. Send 85c. - - ELECTRA. Translated by Gilbert Murray. Send 85c. - - ANCIENT GREEK LITERATURE. By Gilbert Murray. Send $2.10. - - EURIPIDES AND HIS AGE. By Gilbert Murray. Send 75c. - - GENERAL - - VAGRANT MEMORIES. By William Winter. Illustrated. The famous - dramatic critic tells of his associations with the drama for two - generations. Send $3.25. - - THE NEARING CASE. By Lightner Witmer. A complete account of the - dismissal of Professor Nearing from the University of - Pennsylvania, containing the indictment, the evidence, the - arguments, the summing up and all the important papers in the - case, with some indication of its importance to the question of - free speech. 60c postpaid. - - THE ART OF THE MOVING PICTURE. By Vachel Lindsay. Send $1.60. - - WRITING AND SELLING A PLAY. By Fanny Cannon. A practical book by - a woman who is herself an actress, a playwright, a professional - reader and critic of play manuscripts, and has also staged and - directed plays. Send $1.60. - - GLIMPSES OF THE COSMOS. A Mental Autobiography. By Lester F. - Ward. Vol. IV. The fourth in the series of eight volumes which - will contain the collected essays of Dr. Ward. Send $2.65. - - EVERYMAN’S ENCYCLOPEDIA is the cure for inefficiency. It is the - handiest and cheapest form of modern collected knowledge, and - should be in every classroom, every office, every home. Twelve - volumes in box. Cloth. Send $6.00. - - Three Other Styles of Binding. Mail your order today. - - NIETZSCHE. By Dr. Georg Brandes, the discoverer of Nietzsche. - Send $1.25. - - WAR AND CULTURE. By John Cowper Powys. Send 70c. - - SHATTUCK’S PARLIAMENTARY ANSWERS. By Harriette R. Shattuck. - Alphabetically arranged for all questions likely to arise in - Women’s organizations. 16mo. Cloth. 67c postpaid. Flexible - Leather Edition. Full Gilt Edges. Net $1.10 postpaid. - - EAT AND GROW THIN. By Vance Thompson. A collection of the - hitherto unpublished Mahdah menus and recipes for which Americans - have been paying fifty-guinea fees to fashionable physicians in - order to escape the tragedy of growing fat. Cloth. Send $1.10. - - FORTY THOUSAND QUOTATIONS. By Charles Noel Douglas. These 40,000 - prose and poetical quotations are selected from standard authors - of ancient and modern times, are classified according to subject, - fill 2,000 pages, and are provided with a thumb index. $3.15, - postpaid. - - THE CRY FOR JUSTICE. An anthology of the literature of social - protest, edited by Upton Sinclair. Introduction by Jack London. - “The work is world-literature, as well as the Gospel of a - universal humanism.” Contains the writings of philosophers, - poets, novelists, social reformers, selected from twenty-five - languages, covering a period of five thousand years. Inspiring to - every thinking man and woman; a handbook of reference to all - students of social conditions. 955 pages, including 32 - illustrations. Cloth Binding, vellum cloth, price very low for so - large a book. Send $2.00. Three-quarter Leather Binding, a - handsome and durable library style, specially suitable for - presentation. Send $3.50. - - MY CHILDHOOD. By Maxim Gorky. The autobiography of the famous - Russian novelist up to his seventeenth year. An astounding human - document and an explanation (perhaps unconscious) of the Russian - national character. Frontispiece portrait. 8vo. 308 pages. $2.00 - net, postage 10 cents. (Ready Oct. 14). - - AFFIRMATIONS. By Havelock Ellis. A discussion of some of the - fundamental questions of life and morality as expressed in, or - suggested by, literature. The subjects of the five studies are - Nietzsche, Zola, Huysmans, Casanova and St. Francis of Assisi. - Send $1.87. - - LITERATURE - - COMPLETE WORKS. Maurice Maeterlinck. The Essays, 10 vols., per - vol., net $1.75. The Plays, 8 vols., per vol., net $1.50. Poems, - 1 vol., net $1.50. Volumes sold separately. In uniform style, 19 - volumes. Limp green leather, flexible cover, thin paper, gilt - top, 12mo. Postage added. - - INTERPRETATIONS OF LITERATURE. By Lafcadio Hearn. A remarkable - work. Lafcadio Hearn became as nearly Japanese as an Occidental - can become. English literature is interpreted from a new angle in - this book. Send $6.50. - - BERNARD SHAW: A Critical Study. By P. P. Howe. Send $2.15. - - MAURICE MAETERLINCK: A Critical Study. By Una Taylor. 8vo. Send - $2.15. - - W. B. YEATS: A Critical Study. By Forest Reid. Send $2.15. - - DEAD SOULS. Nikolai Gogol’s great humorous classic translated - from the Russian. Send $1.25. - - ENJOYMENT OF POETRY. By Max Eastman. “His book is a masterpiece,” - says J. B. Kerfoot in Life. By mail, $1.35. - - THE PATH OF GLORY. By Anatole France. Illustrated. 8vo. Cloth. An - English edition of a remarkable book that M. Anatole France has - written to be sold for the benefit of disabled soldiers. The - original French is printed alongside the English translation. - Send $1.35. - - THE PILLAR OF FIRE: A Profane Baccalaureate. By Seymour Deming. - Takes up and treats with satire and with logical analysis such - questions as, What is a college education? What is a college man? - What is the aristocracy of intellect?—searching pitilessly into - and through the whole question of collegiate training for life. - Send $1.10. - - IVORY APES AND PEACOCKS. By James Huneker. A collection of essays - in Mr. Huneker’s well-known brilliant style, of which some are - critical discussions upon the work and personality of Conrad, - Whitman, Tolstoy, Dostoevsky, and the younger Russians, while - others deal with music, art, and social topics. The title is - borrowed from the manifest of Solomon’s ship trading with - Tarshish. Send $1.60. - - INTERPRETATIONS OF ENGLISH LITERATURE. By Lafcadio Hearn. Two - volumes. Mr. Hearn, who was at once a scholar, a genius, and a - master of English style, interprets in this volume the literature - of which he was a student, its masterpieces, and its masters, for - the benefit, originally, of the race of his adoption. $6.50, - postpaid. - - IDEALS AND REALITIES IN RUSSIAN LITERATURE. By Prince Kropotkin. - Send $1.60. - - VISIONS AND REVISIONS. By John Cowper Powys. A Book of Literary - Devotions. Send $2.10. - - SIX FRENCH POETS. By Amy Lowell. First English book to contain a - minute and careful study of Verhaeren, Albert Samain, Remy de - Gourmont, Henri de Régnier, Francis Jammes and Paul Fort. Send - $2.75. - - LANDMARKS IN RUSSIAN LITERATURE. By Maurice Baring. Intimate - studies of Tolstoi, Turgenev, Gogol, Chekov, Dostoevsky. Send - $2.00. - - FICTION - - THE TURMOIL. By Booth Tarkington. A beautiful story of young love - and modern business. Send $1.45. - - SET OF SIX. By Joseph Conrad. Short stories. Scribner. Send - $1.50. - - AN ANARCHIST WOMAN. By H. Hapgood. This extraordinary novel - points out the nature, the value and also the tragic limitations - of the social rebel. Published at $1.25 net; our price, 60c., - postage paid. - - THE HARBOR. By Ernest Poole. A novel of remarkable power and - vision in which are depicted the great changes taking place in - American life, business and ideals. Send $1.60. - - MAXIM GORKY. Twenty-six and One and other stories from the - Vagabond Series. Published at $1.25; our price 60c., postage - paid. - - SANINE. By Artzibashef. The sensational Russian novel now - obtainable in English. Send $1.45. - - A FAR COUNTRY. Winston Churchill’s new novel is another realistic - and faithful picture of contemporary American life, and more - daring than “The Inside of the Cup.” Send $1.60. - - BOON—THE MIND OF THE RACE. Was it written by H. G. Wells? He now - admits it may have been. It contains an “ambiguous introduction” - by him. Anyhow it’s a rollicking set of stories, written to - delight you. Send $1.45. - - NEVER TOLD TALES. Presents in the form of fiction, in language - which is simplicity itself, the disastrous results of sexual - ignorance. The book is epoch-making; it has reached the ninth - edition. It should be read by everyone, physician and layman, - especially those contemplating marriage. Cloth. Send $1.10. - - PAN’S GARDEN. By Algernon Blackwood. Send $1.60. - - THE CROCK OF GOLD. By James Stephens. Send $1.60. - - THE INVISIBLE EVENT. By J. D. Beresford. Jacob Stahl, writer and - weakling, splendidly finds himself in the love of a superb woman. - Send $1.45. The Jacob Stahl trilogy: “The Early History of Jacob - Stahl,” “A Candidate for Truth,” “The Invisible Event.” Three - volumes, boxed. Send $2.75. - - OSCAR WILDE’S WORKS. Ravenna edition. Red limp leather. Sold - separately. The books are: The Picture of Dorian Gray, Lord - Arthur Saville’s Crime, and the Portrait of Mr. W. H., The - Duchess of Padua, Poems (including “The Sphinx,” “The Ballad of - Reading Gaol,” and Uncollected Pieces), Lady Windermere’s Fan, A - Woman of No Importance, An Ideal Husband, The Importance of Being - Earnest, A House of Pomegranates, Intentions, De Profundis and - Prison Letters, Essays (“Historical Criticism,” “English - Renaissance,” “London Models,” “Poems in Prose”), Salome, La - Sainte Courtisane. Send $1.35 for each book. - - THE RAT-PIT. By Patrick MacGill. A novel by the navvy-poet who - sprang suddenly into attention with his “Children of the Dead - End.” This story is mainly about a boarding house in Glasgow - called “The Rat-Pit,” and the very poor who are its frequenters. - Send $1.35. - - THE AMETHYST RING. By Anatole France. Translated by B. Drillien. - $1.85 postpaid. - - CRAINQUEBILLE. By Anatole France. Translated by Winifred Stevens. - The story of a costermonger who is turned from a dull-witted and - inoffensive creature by the hounding of the police and the too - rigorous measures of the law into a desperado. Send $1.85. - - VIOLETTE OF PERE LACHAISE. By Anna Strunsky Walling. Records the - spiritual development of a gifted young woman who becomes an - actress and devotes herself to the social revolution. Send $1.10. - - THE “GENIUS.” By Theodore Dreiser. Send $1.60. - - JERUSALEM. By Selma Lagerlof. Translated by Velma Swanston. The - scene is a little Swedish village whose inhabitants are bound in - age-old custom and are asleep in their narrow provincial life. - The story tells of their awakening, of the tremendous social and - religious upheaval that takes place among them, and of the - heights of self-sacrifice to which they mount. Send $1.45. - - BREAKING-POINT. By Michael Artzibashef. A comprehensive picture - of modern Russian life by the author of “Sanine.” Send $1.35. - - RUSSIAN SILHOUETTES. By Anton Tchekoff. Translated by Marian - Fell. Stories which reveal the Russian mind, nature and - civilization. Send $1.47. - - THE FREELANDS. By John Galsworthy. Gives a large and vivid - presentation of English life under the stress of modern social - conflict, centering upon a romance of boy-and-girl love—that - theme in which Galsworthy excels all his contemporaries. Send - $1.45. - - FIDELITY. Susan Glaspell’s greatest novel. The author calls it - “The story of a woman’s love—of what that love impels her to - do—what it makes of her.” Send $1.45. - - WOOD AND STONE. By John Cowper Powys. An Epoch Making Novel. Send - $1.60. - - RED FLEECE. By Will Levington Comfort. A story of the Russian - revolutionists and the proletariat in general in the Great War, - and how they risk execution by preaching peace even in the - trenches. Exciting, understanding, and everlastingly true; for - Comfort himself is soldier and revolutionist as well as artist. - He is our American Artsibacheff; one of the very few American - masters of the “new fiction.” Send $1.35. - - THE STAR ROVER. By Jack London. Frontispiece in colors by Jay - Hambidge. A man unjustly accused of murder is sentenced to - imprisonment and finally sent to execution, but proves the - supremacy of mind over matter by succeeding, after long practice, - in loosing his spirit from his body and sending it on long quests - through the universe, finally cheating the gallows in this way. - Send $1.60. - - THE RESEARCH MAGNIFICENT. By H. G. Wells. Tells the story of the - life of one man, with its many complications with the lives of - others, both men and women of varied station, and his wanderings - over many parts of the globe in his search for the best and - noblest kind of life. $1.60, postpaid. - - SEXOLOGY - - Here is the great sex book of the day: Forel’s THE SEXUAL - QUESTION. A scientific, psychological, hygienic, legal and - sociological work for the cultured classes. By Europe’s foremost - nerve specialist. Chapter on “love and other irradiations of the - sexual appetite” a profound revelation of human emotions. - Degeneracy exposed. Birth control discussed. Should be in the - hands of all dealing with domestic relations. Medical edition - $5.50. Same book, cheaper binding, now $1.60. - - Painful childbirth in this age of scientific progress is - unnecessary. THE TRUTH ABOUT TWILIGHT SLEEP, by Hanna Rion (Mrs. - Ver Beck), is a message to mothers by an American mother, - presenting with authority and deep human interest the impartial - and conclusive evidence of a personal investigation of the - Freiburg method of painless childbirth. Send $1.62. - - FREUD’S THEORIES OF THE NEUROSES. By Dr. E. Hitschmann. A brief - and clear summary of Freud’s theories. Price, $2. - - PLAIN FACTS ABOUT A GREAT EVIL. By Christobel Pankhurst. One of - the strongest and frankest books ever written, depicting the - dangers of promiscuity in men. This book was once suppressed by - Anthony Comstock. Send (paper) 60c, (cloth) $1.10. - - SEXUAL LIFE OF WOMAN. By Dr. E. Heinrich Kisch (Prague). An - epitome of the subject. Sold only to physicians, jurists, - clergymen and educators. Send $5.50. - - KRAFFT-EBING’S PSYCHOPATHIA SEXUALIS. Only authorized English - translation of 12th German Edition. By F. J. Rebman. Sold only to - physicians, jurists, clergymen and educators. Price, $4.35. - Special thin paper edition, $1.60. - - THE SMALL FAMILY SYSTEM: IS IT IMMORAL OR INJURIOUS? By Dr. C. V. - Drysdale. The question of birth control cannot be intelligently - discussed without knowledge of the facts and figures herein - contained. $1.10, postpaid. - - MAN AND WOMAN. By Dr. Havelock Ellis, the foremost authority on - sexual characteristics. A new (5th) edition. Send $1.60. - - A new book by Dr. Robinson: THE LIMITATION OF OFFSPRING BY THE - PREVENTION OF PREGNANCY. The enormous benefits of the practice to - individuals, society and the race pointed out and all objections - answered. Send $1.05. - - WHAT EVERY GIRL SHOULD KNOW. By Margaret Sanger. Send 55 cents. - - WHAT EVERY MOTHER SHOULD KNOW. By Margaret Sanger. Send 30 cents. - - THE THEORY OF PSYCHOANALYSIS. By Dr. C. Jung. A concise statement - of the present aspects of the psychoanalytic hypotheses. Price, - $1.50. - - SELECTED PAPERS ON HYSTERIA AND OTHER PSYCHONEUROSES. By Prof. S. - Freud, M.D. A selection of some of the more important of Freud’s - writings. Send $2.50. - - THREE CONTRIBUTIONS TO SEXUAL THEORY. By John C. Van Dyke. Fully - illustrated. New edition revised and rewritten. Send $1.60. - - THREE CONTRIBUTIONS TO SEXUAL THEORY. By Prof. Sigmund Freud. The - psychology of psycho-sexual development. Price, $2. - - FUNCTIONAL PERIODICITY. An experimental study of the mental and - motor abilities of women during menstruation by Leta Stetter - Hollingworth. Cloth, $1.15. Paper, 85c. - - ART - - MICHAEL ANGELO. By Romain Rolland. Twenty-two full-page - illustrations. A critical and illuminating exposition of the - genius of Michael Angelo. $2.65, postpaid. - - INTERIOR DECORATION: ITS PRINCIPLES AND PRACTICE. By Frank Alvah - Parsons. Illustrated. $3.25, postpaid. - - THE BARBIZON PAINTERS. By Arthur Hoeber. One hundred - illustrations in sepia, reproducing characteristic work of the - school. $1.90, postpaid. - - THE BOOK OF MUSICAL KNOWLEDGE. By Arthur Elson. Illustrated. - Gives in outline a general musical education, the evolution and - history of music, the lives and works of the great composers, the - various musical forms and their analysis, the instruments and - their use, and several special topics. $3.75, postpaid. - - MODERN PAINTING: ITS TENDENCY AND MEANING. By Willard Huntington - Wright, author of “What Nietzsche Taught,” etc. Four color plates - and 24 illustrations. “Modern Painting” gives—for the first time - in any language—a clear, compact review of all the important - activities of modern art which began with Delacroix and ended - only with the war. Send $2.75. - - THE ROMANCE OF LEONARDO DA VINCI. By A. J. Anderson. Photogravure - frontispiece and 16 illustrations in half-tone. Sets forth the - great artist as a man so profoundly interested in and closely - allied with every movement of his age that he might be called an - incarnation of the Renaissance. $3.95, postpaid. - - THE COLOUR OF PARIS. By Lucien Descaves. Large 8vo. New edition, - with 60 illustrations printed in four colors from paintings by - the Japanese artist, Yoshio Markino. By the members of the - Academy Goncourt under the general editorship of M. Lucien - Descaves. Send $3.30. - - SCIENCE AND SOCIOLOGY - - CAUSES AND CURES OF CRIME. A popular study of criminology from - the bio-social viewpoint. By Thomas Speed Mosby, former Pardon - Attorney, State of Missouri, member American Institute of - Criminal Law and Criminology, etc. 356 pages, with 100 original - illustrations. Price, $2.15, postpaid. - - THE PSYCHOLOGY OF RELAXATION. By G. T. W. Patrick. A notable and - unusually interesting volume explaining the importance of sports, - laughter, profanity, the use of alcohol and even war as - furnishing needed relaxation to the higher nerve centres. Send - 88c. - - PSYCHOLOGY OF THE UNCONSCIOUS. By Dr. C. G. Jung, of the - University of Zurich. Translated by Beatrice M. Hinkle, M.D., of - the Neurological Department of Cornell University and the New - York Post-Graduate Medical School. This remarkable work does for - psychology what the theory of evolution did for biology; and - promises an equally profound change in the thought of mankind. A - very important book. Large 8vo. Send $4.40. - - SOCIALIZED GERMANY. By Frederic C. Howe, author of “The Modern - City and Its Problems,” etc., etc.; Commissioner of Immigration - at the Port of New York. “The real peril to the other powers of - western civilization lies in the fact that Germany is more - intelligently organized than the rest of the world.” This book is - a frank attempt to explain this efficiency. $1.00, postpaid. - - SCIENTIFIC INVENTIONS OF TODAY. Illustrated. By T. W. Corbin. The - modern uses of explosives, electricity, and the most interesting - kinds of chemicals are revealed to young and old. Send $1.60. - - THE HUNTING WASPS. By J. Henri Fabre. 12mo. Bound in uniform - style with the other books by the same author. In the same - exquisite vein as “The Life of the Spider,” “The Life of the - Fly,” etc. Send $1.60. - - SCHOOLS OF TOMORROW. By John Dewey and Evelyn Dewey. Illustrated. - A study of a number of the schools of this country which are - using advanced methods of experimenting with new ideas in the - teaching and management of children. The practical methods are - described and the spirit which informs them is analyzed and - discussed. Send $1.60. - - THE RHYTHM OF LIFE. By Charles Brodie Patterson. A discussion of - harmony in music and color, and its influence on thought and - character. $1.60, postpaid. - - THE FAITHFUL. By John Masefield. A three-act tragedy founded on a - famous legend of Japan. $1.35, postpaid. - - INCOME. By Scott Nearing. An economic value is created amounting - to, say, $100. What part of that is returned to the laborer, what - part to the manager, what part to the property owner? This - problem the author discusses in detail, after which the other - issues to which it leads are presented. Send $1.25. - - THE STOIC PHILOSOPHY. By Gilbert Murray. An account of the - greatest system of organized thought that the mind of man had - built up in the Graeco-Roman world before the coming of - Christianity. Dr. Murray exercises his rare faculty for making - himself clear and interesting. Send 82c. - - A MESSAGE TO THE MIDDLE CLASS. By Seymour Deming. A clarion call - so radical that it may well provoke a great tumult of discussion - and quicken a deep and perhaps sinister impulse to act. Send 60c. - - DRIFT AND MASTERY. An attempt to diagnose the current unrest. By - Walter Lippmann. Send $1.60. - - FIRST AND LAST THINGS. By H. G. Wells. A confession of Faith and - a Rule of Life. Send $1.60. - - THE SOCIALISTS AND THE WAR. By William English Walling. No - Socialist can adequately discuss the war without the knowledge - that this remarkable new book holds. 512 pages. Complete - documentary statement of the position of the Socialists of all - countries. Send $1.50. - - DREAMS AND MYTHS. By Dr. Karl Abraham. A lucid presentation of - Freud’s theory of dreams. A study in comparative mythology from - the standpoint of dream psychology. Price, $1.25. - - WHAT WOMEN WANT. By Beatrice Forbes-Robertson Hale. $1.35 net; - postage, 10c. - - ARE WOMEN PEOPLE? A collection of clever woman suffrage verses. - The best since Mrs. Gilman. Geo. H. Doran Co. Send 75c. - - HOW IT FEELS TO BE THE HUSBAND OF A SUFFRAGETTE. By “Him.” - Illustrated by Mary Wilson Preston. Send 60c. - - ON DREAMS. By Prof. Sigmund Freud. Authorized English translation - by Dr. M. D. Eder. Introduction by Prof. W. Leslie Mackenzie. - This classic now obtainable for $1.10. - - MODERN WOMEN. By Gustav Kobbe. Terse, pithy, highly dramatic - studies in the overwrought feminism of the day. A clever book. - Send $1.10. - - GOTHAM BOOK SOCIETY - Marlen E. Pew, Gen. Mgr., Dept. K, 142 West 23rd St., New York - “You Can Get Any Book on Any Subject” - - - THE BLAST - - These days of great struggles urgently demand a militant labor - voice to aid the workers in their battles. - - _The Blast_ will be such a voice. A revolutionary labor weekly, - edited by ALEXANDER BERKMAN. - - The time has come to gather together, so to speak, the scattered - forces of discontent and help them find definite expression. - - I am planning to have for _The Blast_ regular correspondences - from the various industrial centers of America, Europe and - Australia. I hold that one of the most important things in the - publication of a revolutionary weekly is to keep the rebels - throughout the world in closer touch with each other and informed - of the labor and revolutionary situation in the different - countries. It helps to stimulate the spirit of solidarity and - encourage activity. - - The other departments of _The Blast_ will be: a strong - anti-militarism and anti-preparedness column; a page dealing with - the vital, social and economic questions; a “Chain Gang” - department, containing news from Labor’s prisoners of war—on - trial and in prison—stories of prison life, etc.; a column - devoted to the discussion of special labor questions and general - human problems; a Children’s Department, with the view of - ultimately establishing a circle of Ferrer Schools throughout the - country. - - First issue of _The Blast_, January 15th, 1916. - - The life of the paper and the success of its work will depend - upon _your_ interest and co-operation. - - Send subscriptions or contributions to _The Blast_, Box 661, San - Francisco. - - - - - REVOLT - - _The stormy petrel of the revolutionary movement._ - - Men and women active in the combat for emancipation will supply - news from the firing line. Some of our best writers and artists - promised their co-operation. - - HIPPOLYTE HAVEL, Editor. ROBERT MINOR, Cartoonist. - - - _ADVISORY BOARD_: - - Leonard D. Abbott - Elizabeth Gurley Flynn - Alexander Berkman - Harry Kelly - Margaret H. Sanger - - Are you interested in our efforts? If so send in your - subscription or contribution. No funds are behind our - undertaking. - - Mail your subscription or contribution to the - - _REVOLT_, 30 Lexington Ave., New York, N. Y. - - One Year 1.00 Six Months 50 cents Three Months 25 cents - - - - - Poetry - - - A Magazine of Verse - - 543 Cass Street - Chicago - - PADRAIC COLUM, the distinguished Irish poet and lecturer, says: - “POETRY is the best magazine, by far, in the English language. We - have nothing in England or Ireland to compare with it.” - - William Marion Reedy, Editor of the St. Louis _Mirror_, says: - “POETRY has been responsible for the Renaissance in that art. You - have done a great service to the children of light in this - country.” - - CAN YOU AFFORD TO DO WITHOUT SO IMPORTANT A MAGAZINE? - - POETRY publishes the best verse now being written in English, and - its prose section contains brief articles on subjects connected - with the art, also reviews of the new verse. - - POETRY has introduced more new poets of importance than all the - other American magazines combined, besides publishing the work of - poets already distinguished. - - THE ONLY MAGAZINE DEVOTED EXCLUSIVELY TO THIS ART. - - SUBSCRIBE AT ONCE. A subscription to POETRY is the best way of - paying interest on your huge debt to the great poets of the past. - It encourages living poets to do for the future what dead poets - have done for modern civilization, for you. - - One year—12 numbers—U. S. A., $1.50; Canada, $1.65; foreign, - $1.75 (7 shillings). - - POETRY - 543 Cass Street, Chicago. - - Send POETRY for one year ($1.50 enclosed) beginning ......... - .......................................................... to - Name ........................................................ - Address ..................................................... - - You should know that in the February number of “THE DRAMA” there - will be published for the first time in English a play by - Artzibashef. It is a war drama which has stimulated thinking - people in Russia to think some more. A penetrating study of - Eugene Walter as the leader of dramatic realism in America and a - scintillating essay on the folly of theatrical advertising are - two of other articles which combine to make the February issue - invaluable to people who are interested not only in drama but in - life. - - We should like to announce that we have on sale back numbers of - “The Drama” with the following plays in them: Galdos’ _Electra_, - Bjornson’s _Leonarda_, Becque’s _The Crown_, Hebbel’s _Herod and - Marriamne_, Schnitzler’s _Light-O’-Love_, Heijerman’s _The Good - Hope_, Freytag’s _The Journalists_, Giacosa’s _The Stronger_, - Donnay’s _The Other Danger_, Gillette’s _Electricity_, Andreyev’s - _The Pretty Sabine Women_, Goldoni’s _The Squabbles of Chioggia_, - Capus’ _The Adventurer_, and Augier’s _The Marriage of Olympe_. - - These plays can be obtained by the sending of seventy-five cents - to the office of The Drama Quarterly, 736 Marquette Bldg., - Chicago. - - In entering upon its third year, THE MISCELLANY feels that it has - found a place in “the order of things.” A specimen copy will be - sent to readers of THE LITTLE REVIEW. Issued quarterly; one - dollar per year. - - THE MISCELLANY - 17 Board of Trade Building, Kansas City, Missouri. - - - We do with Talking Machines what Ford did with Autos - - - - - YOU ASK WHY THIS - BEAUTIFUL, LARGE SIZE - TALKING MACHINE - SELLS FOR ONLY - $10 - - Size 15¾ inches at base: 8½ high. Ask for oak or mahogany finish. - Nickel plated, reversible, tonearm and reproducer, playing - Edison, Victor, Columbia and other disc records, 10 and 12 - inches. Worm gear motor. Threaded winding shaft. Plays 2 ten-inch - records with one winding—Tone controlling door. Neat and solidly - made. - - If you have never been willing to spend $25 for a talking machine - this is your chance. - - The MUSIGRAPH is as large, good-looking, right-sounding as - machines selling for $25. - - How do we do it? Here’s the answer: Gigantic profits have been - made from $25 machines because of patent right monopoly. Millions - have gone for advertising $25 machines, and these millions came - back from the public. The attempt is to make $25 the standard - price. It’s too much. - - The trust price game is broken. Here is a machine which gives - perfect satisfaction (guaranteed) for only $10. It will fill your - home with dancing, good music, fun and happiness. Money back if - it isn’t as represented. MUSIGRAPHS are selling by the thousands. - People who can afford it buy showy autos, but common-sense people - gladly ride Fords—both get over the ground. Same way with talking - machines, only the MUSIGRAPH looks and works like the high-priced - instruments. - - WHAT BETTER CHRISTMAS GIFT CAN YOU THINK OF? Musigraphs play any - standard disc record, high-priced or even the little five and ten - cent records. Hurry your order to make sure of Christmas - delivery. - - We are advertising these big bargain machines through our - customers—one MUSIGRAPH in use sells a dozen more. - - One cash payment is our plan. So to-day, to insure Christmas - delivery, send $10, by P. O. money order, check, draft, express - order or postage stamps. All we ask is that you tell your - neighbors how to get a MUSIGRAPH for only $10. - - - GUARANTEE. - - This machine is as represented, both as to materials and - workmanship, for a period of one year. If the MUSIGRAPH is not as - represented send it back immediately and - - Get your money back. - - Address MUSIGRAPH, Dept. K - Distributors Advertising Service (Inc.) - 142 West 23rd Street, New York City - - - - - THE - SEXUAL - QUESTION - - Heretofore sold by subscription, only to physicians. Now offered - to the public. Written in plain terms. Former price $5.50. _Now - sent prepaid for $1.60._ This is the revised and enlarged - Marshall English translation. Send check, money order or stamps. - - - Ignorance Is the Great Curse! - - Do you know, for instance, the scientific difference between love - and passion? Human life is full of hideous exhibits of - wretchedness due to ignorance of sexual normality. - - Stupid, pernicious prudery long has blinded us to sexual truth. - Science was slow in entering this vital field. In recent years - commercialists eyeing profits have unloaded many unscientific and - dangerous sex books. Now the world’s great scientific minds are - dealing with this subject upon which human happiness often - depends. No longer is the subject tabooed among intelligent - people. - - We take pleasure in offering to the American public, the work of - one of the world’s greatest authorities upon the question of - sexual life. He is August Forel, M.D., Ph.D., LL.D., of Zurich, - Switzerland. His book will open your eyes to yourself and explain - many mysteries. You will be better for this knowledge. - - Every _professional man and woman_, those dealing with social, - medical, criminal, legal, religious and educational matters will - find this book of immediate value. Nurses, police officials, - heads of public institutions, writers, judges, clergymen and - teachers are urged to get this book at once. - - The subject is treated from every point of view. The chapter on - “love and other irradiations of the sexual appetite” is a - profound exposition of sex emotions—Contraceptive means - discussed—Degeneracy exposed—A guide to all in domestic - relations—A great book by a great man. - - GOTHAM BOOK SOCIETY, DEPT. 564. - _General dealers in books, sent on mail order._ - 142 W. 23d St., New York City. - - In answering this advertisement mention THE LITTLE REVIEW. - - - - - THE EGOIST - - - An Individualist Review - - Subscribe to THE EGOIST and hear what you will get: - - Editorials containing the most notable creative and critical - philosophic matter appearing in England today. - - Some of the newest and best experimental English and American - poetry. - - A page of current French poetry. - - Reviews of only those books which are worth praise. - - News of modern music, of new painting, of French literary and - artistic life. - - A series of translations of Greek and Latin poetry and prose, - done by young modern poets (began September 1st, 1915). - - PUBLISHED MONTHLY - - Price—Fifteen cents a number - Yearly subscription, One Dollar Sixty Cents - - Buy some of the back numbers. They are literature, not - journalism. - - OAKLEY HOUSE, BLOOMSBURY STREET, LONDON, W. C. - - - - - Transcriber’s Notes - - -There is obviously some text missing after the first line of the -“program” on page 6, between “... a different ...” and “... are the most -beautiful ...” (in “A Deeper Music”). This had to be left uncorrected. - -Advertisements were collected at the end of the text. - -The table of contents on the title page was adjusted in order to reflect -correctly the headings in this issue of THE LITTLE REVIEW. - -The original spelling was mostly preserved. A few obvious typographical -errors were silently corrected. All other changes are shown here -(before/after): - - [p. 13]: - ... On the corner stands the novelist and the store-manager, - still talking. ... - ... On the corner stand the novelist and the store-manager, still - talking. ... - - -*** END OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, -JANUARY-FEBRUARY 1916 (VOL. 2, NO. 10) *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world 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. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/67209-0.zip b/old/67209-0.zip Binary files differdeleted file mode 100644 index 87b8ec2..0000000 --- a/old/67209-0.zip +++ /dev/null diff --git a/old/67209-h.zip b/old/67209-h.zip Binary files differdeleted file mode 100644 index cf023e8..0000000 --- a/old/67209-h.zip +++ /dev/null diff --git a/old/67209-h/67209-h.htm b/old/67209-h/67209-h.htm deleted file mode 100644 index a3576ca..0000000 --- a/old/67209-h/67209-h.htm +++ /dev/null @@ -1,4659 +0,0 @@ -<!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" lang="en" xml:lang="en"> -<head> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<title>The Project Gutenberg eBook of The Little Review, January-February 1916 (Vol. 2, No. 10), Ed. Margaret C. Anderson</title> - <link rel="coverpage" href="images/cover.jpg" /> - <meta name="cover" content="images/cover.jpg" /> - <!-- TITLE="The Little Review: 1916/1-2 (Vol. 2, No. 10)" --> - <!-- AUTHOR="Margaret C. Anderson" --> - <!-- LANGUAGE="en" --> - <!-- PUBLISHER="Margaret C. Anderson" --> - <!-- DATE="1916" --> - <!-- COVER="images/cover.jpg" --> - -<style type='text/css'> - -body { margin-left:15%; margin-right:15%; } - -div.frontmatter { margin-left:auto; margin-right:auto; max-width:30em; } -div.frontmatter h1.title { text-indent:0; text-align:center; font-variant:small-caps; } -div.frontmatter .subt { text-indent:0; text-align:center; margin-bottom:1em; - font-style:italic; } -div.frontmatter .ed { text-indent:0; text-align:center; margin-bottom:2em; - font-size:0.8em; } -div.frontmatter .ed .line2 { font-size:0.8em; } -div.frontmatter .issue { text-indent:0; text-align:center; margin-bottom:2em; } -div.frontmatter div.footer { display:table; width:100%; margin-top:1em; } -div.frontmatter div.footer p { text-indent:0; display:table-cell; margin:0; width:33%; - vertical-align:middle; } -div.frontmatter div.footer .pricel { text-align:left; } -div.frontmatter div.footer .pub { text-align:center; font-size:0.8em; - font-family:sans-serif; } -div.frontmatter div.footer .pricer { text-align:right; } -div.frontmatter .tit { text-indent:0; text-align:center; margin-top:3em; - font-size:2em; font-weight:bold; font-variant:small-caps; } -div.frontmatter div.issue { display:table; width:100%; margin-top:1em; margin-bottom:1em; } -div.frontmatter div.issue p { text-indent:0; display:table-cell; margin:0; width:33%; } -div.frontmatter div.issue .vol { text-align:left; } -div.frontmatter div.issue .issue { text-align:center; } -div.frontmatter div.issue .number { text-align:right; } -div.frontmatter .monthly { text-indent:0; text-align:center; font-size:0.8em; margin:1em;} -div.frontmatter .postoffice { text-indent:0; text-align:center; font-size:0.8em; - margin:1em;} -div.frontmatter .cop { text-indent:0; text-align:center; font-size:0.8em; } - -div.chapter{ page-break-before:always; } -h2 { text-indent:0; text-align:center; margin-top:3em; margin-bottom:1em; } -h2.article1{ page-break-before:auto; padding-top:0; } -h2.article { page-break-before:auto; padding-top:0; } -h2.editorials { page-break-before:auto; padding-top:0; } -h2.excerpt { page-break-before:auto; padding-top:0; } -h2.filler { page-break-before:auto; padding-top:0; } -h3 { text-indent:0; text-align:center; margin-top:2em; margin-bottom:1em; } -h4 { text-indent:0; text-align:center; margin-top:1em; margin-bottom:0.5em; } - -div.excerpt { margin-top:1em; margin-bottom:1em; margin-left:2em; } -div.filler { margin-top:3em; margin-bottom:1em; margin-left:2em; } -div.epi { font-size:0.8em; margin-top:1em; margin-bottom:1em; margin-left:4em; } - -p.subt { text-indent:0; text-align:center; margin:1em; } -p.aut { text-indent:0; text-align:center; margin:1em; font-variant:small-caps; } -p.book { text-indent:0; text-align:center; margin:1em; } -p.ded { text-indent:0; text-align:center; margin:1em; font-size:0.8em; } -p.note { text-indent:0; text-align:center; margin-top:1em; margin-bottom:1em; - font-size:0.8em; } -p.date { text-indent:0; text-align:right; margin-right:1em; font-size:0.8em; - font-style:italic; } - -p { margin:0; text-align:justify; text-indent:1em; } -p.noindent { text-indent:0; } -p.vspace { margin-top:1em; } -.vspace.cb { font-size:0; margin:1em; clear:both; } -p.first { text-indent:0; } -span.firstchar { clear:left; float:left; font-size:3em; line-height:0.85em; } -span.prefirstchar { } -span.postfirstchar { } -p.sign { margin-top:0.5em; text-indent:0; text-align:right; margin-right:1em; - font-variant:small-caps; } -p.attr { margin-top:0.5em; text-indent:0; text-align:right; margin-right:1em; } -p.center { text-indent:0; text-align:center; margin:1em; } -div.editorials { border:1px solid black; padding:0.5em; margin-top:1em; margin-bottom:1em; } -div.editorials h3 { font-style:italic; text-align:left; } -div.editorials h3.filler { font-style:normal; text-align:center; } -div.editorials h4 { font-style:italic; } -div.sentrev p { margin-bottom:1em; } -div.sentrev p.cnt { margin-bottom:0; } -div.sentrev p.note { text-align:center; } -div.sentrev div.excerpt p { margin-bottom:0; } -div.letters p.from { margin-top:1em; text-indent:0; font-style:italic; text-align:left; } -div.letters p.note { font-size:0.8em; margin:0; margin-top:1em; margin-bottom:1em; - text-indent:0; text-align:justify; } -p.footnote { text-indent:0; margin:1em; margin-top:0; font-size:0.8em; } -p.footnote2{ text-indent:0; margin:1em; margin-top:0; font-size:0.8em; } -hr.footnote{ margin-bottom:0.5em; width:10%; margin-left:0; margin-right:90%; } -p.dir { margin-top:1em; margin-bottom:1em; font-style:italic; } -span.dir { font-style:italic; } - -.tb { text-indent:0; text-align:center; margin:1em; } -hr { border:0; border-top:1px solid black; text-align:center; margin:1em; } -hr.tb { margin-left:45%; width:10%; } - -p.epi { margin:1em; font-size:0.8em; text-align:right; } - -div.impressum { margin-left:auto; margin-right:auto; max-width:35em; font-size:0.8em; - border:1px solid black; margin-bottom:1em; page-break-before:always; - padding:0.5em; clear:both; margin-top:2em; line-height:1em; } -div.impressum .c { text-indent:0; text-align:center; margin:0.5em; } -div.impressum .b { font-weight:bold; } -div.impressum .sign { margin-top:0; } - -/* tables */ -/* TOC table */ -div.table { text-align:center; } -table { margin-left:auto; margin-right:auto; border-collapse:collapse; } -table td { padding-left:0em; padding-right:0em; vertical-align:top; text-align:left; - text-indent:0; } -table.tocn td { font-size:0.8em; } -table.tocn td.col1 { padding-right:2em; text-align:left; max-width:22em; - padding-left:2em; text-indent:-2em; } -table.tocn td.col2 { padding-left:1em; text-align:right; } -table.tocn tr.i td.col1 { padding-left:4em; } - -/* spans */ -.larger { font-size:1.25em; } -.smallcaps { font-variant:small-caps; } -.underline { text-decoration:underline; } -.hidden { display:none; } - -/* poetry */ -div.poem-container { text-align:center; } -div.poem-container div.poem { display:inline-block; } -div.stanza { text-align:left; text-indent:0; margin-top:1em; margin-bottom:1em; } -.stanza .verse { text-align:left; text-indent:-2em; margin-left:2em; } -.stanza .verse2 { text-align:left; text-indent:-2em; margin-left:4em; } -div.reversepoem div.poem-container div.poem { display:block; } -div.reversepoem .stanza .verse { text-align:left; text-indent:1em; margin-left:0; } - -/* ads */ -div.ads { margin-left:auto; margin-right:auto; max-width:40em; font-size:0.8em; - border:1px solid black; margin-bottom:1em; page-break-before:always; - padding:0.5em; clear:both; } -div.ads p { text-indent:0; margin-bottom:0.5em; } -div.ads div.poem p { margin-bottom:0; } -div.ads .adh { text-indent:0; text-align:center; font-weight:bold; - margin-top:1em; margin-bottom:1em; } -div.ads .h1 { font-size:1.5em; } -div.ads .h2 { font-size:1.2em; } -div.ads .h3 { font-size:1em; } -div.ads .h4 { font-size:1em; } -div.ads .adb { text-indent:0; text-align:center; font-weight:bold; margin-top:1em; - margin-bottom:1em; } -div.ads .ada { text-indent:0; text-align:center; margin-top:1em; margin-bottom:1em; } -div.ads .ads { text-indent:0; text-align:center; margin-top:1em; margin-bottom:1em; - font-size:0.8em; } -div.ads .adp { text-indent:0; text-align:center; margin-top:1em; margin-bottom:1em; - font-size:0.8em; } -div.ads .ade { text-indent:0; text-align:center; font-weight:bold; margin-top:1em; - margin-bottom:1em; font-size:1.2em; } -div.ads p.fl { margin:0; } -div.ads p.fr { margin:0; } -div.ads p.r { text-indent:0; text-align:right; } -div.ads p.l { text-indent:0; text-align:left; } -div.ads .c { text-indent:0; text-align:center; } -div.ads .b { font-weight:bold; } -div.ads .s { font-size:0.8em; } -div.ads .fl { float:left; } -div.ads .fr { float:right; } -div.ads .cb { clear:both; } -div.ads .vspace.cb { font-size:0; margin:0; } -div.ads .narrow { width:70%; margin-left:15%; margin-right:15%; } -div.ads .narrow.fr { width:60%; margin-left:0; margin-right:0; } - -div.ads .box { border:1px solid black; margin:0.5em; padding:0.5em; } -div.ads .w40 { width:40%; } -div.ads .ib { display:inline-block; } -div.ads hr.hr10 { margin-left:45%; width:10%; } - -div.ads div.hang p { text-indent:-2em; margin-left:2em; margin-top:1em; } - -div.ads .table036 .col1 { text-align:left; padding-right:0.5em; } -div.ads .table036 .col2 { text-align:right; padding-right:0.5em; } -div.ads .table036 .col3 { text-align:left; padding-right:0; } - -a:link { text-decoration: none; color: rgb(10%,30%,60%); } -a:visited { text-decoration: none; color: rgb(10%,30%,60%); } -a:hover { text-decoration: underline; } -a:active { text-decoration: underline; } - -/* Transcriber's note */ -.trnote { font-size:0.8em; line-height:1.2em; background-color: #ccc; - color: #000; border: black 1px dotted; margin: 2em; padding: 1em; - page-break-before:always; margin-top:3em; } -.trnote p { text-indent:0; margin-bottom:1em; } -.trnote ul { margin-left: 0; padding-left: 0; } -.trnote li { text-align: left; margin-bottom: 0.5em; margin-left: 1em; } -.trnote ul li { list-style-type: square; } -.trnote .transnote { text-indent:0; text-align:center; font-weight:bold; } - -/* page numbers */ -a[title].pagenum { position: absolute; right: 1%; } -a[title].pagenum:after { content: attr(title); color: gray; background-color: inherit; - letter-spacing: 0; text-indent: 0; text-align: right; font-style: normal; - font-variant: normal; font-weight: normal; font-size: x-small; - border: 1px solid silver; padding: 1px 4px 1px 4px; - display: inline; } - -div.centerpic { text-align:center; text-indent:0; display:block; } -div.centerpic.poetry img { max-width:15em; } -span.musigraph { max-width:30%; } -span.musigraph img { max-width:100%; } - -@media handheld { - body { margin-left:0; margin-right:0; } - div.frontmatter { max-width:inherit; } - - div.poem-container div.poem { display:block; margin-left:2em; } - div.editorials { border:0; padding:0; margin-top:0; margin-bottom:0; } - div.excerpt { font-size:1em; margin-left:2em; } - - div.ads { max-width:inherit; border:0; border-top:1px solid black; padding:0; - padding-top:0.5em; } - - div.ads div.ib { clear:both; display:block; } - - a.pagenum { display:none; } - a.pagenum:after { display:none; } - - .trnote { margin:0; } - - span.firstchar { clear:left; float:left; } - div.ads .fl { float:left; } - div.ads .fr { float:right; } -} - -</style> -</head> - -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Little Review, January-February 1916 (Vol. 2, No. 10), by Margaret C. Anderson</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Little Review, January-February 1916 (Vol. 2, No. 10)</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Various</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Editor: Margaret C. Anderson</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: January 21, 2022 [eBook #67209]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Jens Sadowski and the Online Distributed Proofreading Team at http://www.pgdp.net. This book was produced from images made available by the Modernist Journal Project, Brown and Tulsa Universities.</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, JANUARY-FEBRUARY 1916 (VOL. 2, NO. 10) ***</div> - -<div class="frontmatter chapter"> -<h1 class="title"> -<span class="smallcaps">The Little Review</span> -</h1> - -<p class="subt"> -<em>Literature</em> <em>Drama</em> <em>Music</em> <em>Art</em> -</p> - -<p class="ed"> -<span class="line1">MARGARET C. ANDERSON</span><br /> -<span class="line2">EDITOR</span> -</p> - -<p class="issue"> -JANUARY-FEBRUARY, 1916 -</p> - - <div class="table"> -<table class="tocn" summary=""> -<tbody> - <tr> - <td class="col1"><a href="#POEMS">Poems:</a></td> - <td class="col2"><em>H. D.</em></td> - </tr> - <tr class="i"> - <td class="col1"><a href="#LATESPRING">Late Spring</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#NIGHT">Night</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#ADEEPERMUSIC">A Deeper Music</a></td> - <td class="col2"><em>Margaret C. Anderson</em></td> - </tr> - <tr> - <td class="col1"><a href="#BLUEPRINTS">Blue-Prints:</a></td> - <td class="col2"><em>Harriet Dean</em></td> - </tr> - <tr class="i"> - <td class="col1"><a href="#DEBUTANTE">Debutante</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THEPILLAR">The Pillar</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#THEPATHOSOFPROXIMITY">The Pathos of Proximity</a></td> - <td class="col2"><em>Alexander S. Kaun</em></td> - </tr> - <tr> - <td class="col1"><a href="#SOLITUDE">Solitude</a></td> - <td class="col2"><em>David O’Neil</em></td> - </tr> - <tr> - <td class="col1"><a href="#THENOVELIST">The Novelist</a></td> - <td class="col2"><em>Sherwood Anderson</em></td> - </tr> - <tr> - <td class="col1"><a href="#ASPERITIES">Asperities:</a></td> - <td class="col2"><em>Mitchell Dawson</em></td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THREAT">Threat</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#INPASSING">In Passing</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#TERESA">Teresa</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#AMYLOWELLSBOOK">Amy Lowell’s Book</a></td> - <td class="col2"><em>F. S. Flint</em></td> - </tr> - <tr> - <td class="col1"><a href="#THEPICNIC">The Picnic</a></td> - <td class="col2"><em>Marjory Seiffert</em></td> - </tr> - <tr> - <td class="col1"><a href="#EDITORIALSANDANNOUNCEMENTS">Editorials and Announcements</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#AMERICANART">“American Art”</a></td> - <td class="col2"><em>“The Critic”</em></td> - </tr> - <tr> - <td class="col1"><a href="#PHOTOGRAPHY">Photography</a></td> - <td class="col2"><em>C. A. Z.</em></td> - </tr> - <tr> - <td class="col1"><a href="#BOOKDISCUSSION">Book Discussion</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#THEREADERCRITIC">The Reader Critic</a></td> - <td class="col2"> </td> - </tr> -</tbody> -</table> - </div> -<p class="monthly"> -Published Monthly -</p> - - <div class="table"> - <div class="footer"> -<p class="pricel"> -15 cents a copy -</p> - -<p class="pub"> -MARGARET C. ANDERSON, Publisher<br /> -Fine Arts Building<br /> -CHICAGO -</p> - -<p class="pricer"> -$1.50 a year -</p> - - </div> - </div> -<p class="postoffice"> -Entered as second-class matter at Postoffice, Chicago -</p> - -</div> - -<div class="frontmatter chapter"> -<a id="page-1" class="pagenum" title="1"></a> -<p class="tit"> -<span class="smallcaps">The Little Review</span> -</p> - - <div class="table"> - <div class="issue"> -<p class="vol"> -Vol. II -</p> - -<p class="issue"> -JANUARY-FEBRUARY, 1916 -</p> - -<p class="number"> -No. 10 -</p> - - </div> - </div> -<p class="cop"> -Copyright, 1916, by Margaret C. Anderson -</p> - -</div> - -<h2 class="article1" id="POEMS"> -Poems -</h2> - -<p class="aut"> -H. D. -</p> - -<h3 class="section" id="LATESPRING"> -Late Spring -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">We can not weather all this gold</p> - <p class="verse">Nor stand under the gold from elm-trees</p> - <p class="verse">And the re-coated sallows.</p> - <p class="verse">We can not hold our heads erect</p> - <p class="verse">Under this golden dust.</p> - </div> - <div class="stanza"> - <p class="verse">We can not stand</p> - <p class="verse">Where enclosures for the fruit</p> - <p class="verse">Drop hot—radiant—slight petals</p> - <p class="verse">From each branch.</p> - </div> - <div class="stanza"> - <p class="verse">We can not see:</p> - <p class="verse">The dog-wood breaks—white—</p> - <p class="verse">The pear-tree has caught—</p> - <p class="verse">The apple is a red blaze—</p> - <p class="verse">The peach has already withered its own leaves—</p> - <p class="verse">The wild plum-tree is alight.</p> - </div> - </div> -</div> - -<h3 class="section" id="NIGHT"> -<a id="page-2" class="pagenum" title="2"></a> -Night -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">The night has cut each from each</p> - <p class="verse">And curled the petals back from the stalk</p> - <p class="verse">And under it in crisp rows:</p> - </div> - <div class="stanza"> - <p class="verse">Under at an unfaltering pace,</p> - <p class="verse">Under till the rinds break,</p> - <p class="verse">Back till each bent leaf</p> - <p class="verse">Is parted from its stalk:</p> - </div> - <div class="stanza"> - <p class="verse">Under at a grave pace,</p> - <p class="verse">Under till the leaves are bent</p> - <p class="verse">Back till they drop upon the earth,</p> - <p class="verse">Back till they are all broken.</p> - </div> - <div class="stanza"> - <p class="verse">O night,</p> - <p class="verse">You take the petals of the roses in your hand,</p> - <p class="verse">But leave the stark core of the rose</p> - <p class="verse">To perish on the branch.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="ADEEPERMUSIC"> -<a id="page-3" class="pagenum" title="3"></a> -A Deeper Music -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Margaret C. Anderson</span> -</p> - -<p class="first"> -<span class="firstchar">A</span> piano, alone on a stage; shadowed light around and above it; ivory -and ebony moving out of the shadow; and the silence that hangs -there before the musician plays. There is nothing like it in the world,—nothing -more wonderful.... -</p> - -<hr class="tb" /> - -<p class="noindent"> -There are “revolutions” going on in all the arts. The revolution in -poetry is coming in for a lot of discussion, so that even the layman is conscious -of it. His feeling about it is that some effeminate beings called -Imagists are trying to emasculate the noble art of poetry. But the thing -is happening right under his nose and he is careful to keep posted, in order -to be able to defend his favorite theory. As for the stage, he knows that -Gordon Craig and Rhinehart have been using screens instead of marble -pillars painted against red velvet curtains. In painting he knows all about -the cubists and futurists; he even knows that the donkey’s tail story was -something of a joke. In sculpture he has heard of an unreasonable reaction -from Rodin, and he has probably seen Brzeska’s head of Ezra Pound. In -the ballet he has a rather clear idea of why the old classical form wouldn’t -serve; perhaps because the Russians have demonstrated so clearly what -it was they could do with the new form. In opera he thinks very little is -happening. He is right. -</p> - -<p> -But the slowest revolution of all—and the most interesting—is that -which is just beginning in the art of the piano. It is the slowest because -it is not the public alone that is bound to the old form. The masters themselves -have not visioned toward a need that would make a new form inevitable. -The need is—a deeper music. And it is the most interesting because -the convention that has bound the piano,—virtuosity,—is a more worthy -convention than that which has restricted any of the other arts. -</p> - -<p> -There is a universe of the arts in the piano. But it is not a universe -now. It is a stunt. The piano has been used for stunts for years and -years and years. It will go on being used that way for years. Well, I am -the last one to deprecate the art of these stunts. I think they are beautiful—some -of them. I think they have their place. But they have served it -too well. I love them more than I love all the opals and rubies and sapphires -and emeralds and topaz and amethyst and pearl a jeweller can dip his fingers -into and spread out for your dazzled senses. But I love poetry more than -jewels. And I love music more than poetry. In the music of the piano you -get the best illustration that music is a thing beginning and ending in itself, -a thing not of story or image but of sound, a thing that must be understood -quite simply in its own terms,—as Hiram Kelly Moderwell puts it, a thing -<a id="page-4" class="pagenum" title="4"></a> -that must be heard and not seen. And in the revolution that is beginning -you get this first pure principle combined with another; that the music of -the piano must reach to the passion of life. This is quite different from -saying that music must be a dramatization of human life. It is merely saying -that ballet dancing could never have produced an Isadora Duncan. -</p> - -<p> -I imagine that Harold Bauer must have said something of this sort to -himself. He has certainly said it on the piano. His attitude toward the -piano has this sort of prophecy in it. It is a matter of the beauty of sound. -The methods of approach of all the “masters” have been the same. They -have imposed something upon the piano. But Bauer has approached the -handling of the piano as Debussy approached composition—or Schönberg. -</p> - -<p> -When Schönberg wrote that “the alleged tones believed to be foreign -to harmony do not exist; they are merely tones foreign to our accepted -harmonic system”, and that “tonality is not a hard and fast compulsion -directing the course of music but a concept which makes it possible for us -to give our ideas the requisite aspect of compactness”, he was saying practically -what Bauer has suggested about the touching of the piano: that -virtuosity is only a means to an end, that the springs of the art have been -drying up, and that until the musician can <em>hear</em> better he is not worthy of -the sounds the piano has to give him. You can’t play César Franck with the -same hands you use for Liszt. You must change your hands into different -“feelers”. The piano will give you the quality of almost every instrument. -It is as though Bauer had said: “They call this an instrument of percussion. -They have laid down its limitation. But I doubt very much whether it will -stay within that limitation. I suspect it does not stop there but goes on -into a realm where sound is of infinite development.” That is why you -hear an organ when he plays César Franck; that is why you realize how -the Imagists have worked when he plays Debussy; that is why you -get a sense of painting in all his music. Bauer puts on the sound like paint. -He knows, as Romain Rolland has said, that every art tends to become a -universe in itself; that music becomes painting and poetry, that painting -becomes music, etc. And Bauer is not a genius. He has merely suggested -what will happen to the piano, and paved the way for an openness of mind -about it. He has made a good many people gossip of how his scales won’t -compare with those of the other great ones; but he has made a good many -more suspect that there has been something lacking in the ultimatums of -the piano athletes. He has done many simple and dynamic things to bring -the piano into its own. -</p> - -<p> -But the full achievement of this will go beyond what has been heard -yet anywhere; and the man who does it will be scorned as the greatest fool -or madman of his time before it is fully understood. It doesn’t matter. -The thing will happen—I hardly know how. I hardly even know words -with which to tell what it will be like. It can only be told on the piano. -</p> - -<p> -In his <em>Spiritual Adventures</em> Arthur Symons has a story of a musician -who says more true things about the piano than I have ever found anywhere -<a id="page-5" class="pagenum" title="5"></a> -else. One of them is this: “Most modern music is a beggar for -pity. The musician tries to show us how he has suffered and how hopeless -he is. He sets his toothache and his heartache to music, putting those sufferings -into the music without remembering that sounds have their own -agonies which alone they can express in a perfect manner.” This is where -the “lions and panthers of the piano” have failed most: they have not -loved the sounds enough. They have not allowed each sound its full life. -This is the real reason why the piano has stopped short of itself. They -might almost as well have played bells. You can strike bells which will -bring out any number of tunes, loud or soft, with every possible variety -of phrasing. <em>But your interest will be in the tune rather than in the sound.</em> -You can’t limit the piano to the tunes that can be played upon it. You -don’t treat a violin that way, nor an organ. And of course you can register -a piano almost as fully as an organ with the “stops” that are in the ends -of your fingers. How fascinating it is, and how wonderful! -</p> - -<p> -But most piano recitals are like recitations—or some sort of performance -on a school platform. Their beauty ends with the beauty of style, phrasing, -finish, tone, taste. It is diction rather than music. It is science. -Busoni is not a prophet; he is an orchestra. Hofmann loves style more -than he does sound. Godowsky loves patterns more than sound. Gabrilowitsch -loves delicate sounds intensely, but has no feeling for the sounds of -great chords. Zeisler loves rhythm more than sound. And so on. Paderewski -loves the piano. He is genius, pure and simple—though of course -there is nothing less pure or simple. He may do what he likes—break sounds -into bits, crack them like nuts. It doesn’t matter. He never fails to communicate -a mood to the instrument—the mood of his personal equation. And -that is art. “Przybyszewski playing Chopin”—that would also be art. -What have the excellent piano concerts you hear to do with art, with inspiration? -Piano playing is certainly something to be surpassed. Music is the -thing! And that means ecstasy, madness, divinity,—the beauty upon which -all the ends of the world are come. The design of sound.... Each -sound that comes out of the piano is something alive.... -</p> - -<hr class="tb" /> - -<p class="noindent"> -And now for the interesting part. -</p> - -<p> -When I talk of the “new music”—which will be different from Debussy -and Schönberg and all the rest of them—I am not talking of how far beyond -the limits of known harmony, or the anarchy which disregards any harmonic -system, we shall go. Undoubtedly, as far as all that is concerned, -“some day some one will dig down to the roots and turn up music as it is -before it is tamed to the scale.” This seems to me a settled fact. But I -am much more interested in the piano itself and the deliverer who is to set -it free from the lie which has grown up around it and make it vibrate to a -truer color. It is all in the plane of vibration, I believe. It will come about -in three ways: through the mechanical development of the piano, through -a new type of music, and chiefly through the new type of pianist. -</p> - -<p> -<a id="page-6" class="pagenum" title="6"></a> -You will have your Mason and Hamlin—(this is not advertising; it -is merely a conviction)—you will have that great dark-winged-victory standing -alone on a stage; you will care a great deal about the color of the light -around and above it—the tones of the walls within which your beautiful -sounds are to live; you will touch that ivory and ebony—oh, there are no -words! You will <em>see</em> those sounds against the color.... -</p> - -<p> -You may write a program for your audience—something like this: -</p> - -<div class="excerpt"> -<p class="noindent"> -I believe the right technical approach is simply a different<a id="missing"></a> -are the most beautiful there are anywhere in the world—more -beautiful than the wind in trees or the moan in the sea or the -silence that is heard on deserts; -</p> - -<p> -I believe that these sounds live only by a certain magic of -invocation. There are no rules for them—unless perhaps you -want to read Bergson. -</p> - -<p> -I believe the right technical approach is simply a different -kind of friendship—or love affair—with each sound. -</p> - -<p> -I believe that tone goes way beyond the range between pianissimo -and fortissimo, between legato and staccato, etc. Tone -is radiance, eagerness, light, darkness, devastation, something -that melts, something that cries and burns, something that shatters. -</p> - -<p> -I do not believe in playing “programs”—ending with a -blaze of Liszt. I couldn’t play the <em>Campanella</em> to save my life, -but I don’t see that it matters. -</p> - -<p> -I do not believe in “program” music—beginning with Bach -(now that the public has learned to applaud him) and ending -with Liszt. I couldn’t play the <em>Campenella</em> to save my life, but -I don’t see that it matters. -</p> - -<p> -I do not believe in nature music—babbling brooks and -warbling birds. I believe in nature mood, just as I do in the -mood of all great phenomena. -</p> - -<p> -The music I have made will be sometimes merely the curve -of a mood—like the curve of line in Watts’s <em>Orpheus and Eurydice</em>; -or merely the design of a color or a scent. But always it -will keep close to two fundamentals: that “hard gemlike flame” -and the rhythm of sex. -</p> - -</div> - -<p class="noindent"> -All this will come under the classification of those things which are -so worth knowing that they can never be taught. It will belong to that -individual who can say the new word—his own word. It will make the -piano something we have scarcely dreamed of. It will make up an art that -has nothing to do with the four walls of a room. It could not be set to -“Questions and Answers” in <em>The Ladies’ Home Journal</em>. It will have little -to do with accomplishment, but everything to do with that which is of all -things the highest manifestation of life. -</p> - -<div class="chapter"> - -<h2 class="article" id="BLUEPRINTS"> -<a id="page-7" class="pagenum" title="7"></a> -Blue-Prints -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Harriet Dean</span> -</p> - -<h3 class="section" id="DEBUTANTE"> -Debutante -</h3> - -<p class="first"> -<span class="firstchar">Y</span><span class="postfirstchar">ou</span> are a faded shawl about the shoulders of your mother. A puff -of wind catches at your fluttering edge to jerk you away. But she draws -you close, growing cold in the warm young breeze. She holds you with -her shiny round pin, as all young ones are clasped to old by round things -grown shiny with age. -</p> - -<p> -In your wistful tired eyes I see the trembling of her shawl as she -breathes. -</p> - -<h3 class="section" id="THEPILLAR"> -The Pillar -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">When your house grows too close for you,</p> - <p class="verse">When the ceilings lower themselves, crushing you,</p> - <p class="verse">There on the porch I shall wait,</p> - <p class="verse">Outside your house.</p> - <p class="verse">You shall lean against my straightness,</p> - <p class="verse">And let night surge over you.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="THEPATHOSOFPROXIMITY"> -<a id="page-8" class="pagenum" title="8"></a> -The Pathos of Proximity<a class="fnote" href="#footnote-1" id="fnote-1">[1]</a> -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Alexander S. Kaun</span> -</p> - -<p class="first"> -<span class="firstchar">P</span><span class="postfirstchar">ull</span> down the shades. Turn out the lights. So. We do not want -loud electricity. We shall have a jewelled light. For I am rich to-night. -Come, let us recline on Bagdad cushions and Teheran rugs (“Only -savages sit”, Mme. Zinovyeva, the Russian Lesbian, told us), and I shall -scatter over the fantastic patterns jewels and stones. How softly they -illumine the thick dark—these varicolored glowflies, these streams of wine, -emerald wine, and amethyst wine, and wine of topazes “yellow as the eyes -of tigers, and topazes pink as the eyes of a wood pigeon, and green topazes -that are as the eyes of cats”, and wine of opals “that burn always with an -icelike flame”, and wine of onyxes that are like “the eyeballs of a dead -woman”, and wine streams of sapphires and chrysolites and rubies and -turquoises and ambers and pearls.... I am rich to-night, and we shall -bathe our eyes in quivering rainbows, and our fingers shall wander lightly -through dimly-jewelled ripples, stirring up old visions, exotic unhuman -faces, enchanting monsters, dancing rhythmic words, fantastic moonlit -thoughts. -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">What songless tongueless ghost of sin crept through the curtains of the night?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -“In exquisite raiment, and to the delicate sound of flutes, the sins of -the world are passing in dumb show before us. Things that we have dimly -dreamed of are suddenly made real. Things of which we have never -dreamed are gradually revealed.” -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Lift up your large black satin eyes which are like cushions where one sinks!</p> - <p class="verse">Fawn at my feet, fantastic Sphinx, and sing me all your memories!</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -A symphony of memories. A life as brilliant and as swift as a meteor. -A life of no shadows. Sun and flowers. A continuous rainbow. An -Apollonian race over iridescent rose-and-azure-clouds. A sudden plunge -over hideous precipice. The song broken. Yet the chord vibrates. -</p> - -<p> -Uneasiness. The moon filters through the stained embrasure. -</p> - -<div class="excerpt" lang="fr"> -<a id="page-9" class="pagenum" title="9"></a> -<p class="noindent"> -Regardez la lune ... On dirait une femme qui -sort d’un tombeau. Elle ressemble à une femme morte. -On dirait qu’elle cherche des mortes. -</p> - -<p> -... Elle ressemble à une petite princesse qui -porte un voile jaune, et des pieds d’argent. Elle ressemble -à une princesse qui a des petites colombes blanches.... -On dirait qu’elle danse. -</p> - -<p> -... On dirait une femme hystérique, une -femme hystérique qui va cherchant des amants partout. -Elle est nue aussi. Elle est toute nue. Les nuages -cherchent à la vêtir, mais elle ne veut pas. Elle chancelle -à travers les nuages comme une femme ivre.... -</p> - -<p> -... Cachez la lune! Cachez les étoiles! -</p> - -</div> - -<p class="noindent"> -No, it is not the moon that causes the uneasiness. It is that Egyptian -scarabæus in lapis lazuli that bedims the scattered jewels and enveils me -in sadness. An image beckons to me out of the ultramarine glimmer, an -image of a king, a lord, possessor of a golden tongue and of a scintillating -mind, yet an image repulsive in its carnal vulgarity, its dull inexpressive -eyes, its fat jowl, its unreserved mouth. On a stout, democratic finger -guffaws the scarabæus. -</p> - -<hr class="tb" /> - -<p class="noindent"> -Lights! Turn on the lights. -</p> - -<p> -I have been sybariticizing with thirteen beautiful little volumes of -Oscar Wilde, recently published by G. P. Putnam’s Sons. It is a useful, -although often painful, ordeal—ventilating the store-room of your old gods. -There was a time when I worshipped Wilde unqualifiedly. As a freshman -I wrote a pathetic paper in which I demanded the canonization of the -author of <em>De Profundis</em>. Alas, I have come to discern spots on the sun. -</p> - -<p> -As a decorative artist Wilde has no flaws. The perfect design applied -in his multifarious productions makes one compare him to the titans of -the High Renaissance: Nihil tetigit quod non ornavit. The graceful form -justifies even his obvious moral-fairy-tales, even his unoriginal, Keats-esque -and Poe-esque poems. It is for the style that we accept his <em>De Profundis</em>, -that insincerest attempt for sincerity. But Wilde strove for more than -mere external artistic effect. In his critical essays he lifted the critic to -the heights of co- and re-creation, and instructed him to demand from a -work of art eternal values. “The critic rejects those obvious modes of art -that have but one message to deliver and having delivered it become dumb -and sterile, and seeks rather for such modes as suggest reveries and moods -and by their imaginative beauty make all interpretations true and no interpretation -final.” We, his disciples in aesthetic valuations, come to our -<a id="page-10" class="pagenum" title="10"></a> -master with his own criterion, and find him on more than one occasion -grievously wanting in the requirements that he had set up for the artist. -He either has no message to deliver, as in his clever plays, or he delivers -his message in such an outspoken way that no field is left for suggestion -or imaginative interpretation. He had transgressed Mallarmé’s maxim—“To -name is to kill; to suggest is to create” not only in <em>The Ballad of Reading -Gaol</em>, the work that belongs to the crushed, semi-penitent Wilde; he -committed this unpardonable sin in his masterpiece, <em>Salomé</em>! That wonderful -harmonious ghastliness, woven out of moods and motives, surcharged -with suggestive tragedy and fatalism, suddenly breaks into a criminal vulgarity -through the introduction of a “real” dead head, which drives away -illusion and atmosphere, and strikes your nostrils with the odor of theatrical -grease paint. -</p> - -<p> -The rehabilitation of Oscar Wilde was imposed upon the Anglo-Saxon -world by the continent, especially by Germany, the expropriator of English -geniuses, where the production of Wilde’s plays has rivalled in frequency -those of Shakespeare. I know of a German pundit who chose as -a topic for his doctor’s dissertations “The Influence of Pater on Oscar -Wilde”. But continental depreciation is as fast as Anglo-Saxon appreciation -is slow. Neue Zeiten, neue Vögel; neue Vögel, neue Lieder. European -literature in recent decades has had more meteors than stars. Wilde’s -flash is rapidly vanishing. You may call me a Cassandra, but I venture a -prophecy that soon Wilde will find his peaceful place in American colleges -alongside with Austen, Eliot, Meredith, etc. -</p> - -<p> -<em>Salomé</em> will always remain one of the world’s great symphonies,—a -symphony in which the motive of doom rends your soul from the first -sound to the last. <em>Poems in Prose</em> will never lose their charm as ivory-carved -bits of ideal conversation—the art in which Wilde was supreme, -the art that is almost unknown in this country where it is substituted by -talk. His other works are doomed to be time’s victims. Not because they -are worthless, but for the reason of their adaptability. One must be a -prophet, a Nietzsche, who hurls his seeds over many generations, in order -to endure. Wilde was aware of this danger, and he wished to be misunderstood, -but he lacked the profundity for such a merit. He did not -mirror his age; but he had realized the potentialities of his age, had popularized -them to such a degree that they have become the possession of the -crowd. We are not any longer dazzled by the clever witticisms in his <em>Plays</em>; -they have become almost commonplace. Even the graceful, radiating <em>Intentions</em> -appear to us somewhat obvious. Why?—It is the pathos of proximity! -Wilde’s paradoxes, <em>mots</em>, theories, have proven so appropriate, adaptable, -and digestible for our age, that it took only one decade to absorb -them into our blood and marrow. Cleverism for the sake of cleverism has -come to be an epidemic in our days; cleverists find Wilde an inexhaustible -source for parasitic exploitation. Our Hunekers (and under this appellative -<a id="page-11" class="pagenum" title="11"></a> -I have in mind the legions of our omniscient boulevardiers-critics) don -a Wildesque robe, and have little trouble in passing as genuine before the -good-natured public. Unfortunately the constitution of the Hunekers is -too weak to absorb Wilde’s big truths; they prefer the digestible chaff. -</p> - -<p> -Adaptability spells forgetability. Crime and punishment. -</p> - -<hr class="footnote" /> - -<p class="footnote"> -<a class="footnote" href="#fnote-1" id="footnote-1">[1]</a> <em>The Works of Oscar Wilde in 13 volumes. Ravenna edition. New -York: G. P. Putnam’s Sons.</em> -</p> - -<div class="chapter"> - -<h2 class="article" id="SOLITUDE"> -Solitude -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">David O’Neil</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Youth!</p> - <p class="verse">If there be madness</p> - <p class="verse">In your soul,</p> - <p class="verse">Go to the mountain solitudes</p> - <p class="verse">Where you can grow up</p> - <p class="verse">To your madness.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="THENOVELIST"> -<a id="page-12" class="pagenum" title="12"></a> -The Novelist -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Sherwood Anderson</span> -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> novelist is about to begin the writing of a novel. For a year he -will be at the task and what a year he will have! He is going to -write the story of Virginia Borden, daughter of Fan Borden, a Missouri -river raftsman. There in his little room he sits, a small, hunched-up figure -with a pencil in his hand. He has never learned to run a type-writer and -so he will write the words slowly and painfully, one after another on the -white paper. -</p> - -<p> -What a multitude of words! For hours he will sit perfectly still, -writing madly and throwing the sheets about. That is a happy time. The -madness has possession of him. People will come in at the door and sit -about, talking and laughing. Sometimes he jumps out of his chair and -walks up and down. He lights and relights his pipe. Overcome with -weariness he goes forth to walk. When he walks he carries a heavy -walking stick and goes muttering along. -</p> - -<p> -The novelist tries to shake off his madness but he does not succeed. -In a store he buys cheap writing tablets and, sitting on a stone near where -some men are building a house, begins again to write. He talks aloud -and occasionally fingers a lock of hair that falls down over his eyes. He -lets his pipe go out and relights it nervously. -</p> - -<p> -Days pass. It is raining and again the novelist works in his room. -After a long evening he throws all he has written away. -</p> - -<p> -What is the secret of the madness of the writer? He is a small man -and has a torn ear. A part of his ear has been carried away by the -explosion of a gun. Above the ear there is a spot, as large as a child’s -hand, where no hair grows. -</p> - -<p> -The novelist is a clerk in a store in Wabash Avenue in Chicago. When -he was a quite young man he began to clerk in the store and for a time -promised to be successful. He sold goods, and there was something in his -smile that won its way into all hearts. How he liked the people who came -into the store and how the people liked him! -</p> - -<p> -In the store now the novelist does not promise to be successful. There -is a kind of conspiracy in the store. Although he tries earnestly he continues -to make mistakes and all of his fellows conspire to forgive and -conceal his mistakes. Sometimes when he has muddled things badly they -are impatient and the manager of the store, a huge, fat fellow with thin -grey hair, takes him into a room and begins to scold. -</p> - -<p> -The two men sit by a window and look down into Wabash Avenue. -It is snowing and people hurry along with bowed heads. So much do the -<a id="page-13" class="pagenum" title="13"></a> -novelist and the fat grey-haired man like each other that the scolding -does not last. They begin to talk and the hours pass. Presently it is -time to close the store for the night and the two go down a flight of -stairs to the street. -</p> - -<p> -On the corner <a id="corr-3"></a>stand the novelist and the store-manager, still talking. -Presently they go together to dine. The manager of the store looks at -his watch and it is eight o’clock. He remembers a dinner engagement -with his wife and hurries away. On the street car he blames himself for -his carelessness. “I should not have tried to reprimand the fellow,” he -says, and laughs. -</p> - -<p> -It is night and the novelist works in his room. The night is cold -and he opens a window. There is, in his closet, a torn woolen jacket given -him by a friend, and he wraps the jacket about him. It has stopped snowing -and the stars are in the sky. -</p> - -<p> -The talk with the store-manager has inflamed the mind of the novelist. -Again he writes furiously. What he is now writing will not fit into the -life-story of Virginia Borden but, for the moment, he thinks that it will -and he is happy. Tomorrow he will throw all away, but that will not -destroy his happiness. -</p> - -<p> -Who is this Virginia Borden of whom the novelist writes and why -does he write of her? He does not know that he will get money for his -story and he is growing old. What a foolish affair. Presently there -may be a new manager in the store and the novelist will lose his place. -Once in a while he thinks of that and then he smiles. -</p> - -<p> -The novelist is not to be won from his purpose. Virginia Borden -is a woman who lived in Chicago. The novelist has seen and talked with -her. Like the store-manager she forgot herself talking to him. She -forgot the torn ear and the bald spot where no hair grew and the skin -was snow white. To talk with the novelist was like talking aloud to herself. -It was delightful. For a year she knew him and then went away -to live with a brother in Colorado where she was thrown from a horse -and killed. -</p> - -<p> -When she lived in Chicago many people knew Virginia Borden. They -saw her going here and there in the streets. Once she was married to a -man who was leader of an orchestra in a theater but the marriage was not -a success. Nothing that Virginia Borden did in the city was successful. -</p> - -<p> -The novelist is to write the life-story of Virginia Borden. As he -begins the task a great humbleness comes over him. Tears come into his -eyes. He is afraid and trembles. -</p> - -<p> -In the woman who talked and talked with him the novelist has seen -many strange, beautiful, unexpected little turns of mind. He knows that -in Virginia Borden there was spirit that, but for the muddle of life, might -have become a great flame. -</p> - -<p> -It is the dream of the novelist that he will make men understand the -<a id="page-14" class="pagenum" title="14"></a> -spirit of the woman they saw in the streets. He wants to tell the store-manager -of her and the little wiry man who has a desk next to his own. -In the Wabash Avenue store there is a woman who sits on a high stool with -her back to the novelist. He wants to tell her of Virginia Borden, to make -her see the reality of the woman who failed, to make all see that such a -woman once lived and went about among the women of Chicago. -</p> - -<p> -As the novelist writes events grow in his mind. His mind is forever -active and he is continually making up stories about himself. As the -Virginia Borden whom men saw was a caricature of the Virginia Borden -who lived in the mind of the novelist, so he knows that he is himself but -a shadow of something very real. -</p> - -<p> -And so the novelist puts himself into the book. In the book he is -a large, square-shouldered man with tiny eyes. He is one who came to -Chicago from a village in Poland and was leader of an orchestra in a -theatre. As the orchestra leader the novelist married Virginia Borden -and lived in a house with her. -</p> - -<p> -You see the novelist wants to explain himself also. He is a lover -and so vividly does he love that he has the courage to love even himself. -And so it is the lover that sits writing and the madness of the writer is -the madness of the lover. As he writes he is making love. Surely all -can understand that! -</p> - -<div class="filler"> -<p class="noindent"> -Because sexual love is the most useful and -common type of excitement we are apt to think -it necessary to life, when the truth is that it is -excitement itself which is life’s essential.—<em>Rebecca -West.</em> -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="ASPERITIES"> -<a id="page-15" class="pagenum" title="15"></a> -Asperities -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Mitchell Dawson</span> -</p> - -<h3 class="section" id="THREAT"> -Threat -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">If you should come into my cave</p> - <p class="verse">Bringing molded beads of sunlight</p> - <p class="verse">For offering—</p> - <p class="verse">I would trample your beads</p> - <p class="verse">And crush you</p> - <p class="verse">With that great bone of darkness</p> - <p class="verse">Which I have gnawed for years</p> - <p class="verse">And which has left me</p> - <p class="verse">Meagre as a gnarled root.</p> - </div> - </div> -</div> - -<h3 class="section" id="INPASSING"> -In Passing -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">One moment—</p> - <p class="verse">Your friend</p> - <p class="verse">Has squeezed great drops from you</p> - <p class="verse">Upon his palette;</p> - <p class="verse">With your color he has wrought—</p> - <p class="verse">Masterpieces, you say?</p> - <p class="verse">But the empty tube</p> - <p class="verse">Grown flat in his hand,</p> - <p class="verse">Will he hold it or pick up another,</p> - <p class="verse">Your friend—</p> - </div> - </div> -</div> - -<h3 class="section" id="TERESA"> -Teresa -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Do you remember Antonino—</p> - <p class="verse">Swift-winged, green in the sun?</p> - <p class="verse">Into the snap-dragon throat of desire</p> - <p class="verse">Flew Antonino.</p> - <p class="verse">Snap!...</p> - <p class="verse">The skeleton of Antonino has made</p> - <p class="verse">A good husband, a good provider.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="AMYLOWELLSBOOK"> -<a id="page-16" class="pagenum" title="16"></a> -Amy Lowell’s New Book -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">F. S. Flint</span> -</p> - -<p class="first"> -<span class="firstchar">A</span><span class="postfirstchar">my</span> Lowell has sent me her book, <em>Six French Poets</em>,<a class="fnote" href="#footnote-2" id="fnote-2">[2]</a> who are: -Emile Verhaeren, Albert Samain, Remy de Gourmont, Henri de -Régnier, Francis Jammes, and Paul Fort; and it occurs to me that I must be -her severest critic—are we not rivals? When, in the summer of 1914, before -the war was dreamed of, she told me over her dinner-table of her intention to -write this book and of the names of the poets she had chosen, I objected to -Samain. Samain, I said, was exquisite, but not important; and he could -only be read a few pages at a time without weariness. Stuart Merrill and -Francis Vielé-Griffin, I went on, are both more considerable poets; and -both are Americans; and since you insist on including Remy de Gourmont -as one of your poets, you might increase your number to seven, in many -ways an appropriate number where poets are concerned; and so on. But -she only motioned the waiter to fill my glass with champagne; and what -can a man do against such argument and such a will? And now, even if -I wished to damn her book (I do not), she will have already heaped coals -of fire upon my head in her preface, where she says kind things about me -because I happened to mention the names of one or two books to her, -information she did not really need. -</p> - -<p> -Miss Lowell states that she has “made no attempt at an exhaustive -critical analysis of the various works” of her poets. “Rather, I have tried -to suggest certain things which appear to the trained poet while reading -them. The pages and pages of hair-splitting criticism turned out by erudite -gentlemen for their own amusement has been no part of my scheme. But -I think the student, the poet seeking new inspiration, the reader endeavoring -to understand another poetic idiom, will find what they need to set -them on their way.” That is so: this book contains six causeries in which -Miss Lowell tells you why she loves these poets, and what she loves about -them, interrupting her talk every now and then to read some poem to you -which illustrates her meaning, introducing every now and then a fragment -of biography to correspond with the stage of the poet’s work to which she -has brought you, or stopping every now and then to pick out rare phrases -and rare music of words for your especial delight. No one, I suppose, will -have listened to Miss Lowell’s causerie in so happy a setting as the sitting-room -<a id="page-17" class="pagenum" title="17"></a> -on the third floor of a hotel in Piccadilly in which she talked to us -in the August of 1914. Through the long French window open in the -corner could be seen the length of Piccadilly, its great electric globes, its -shining roadway, and, on the left, the tops of the trees of Green Park, -dark grey in the moonlight; the noise of the motorbusses and of the taxis -reached us in a muted murmur, and at the corner of the park opposite, -beneath a street lamp, stood a newsboy, whose headlines we strained our -eyes from time to time to catch. It was in this tenseness created by the -expectation of news that Miss Lowell read Paul Fort and Henri de Régnier -to us (she reads French beautifully); and it is the emotion of those evenings, -more than anything else, that her book brings back to me. This -is not criticism, I know; but I am a critic displumed. I have quoted Miss -Lowell’s statement of her aims; let me now give my impression of what -she has done. You can take up her book, and read it from beginning to -end without weariness or boredom; you will be continually interested, -continually delighted, continually moved. Miss Lowell’s method of quoting -whole poems and long poems as well as detached and beautiful fragments -has filled her book with an emotional content that almost makes me afraid -to open it; the fear of too much beauty. And, finally, she has flattered the -sense of personal superiority in us all by allowing little slips to remain -where we may find them, and preen ourselves on our cleverness. When -you have absorbed all these sensations, you will have come to Appendix -A, which is 140 pages of the finest translations into English that exist of -the six poets in question, or, it might truly be said, of the French poets -of the symbolist generation. In these translations, Miss Lowell has rarely -been tempted away from prose, and you have only to compare her work -with the work of other translators to be immediately aware of how much -she has gained by her prudence, her artistry had better be said. That -Miss Lowell had all the equipment for a task of this kind, her own two -books of poems left no doubt at all. In them you will find the same delight -in beautiful word and phrase which has undoubtedly led her to modern -French poetry as to a friendly country, and to the achievement in these -translations. If she had done nothing more than just publish these, she -would have earned our gratitude; but she offers them to you as the least -of her book (as an appendix!) after you have been amused, interested, -instructed and moved. I can conceive of no greater pleasure—my pleasure -in the book is of a different kind—than that of the lover of poetry who -reads in Miss Lowell’s book about modern French poetry for the first time; -it must be like falling into El Dorado. I should add that the book contains -an excellent signed photograph of each poet. -</p> - -<hr class="footnote" /> - -<p class="footnote"> -<a class="footnote" href="#fnote-2" id="footnote-2">[2]</a> <em>Six French Poets, by Amy Lowell. New York: Macmillan Company.</em> -</p> - -<div class="chapter"> - -<h2 class="article" id="THEPICNIC"> -<a id="page-18" class="pagenum" title="18"></a> -The Picnic -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Marjorie Seiffert</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse2">Here they come in pairs, carrying baskets,</p> - <p class="verse">Pale clerks with brilliant neckties and cheap serge suits</p> - <p class="verse">Steering girls by the arm, clerks too,</p> - <p class="verse">Pretty and slim and smart</p> - <p class="verse">Even to yellow kid boots, laced up behind.</p> - </div> - <div class="stanza"> - <p class="verse2">They take the electric cars far into the country;</p> - <p class="verse">They descend, gaily chattering, at the Amusement Park.</p> - <p class="verse">Under the trees they eat the lunch they have carried—</p> - <p class="verse">Potato salad and boiled sausages, cream puffs, pretzels, warm beer.</p> - </div> - <div class="stanza"> - <p class="verse">They ride in the roller-coaster, two in a seat—</p> - <p class="verse">Glorious danger, warm delicious proximity!</p> - <p class="verse">The unaccustomed beer floods their veins like heady wine,</p> - <p class="verse">And smothered youth awakens with shrill screams of joy.</p> - </div> - <div class="stanza"> - <p class="verse2">The sun sets, and evening is drowned in electric lights;</p> - <p class="verse">Arm in arm they wander under the trees</p> - <p class="verse">Everywhere meeting others wandering arm in arm</p> - <p class="verse">In the same wistful wonder, seeking they know not what.</p> - <p class="verse">They have left the park and the crowds, the stars shine out,</p> - <p class="verse">A river runs at their feet, behind them a leafy copse,</p> - <p class="verse">Away on the other shore the fields of grain</p> - <p class="verse">Lie sleeping peacefully in the starlight.</p> - <p class="verse">Tonight the world is theirs, a legacy</p> - <p class="verse">From those who lived familiar friends with river, field and forest—</p> - <p class="verse">Their forebears—</p> - <p class="verse">Through the night the same earth-magic moves them</p> - <p class="verse">That swayed those ancient ones, long dead—</p> - <p class="verse">And these, too, lean and drink,</p> - <p class="verse">Drink deeply from the river, the flowing river of life.</p> - </div> - <div class="stanza"> -<a id="page-19" class="pagenum" title="19"></a> - <p class="verse2">Slowly they return to the crowds and the brilliant lights,</p> - <p class="verse">Dazzled they look aside, silently climb on the cars—</p> - <p class="verse">They cling to the swaying straps, weary, inert, confused.</p> - <p class="verse">The lurching car makes halt, they are thrown in each other’s arms,—</p> - <p class="verse">Alien and unmoved they sway apart again,—</p> - <p class="verse">The car moves on through the fields and suburbs back to the town.</p> - </div> - <div class="stanza"> - <p class="verse2">They leave the car in pairs, the picnic baskets</p> - <p class="verse">Rattling dismally plate and spoon and jar.</p> - <p class="verse">Each clerk takes his girl to her lodgings in awkward silence,</p> - <p class="verse">Indeed their eyes have not met since by the river</p> - <p class="verse">Those wondrous moments</p> - <p class="verse">Linked them to earth and night, not to each other.</p> - <p class="verse">They look askance,—“Good-night”—the front door closed.</p> - <p class="verse">They do not meet again except by chance.</p> - </div> - </div> -</div> - -<div class="editorials chapter"> -<a id="page-20" class="pagenum" title="20"></a> -<div class="chapter"> - -<h2 class="editorials" id="EDITORIALSANDANNOUNCEMENTS"> -Editorials and Announcements -</h2> - -</div> - -<h3 class="section" id="WANTEDSOMEIMAGINATIVEREASON"> -<em>Wanted: Some Imaginative Reason</em> -</h3> - -<p class="first"> -<span class="firstchar"><span class="prefirstchar">“</span>N</span><span class="postfirstchar">ietzsche</span> was an individualist, a hater of the State and of -the Prussians, a sick man, a great artist in words to be read -with delight and—your tongue in your cheek.” This is from John -Galsworthy’s “Second Thoughts on this War” in the January <em>Scribner’s</em>. -And so it goes on: he identifies Nietzsche with the new -German philosophy (which the poor man would have hated as he -did Prussianism), he talks of the Will to Power and the Will to -Love as two forces at opposite poles (quite in the manner of the -Chestertons), and he derides Shaw’s clear-headed understanding -that there is no real struggle of ideals involved in the war as the -statement of a brilliant intellect with “no flair, no feelers, none of -that instinctive perception of the essence and atmosphere of things -which is a so much surer guide than reason.” These things are -heart-breaking. If the artists can not understand the prophets of -their time why should we expect the masses to do so? -</p> - -<h3 class="section" id="HOMOSAPIENSISOBSCENE"> -<em>“Homo Sapiens” Is Obscene!</em> -</h3> - -<p class="first"> -<span class="firstchar">A</span><span class="postfirstchar">nthony</span> Comstock’s successor, John Sumner, has arrested -Alfred Knopf for publishing Przybyszewski’s <em>Homo -Sapiens</em>. It was suggested that magistrate Simms read the book -before passing judgment. The assistant district attorney protested -that “no such cruel punishment be imposed on the court”; but Mr. -Simms promised to try it. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<em>P. S.</em> Since writing the above something has happened which -my brain still refuses to believe. I have just been told that Mr. -Knopf has pleaded “guilty” to this asinine charge, in order to avoid -the expense and the publicity, and that <em>Homo Sapiens</em> will no longer -be circulated in this country. If it is true it is the most inexcusably -ridiculous thing that has happened for many months. It is incredible! -</p> - -<h3 class="section" id="THEWORLDSWORSTFAILURE"> -“<em>The World’s Worst Failure</em>” -</h3> - -<p class="first"> -<span class="firstchar">R</span><span class="postfirstchar">ead</span> Rebecca West’s brilliant articles in <em>The New -Republic</em>. -</p> - -<h3 class="section" id="MARGARETSANGERANDTHEISSUEOFBIRTHCONTROL"> -<a id="page-21" class="pagenum" title="21"></a> -<em>Margaret Sanger and the Issue of Birth Control</em> -</h3> - -<p class="first"> -<span class="firstchar">N</span><span class="postfirstchar">othing</span> makes me so positively ill as the average radical. -The average conservative is a ghastly figure, but at least he -is true to type. The average radical is a person who professes to -believe something that he does not believe. If he did, he would be -in trouble. No one gets into more involuntary trouble than the -splendid fools who think they can do quite simply what they believe -in, and who proceed to do it. -</p> - -<p> -Margaret Sanger’s trial is set for the twenty-fourth of this -month. She is under three indictments, based on twelve articles, -eleven of which are for <em>printing the words</em>—“prevention of conception.” -It is these words which are regarded as “lewd, lascivious, -and obscene.” -</p> - -<p> -Many “radicals” have advised Mrs. Sanger that the wisest thing -to do is to plead guilty to this “obscenity” charge and to throw -herself upon the mercy of the court—which would mean that she -could get off with a light sentence or a small fine. And what would -become of her object, which has been to remove the term “prevention -of conception” from this section of the penal code, where it -has been labelled as filthy, vile, and obscene? No revolution has -ever been started by evasion. No one wants Margaret Sanger to -be a martyr. <em>The point is that every one must see to it that she is -not made a martyr.</em> There is no other way out of these issues. You -can’t really believe in a thing without knowing that some time -you will have to fight for it. Margaret Sanger is taking the stand -that her type always takes—just because it is the type that insists -on believing hard. <em>We</em> should do all the rest. If you will wire -your protest to the District Attorney, office of U. S. Marshal, Post -Office Building, New York City, it will help. You may write Margaret -Sanger, or send contributions to her, care of Ethel Byrne, -26 Post Avenue, New York City. Please, please do it! -</p> - -<h3 class="section" id="THERUSSIANLITERATUREGROUP"> -<em>The Russian Literature Group</em> -</h3> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> introductory lecture, which took place January 14 and was -rather well attended, will be followed by a series of talks on -characteristic features in Russian literature. The pivots of the discussion -will be Pushkin, Lermontov, Gogol, Turgenev, Dostoevsky, -Tolstoy, and the moderns. Mr. Kaun presents the point of view of -a Russian, not that of a foreign student. -</p> - -<p> -The next lecture will be Friday, February 11, at 8:30 P. M., -in room 612, Fine Arts Building. -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="AMERICANART"> -<a id="page-22" class="pagenum" title="22"></a> -American Art -</h2> - -</div> - -<p class="subt"> -(An Indefinite Comment) -</p> - -<p class="first"> -<span class="firstchar">I</span> report, without regret, my inability to present a definite article about -the Annual Exhibit of American Painters and Sculptors. Not that the -exhibit is vague—American art is a definite thing: travelling collections, -annual exhibits, “friends” and organizations have made it so. But visit -after visit left me without words. The feelings I did have were alternately -those of amusement, anger, disgust, indifference, mild excitement, and most -of the time: “Oh well, what’s the use?” -</p> - -<p> -In this exhibit the only thrills or “artiste emotions”—such as one -demands of art—were very minor notes and immediately they were felt—thump! -(Register amazement and then anger.) You come across something -good: its neighbors and surroundings deaden its appeal. Thus, -Massonovich’s <em>Moon-Dark</em>—poet’s magic! But alas! it is the only landscape -in the exhibit. Next to it is Oliver D. Grover’s Italian platitude, -near it a Redfield—“blast” his “school” of landscapes, please, someone! -Peyraud, Stacey, Butler—oh, what emptiness! The Inness Room cuts into -the exhibit separating two rooms from the rest of the galleries. Passing -through it one is reminded of the Inness tradition—how it has been ignored! -Or at least how his spirit has been ignored. Monet, Renoir, Manet, and -some other modern French are hanging elsewhere in the Institute; and -then there is Whistler; and again recall Inness; Massonovich, on you rests -the perpetuation, not of “American Landscape” but of that spirit we shall -always be searching for in landscapes, if landscapes we must have. One -parting remark about landscapes. Hayley Lever comes in for some praise -and much scolding. He has a good color sense, but strength and virility -in composition seem to be lacking. Recall what Jerome Blum has done -and you will understand why this half-way person ought to be jolted. -</p> - -<p> -And the portraits. One of Katherine Dudley’s decorative-German-poster-“Every -Week” cover-design-women, is now the property of the -“Friends”—“American Art as it was in the early part of the twentieth century”. -Yes, indeed, to represent it clearly to posterity you must include -at least one of the numerous society dilettantes. However, Gordon Stevenson, -Blows, Henri, and Davey as portrait painters are worth watching. -</p> - -<p> -And the rest of the show? Most of the exhibitors have been represented -for years. Their pictures are all so familiar. Many of the paintings -have appeared year after year. Birge Harrison has a rather atmospheric -beach scene; Beal, Albright, Dougherty, Hassam, Sargent, Mary Cassatt, -<a id="page-23" class="pagenum" title="23"></a> -Symons, Ballin, Weir, Schofield. All are familiar and recognised in the -Market Place. These people are standing still. I imagine they are old: -grey without magnificence. And being haunted by the truth of that lingering -statement that there is no such thing as an old <em>artist</em>—why, dare we -say that they are <em>not</em> artists? -</p> - -<p> -Sculptor? There is none. -</p> - -<p> -American Art?—To the Annual Exhibit, Ladies and Gentlemen, for -a definite demonstration! -</p> - -<p class="sign"> -“The Critic.” -</p> - -<div class="chapter"> - -<h2 class="article" id="PHOTOGRAPHY"> -Photography -</h2> - -</div> - -<p class="first"> -<span class="firstchar"><span class="prefirstchar">“</span>M</span><span class="postfirstchar">y,</span> isn’t that real! Just as it really is! My dear, haven’t you often -seen Grant Park just like that?—a little changed, of course.”... She -who had spoken was considered not a high-brow but just a good normal -cultured woman. Not being a fanatic about art, or anything else, for -that matter, she knew absolutely what she was talking about. The thing -she was talking about was a painting of Grant Park by Frank C. Peyraud -looking east from the top of some Michigan Boulevard office building.... -It was indeed “real.” Peyraud’s one-man exhibit at the Art Institute -shows him up for what he is—an imitator without imagination, a reproducer, -a copyist of nature in her most obvious moods. Not an artist or a -creator his landscapes are all “real,” “true-to-life” and they are all enjoyed.... -The Public knows where the originals are and the association -and comparison gives them pleasure and the artist fame.... -</p> - -<hr class="tb" /> - -<p class="noindent"> -“Oh, <em>how</em> clever, and can’t you just hear the policemen, and the buggy-wheels -and the bark of the dogs and the grind-organ! Oh, its just wonderful -what they can do in music and with an orchestra. I <em>would</em> like to -hear that played again!” A woman speaks—not the one referred to above -but one who holds the same position in her set towards music as her -friend towards “art” in her circle.... Of course, she can appreciate -music, when it is so natural and real.... Carpenter is to be congratulated: -the percussions are given a splendid and unusual chance to show -their versatility—it is they, it seems to me, and they alone who benefit by -this splendid display of music. -</p> - -<p> -<a id="page-24" class="pagenum" title="24"></a> -“My dear, I just love Stevenson and you know, my dear, those places -in his novels are <em>so</em> real—you can just see them so plainly. Of course, -I’ve never been in Scotland or England or France or, my dear, even in -New York but really Stevenson is so descriptive, his stories are <em>so</em> gripping -it really is as good as traveling. And I have a lovely new book,<a class="fnote" href="#footnote-3" id="fnote-3">[3]</a> just out -with beautiful pictures and awfully dear binding, showing how the places -Stevenson describes actually exist! You know this book amounts to a -liberal education—it’s just the same as going abroad. I just adore places -and scenes and travel in books—don’t you? And Stevenson,” she ended -with a sigh, “is <em>so</em> romantic.” Which reminds me of a line of the Intolerable -Wilde’s in a letter from Reading—“I see that romantic surroundings -are the worst surroundings possible for romantic writers.” ... “And, -my dear, it brings Art so close to everyday life, does it not?—to have -artists portray for us our everyday surroundings and show us how nice -they are.” -</p> - -<p> -Long, long ago one Woman spoke to an Artist—will her type <em>never</em> -become extinct? -</p> - -<p> -“But, Mr. Turner” (Artist; contemporary of John Ruskin) “I never -saw such colors in a sky in all my life.” -</p> - -<p> -“My dear madam,” he returned, “don’t you wish you had?” -</p> - -<p class="sign"> -—C. A. Z. -</p> - -<hr class="footnote" /> - -<p class="footnote"> -<a class="footnote" href="#fnote-3" id="footnote-3">[3]</a> <em>On the Trail of Stevenson by Clayton Hamilton.</em> <em>New York: Doubleday, -Page and Company.</em> -</p> - -<div class="chapter"> - -<h2 class="article" id="BOOKDISCUSSION"> -<a id="page-25" class="pagenum" title="25"></a> -Book Discussion -</h2> - -</div> - -<h3 class="section" id="ABRILLIANTENEMY"> -A Brilliant Enemy -</h3> - -<p class="book"> -<em>Modern Painting, by Willard Huntington Wright. -New York: John Lane Company.</em> -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">t</span> is a hard book. None of Clive Bell’s sunny cynicism, none of -Kandinsky’s colorful musicalness; surely nothing in common with the -watery ecstacies of our official Chicago modernist, Arthur Jerome Eddy. -While reading the voluminous book I experienced an uneasy, an uncertain -feeling in regard to the author: to hate him, or just to dislike him? Let -me confess that when I turned over the last page I lowered my head in -respect for a brilliant enemy. -</p> - -<p> -It is a hard book, brothers-dilettanti. It gives us a merciless thrashing, -we who love without being able to state why and wherefore. We are -ordered to go to school, children, to study chemistry and color, to approach -a work of art as scientifically equipped as a surgeon venturing to operate -on a human body. As a reward we are promised the bliss of unadulterated -aesthetic emotion. Ah, that aesthetic emotion! For a time we believed -that it was possible to grasp that slippery “blue bird” by following Clive -Bell’s maxim on the significance of form. Alas, this theory is obsolete. -Color itself should become form, proclaims Mr. Wright, and he quotes the -manifesto of his beloved Synchromists: “In our painting color becomes -the generating function. Painting being the art of color, any quality of -a picture not expressed by color is not painting!” -</p> - -<p> -With a sigh of relief we reach the chapter on Synchromism. All art -up to the year 1912 has been nothing but preliminary experimentation. In -Rubens were consummated the aims of the old painters (beginning with -the fifteenth century; the Primitives are dismissed as not deserving consideration)—organization -and composition. The new cycle opens in the -nineteenth century with Turner, Constable, and Delacroix, who experiment -in naturalism. Manet introduces thematic freedom—not more. The -Impressionists and Neo-Impressionists close the second, naturalistic, cycle, -having enriched art with laborious investigations into the secrets of color -in relation to light. All these have been but precursors forging weapons -for the third and <em>last</em> (!) cycle—the final purification of painting. Synchromism, -of course. Of this last cycle Cezanne was—hear, Messieurs and -<a id="page-26" class="pagenum" title="26"></a> -Mesdames Questioners—the primitive! Still Cezanne and Matisse and -Picasso ignored color as a generator of form, until two Americans, MacDonald-Wright -and Russell, rent asunder the ultimate veil from purity -and truth, and the new and final deity emanated from their canvasses, the -unsurpassable Synchromism. -</p> - -<p> -There is so much truth in Mr. Wright’s statements, particularly in his -negative statements, that we may disregard his fanatic credo. Who will -deny that painting has been “a bastard art—an agglomeration of literature, -religion, photography, and decoration”? Who will not approve of the -efforts of modern painters to eliminate all extraneous considerations and -make painting as pure an art as music? But why dogmatize again and -anew? Why reduce creative art to scientific formulae, to mathematical -calculations, to Procrustean standards? Why ridicule those who paint -<em>comme l’oiseau chante</em>? Why belittle Kandinsky for his too-subjective -symphonies? Why be so hard, Mr. Wright, so finite, so sententious, so -encyclical? Why not have a little sense of humor, pray? -</p> - -<h3 class="section" id="GORKYSMEMORIES"> -Gorky’s Memories -</h3> - -<p class="book"> -<em>My Childhood, by Maxim Gorky. -New York: The Century Company.</em> -</p> - -<p class="noindent"> -That Gorky is deteriorating has become a truism. Exaggerated as -the importance of his early works has been, one could not deny their -freshness, elementary adroitness, soulfulness. But the god-fire was soon -exhausted in the none-too-deep spirit of the tramp-poet. He gave us the -few good songs he knew about the life of the has-beens, and then went -hoarse. The public, Hauptmann’s Huhn, is not irresponsible for Gorky’s -false notes. Compel the canary to imitate the nightingale and the poor -bird will lose her short, simple, pretty twitter, and rend her little heart -with shrill ejaculations. I have in mind Gorky’s later dramas and stories. -</p> - -<p> -The book before me makes me think that Gorky has come to recognize -his fallacy in attempting to treat subjects alien to his inherent capacity. At -any rate in this case he is free from pretentiousness. His childhood memories -are related simply, realistically, sans philosophizing, sans allegorizing. -It is left for the reader to deduce the “moral” from the sordid panorama -that is revealed before him, that malodorous dunghill swarming with human -beings, whose crawling and writhing is called life. The book should have -been much shorter; the super-abundance of details makes it Dreiserian or -Bennetian. -</p> - -<p> -<a id="page-27" class="pagenum" title="27"></a> -And here I should like to touch upon a sore which reviewers customarily -do not discuss, for fear of <em>mauvais ton</em>. Why are the English translations -so careless and comical? The book in question is full of such glaring -errors, such nonsensical misunderstandings, such atrocious ignorance, that -it has made me pull my hair in despair of solving the dilemma whether I -should laugh at the comicalness or whether I should rage at the impertinence. -I am quite sure that the translator (his name is not revealed) knows -as much Russian as Percy Pinkerton, the crucifier of Artzibashev; he mutilated -Gorky from a German translation, I suspect. The book has another -jolly feature—illustrations. They are reproductions from popular Russian -paintings, with inscriptions that are supposed to illustrate the text. The -naive forgery is too crude and unskilful to mislead even the unsuspecting -reader. Will the publishers ever acquire respect for the printed word? -</p> - -<h3 class="section" id="INSTRUCTION"> -Instruction -</h3> - -<p class="book"> -<em>The Greatest of Literary Problems, by James Phinney Baxter. -Boston: Houghton Mifflin.</em> -</p> - -<p class="noindent"> -Have you the sense of humor to guess which is the Problem? Shakespeare -or Bacon! About seven hundred gigantic pages on this vital question, -with illustrations and data. Are you curious to know who wins? I -shall not tell. Why should the reader be spared the reviewer’s agony in -wading through the bewildering labyrinth of speculations and arguments -till he reaches ... the same point that he started from. Bon voyage! -</p> - -<h3 class="section" id="INSTRUCTIONPLUS"> -Instruction Plus -</h3> - -<p class="book"> -<em>Tales from Old Japanese Dramas, by Asataro Miyamori. -New York: G. P. Putnam’s Sons.</em> -</p> - -<p class="book"> -<em>Some Musicians of Former Days, by Romain Rolland. -New York: Henry Holland Company.</em> -</p> - -<p class="noindent"> -These books, like the preceding one, are intended to be instructive; -they attain their purpose, however, thanks to gracefulness of style and -fascination of subject. Mr. Miyamori has condensed the plots of the most -famous <em>joruri</em>—the epical dramas of the Yeddo period, which are to this -day chanted in Japanese theatres. It is an exotic atmosphere of oriental -fairyland, tapestries of childlike love and naive passion, of smiling bloody -tragedies and blissful harakiris. When lovers are prevented from being -<a id="page-28" class="pagenum" title="28"></a> -married they do not employ the cumbersome process of elopment, but -transport themselves into the other world by committing <em>shinju</em> or double -suicide. The author tells us that Metizahormach shinju dramas have had -such powerful influence on the audiences that there have been numerous -instances of lovers performing that delicious suicide after leaving the -theatre. I fear that for the occidental reader the dramas will not prove -as convincing—alas. -</p> - -<p> -After <em>Musicians of To-Day</em> the last book of Rolland has little appeal. -Journalistic notes, interesting information, brilliant suggestions—and we -look in vain for the profound spirit of the old Romain. -</p> - -<h3 class="section" id="HOSPITABLEMRBRAITHWAITE"> -Hospitable Mr. Braithwaite -</h3> - -<p class="book"> -<em>Anthology of Magazine Verse for 1915, by William Stanley Braithwaite. -New York: Gomme and Marshall.</em> -</p> - -<p class="noindent"> -Mr. Braithwaite has chosen the guests for his house party with kindly -catholicity. Amy Lowell, John Gould Fletcher, and H. D. sit uncomfortably -in his New England parlor eyeing one another furtively. Clement -Wood clowns in a corner. Vachel Lindsay before the mantel-piece declaims -to James Oppenheim and Louis Untermeyer, who listen with an air of -importance. Edgar Lee Masters sits on the <em>corpus juris</em> and meditates -upon the beauties of silence. Sara Teasedale dances in the hallway. Harriet -Monroe reclines on a porch chair, listening to the rain. A crowd in -the library recreate themselves by reading from a set of British Poets. -Percy MacKaye gloomily reads the war news to a group in the dining-room, -while little Arvia, his daughter, lisps happily to herself. And alone -in the kitchen is Robert Frost roasting chestnuts. -</p> - -<p> -Who will say that Mr. Braithwaite could have better performed the -duties of host? Did he omit any of the “older established names”? And -did he not make a special Cook’s tour to far off islands (not shown in the -atlas of the <em>Boston Transcript</em> office) for the purpose of bringing home -with him certain “new discoveries”? -</p> - -<p> -Mr. Braithwaite pats his guests admiringly upon the back and regrets -that there are other excellent poets for whom he has no accommodations. -Ezra Pound, Richard Aldington, T. S. Eliot, D. H. Lawrence, Maxwell -Bodenheim, perhaps he will invite you next time. Is it not a pleasant -anticipation? -</p> - -<h3 class="section" id="EMPTYSOULS"> -<a id="page-29" class="pagenum" title="29"></a> -Empty Souls -</h3> - -<p class="book"> -<em>The Later Life, by Louis Couperus. -New York: Dodd, Mead and Company.</em> -</p> - -<p class="noindent"> -This is the second part of the tetralogy of “Small Souls” which began -to appear in English last year. The slowly-developing epic is pregnant -with promises, but, oh how slowly the skein unrolls. We are still in the -midst of Dutch bourgeoisie, dull, stony-faced, petty, filthy; again the -incessant rain, ever-cloudy skies, bicycle rides, large dinner-parties at -Mama’s. Small souls. Last year I asked the question whether in depicting -Dutch life Couperus could not find a single big soul, one interesting individual. -This second book gives us pale glimmers of potentialities, very -pale indeed. The big man is big only relatively; he has been in America, -worked in factories, and is now ... lecturing on peace. -</p> - -<p> -The book introduces a feature that may interest the sexologist: frequent -passionate love among near kinsmen. Two sisters are in love with -their brothers. A romance between uncle and niece. The heroes and -heroines are awakened to love for the most part at the dangerous age of -forty. I recall that Przybyszewski presents in two of his works love between -brother and sister. Shall we say that ideal sex-relationship requires -the closest kinship of body and spirit? In the Pole’s lovers the force driving -them together is the harmonious coincidence of two morbidly developed intellects -with a common craving for beauty and fullness. In Couperus we -face mutual yearning of small, pale, empty souls. But I am not interested -in sex-problems, not yet. -</p> - -<p class="sign"> -K. -</p> - -<h3 class="section" id="TWOPOINTSOFVIEW"> -Two Points of View -</h3> - -<p class="book"> -<em>Violette of Pere Lachaise, by Anna Strunsky Walling. -New York: Frederic A. Stokes.</em> -</p> - -<p class="noindent"> -A gigantic background—the eternal graves and trees and monuments -of the old Paris cemetery. The rest is fudge. A mouse born out of the -bowels of a mountain. Nauseating feminine sentimentalism. Boring talk, -talk, talk. -</p> - -<p class="sign"> -K. -</p> - -<p> -The reviewer above is absolutely mistaken about Mrs. Walling’s book, -I believe. It is the story of one of those human beings—rare people—who -live inner lives of extraordinary intensity. It is radiantly absorbing, to me. -</p> - -<p class="sign"> -M. C. A. -</p> - -<div class="chapter"> - -<h2 class="article" id="THEREADERCRITIC"> -<a id="page-30" class="pagenum" title="30"></a> -The Reader Critic -</h2> - -</div> - -<div class="letters"> -<p class="from"> -<em>The Editor</em>: -</p> - -<p> -<em>We have had cancellations, congratulations, and a lot of indignant letters -about Ben Hecht’s “Dregs.” I print two of them below. As it happens, -these stories are among the best things</em> <span class="smallcaps">The Little Review</span> <em>has printed. -With the exception of some of the poetry and two stories of Sherwood -Anderson’s, they may be listed as the only “literature” we have published. -Some one has compared them to Gorky. But this is not a very accurate -judgment. As a reviewer pointed out in the November issue, Gorky could -feel his stories, could imagine them deeply, but he could never quite tell -them. The supreme virtue of Ben Hecht’s “Dregs” is that he could tell -them. That is the art. Of course I have nothing to say to those people -who deplore Mr. Hecht’s subject matter and urge me to use some moral -judgment in selecting things for</em> <span class="smallcaps">The Little Review</span>. <em>There is no such -thing as moral judgment in literature. There should be no such thing in -life, but unfortunately</em>— -</p> - -<p class="from"> -<em>A Sorrowful Friend</em>: -</p> - -<p> -<span class="smallcaps">The Little Review</span>: <em>Literature, Drama, Music, Art</em>. Which of these four shrines -did you intend to desecrate in offering Ben Hecht’s “Dregs”? Or have you added an -“unwritten” class to your list, comprehensive enough to include such bold portrayals -of viciousness and filth, of licentiousness and lust, as these three degenerate—manifestations! -</p> - -<p> -<span class="smallcaps">Little Review</span>—how <em>could</em> you do it? You who have hitherto held so bravely to -the tenets of beauty and truth in thought and expression, held to them courageously -through storms of adverse criticism, consent to print descriptions of the bestial abnormalities -of the scum of mankind! If <em>you</em>, who profess to look to a higher, better -realization of life, consent to crawl in the gutter with the vermin, what can we expect -of the lesser publications? -</p> - -<p> -You have polluted an edition of your magazine; it is true that flames will destroy -the manuscript, but what of the hideous memory that remains? Take heed—<span class="smallcaps">Little -Review</span>; remember that cleanliness is akin to godliness and—look to your soul! -</p> - -<p class="from"> -<em>Florence Kiper Frank, Chicago</em>: -</p> - -<p> -May I call your attention to the fact that Mr. Edward J. O’Brien, in his annual -review of the year’s fiction, not only lists all the stories printed in <span class="smallcaps">The Little Review</span> -during 1915 among those possessing “distinction,” but double-asterisks (verb) the -three sketches of Ben Hecht’s published under the title “Dregs.” This in the chaste -and genealogical Boston Evening Transcript! And, following to the best of my -ability Mr. O’Brien’s rather vague reference to and nebulous listings of the stories -to be published in his anthology, <em>The Best Stories of 1915 and Year Book of American -Fiction</em>, I can but come to the startled conclusion that Ben Hecht’s three stories are -all to be reprinted in the estimable collection. Good for Ben Hecht, <span class="smallcaps">The Little -Review</span>, and Mr. O’Brien’s catholicity of judgment! Some of us there are who like -to have our opinions backed and bolstered by authority. And what more august -authority than the printed word of Boston. Some of us—but of course not your -insurgents. Perhaps Mr. Hecht will resent congratulations. I tender them, nevertheless—with -apologies. Good stuff, Ben Hecht! Do us some—more of them. -</p> - -<p class="from"> -<a id="page-31" class="pagenum" title="31"></a> -<em>Sada Cowan, New York</em>: -</p> - -<p> -I’m truly grateful to your reviewer who found my play, <em>The State Forbids</em>, “negative -as literature.” If he had found it bad architecture or mediocre sculpture I -should have been less pleased. -</p> - -<p> -Play making, to my mind, is not a form of literature (even though its medium -chances to be words) but it is an art of spacing ... focusing ... building. Structure -upon structure! Foundation. Ornament. Design. An art as distinct from other -forms of word utility as color medium is from plastic art. Drama is related to literature -only in so far as all arts are inter-related. No more than this. By drama I -mean, of course, plays intended (at least in the writer’s mind) for production. These -alone are plays. For one reason or another they may never reach the boards, but -they must have lived in the writer’s fantasy as things produced. <em>Desk drawer dramas</em> -are not plays. -</p> - -<p> -I believe that the hope of the modern drama lies in the artist who can learn to -look upon himself as a builder ... a <em>maker</em> and not a writer of plays. -</p> - -<p> -And so again I thank your critic whose charity has made me feel that I am on -the road which leads to “Somewhere.” Even though at the end of my journey I -may not yet have reached the first mile stone. -</p> - -<p class="from"> -<em>Virginia York, Washington, D. C.</em>: -</p> - -<p> -It is published in windy Chicago, <span class="smallcaps">The Little Review</span>. Claimed by management, -editors and its readers to be the very, very last, last word in prose and poetry; it is -sold at fifteen cents a copy. Normal-minded, healthy folk will find it cheap at that -price, because normal-minded, healthy folk will find in it fifteen laughs for fifteen cents, -despite the fact that it is entirely a serious publication. -</p> - -<p> -Years ago an editor sent me to the government hospital for the insane just outside -Washington, to interview a certain man. As I passed into the building an elderly -gentleman of profoundly respectful manner presented me with a neatly-bound pamphlet -which he said he had written, edited and illustrated entirely by himself. Examining -it later, the cover-page proved to be a mass of meaningless, whirling lines labeled in -carefully printed letters, “The Croucher At The Door.” The reading matter was -wholly unintelligible. -</p> - -<p> -A poet-friend has given me the October number of <span class="smallcaps">The Little Review</span>. The -vers libre poetry in the small magazine might easily be called “The Croucher At The -Door” for all the sense to be made of it. In fear and trembling that my own unworthy -brain might finally have addled, relatives and friends were invited to peruse -the contents of the volume. I thank heaven they could make nothing of it. -</p> - -<p> -One contribution entitled <em>Cafe Sketches</em>, by Arthur Davison Ficke, is herewith reprinted -for the benefit of readers of this page who are denied access, and accompanying -the laugh, to <span class="smallcaps">The Little Review</span>. Mr. Ficke, after telling in the first verse -that he is in a cafe, surrounded by a “cortege of seven waiters,” mourning for a -“boundlessly curious lady,” recites in mournful meanderings: -</p> - - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse2">Presently persons will come out</p> - <p class="verse">And shake legs.</p> - <p class="verse">I do not want legs shaken.</p> - <p class="verse">I want immortal souls shaken unreasonably.</p> - <p class="verse">I want to see dawn spilled across the blackness</p> - <p class="verse">Like a scrambled egg on the skillet;</p> - <p class="verse">I want miracles, wonders.</p> - <p class="verse">Tidings out of deeps I do not know ...</p> - <p class="verse">But I have a horrible suspicion</p> - <p class="verse">That neither you</p> -<a id="page-32" class="pagenum" title="32"></a> - <p class="verse">Nor your esteemed consort</p> - <p class="verse">Nor I myself</p> - <p class="verse">Can ever provide these simple things</p> - <p class="verse">For which I am so patiently waiting.</p> - </div> - <div class="stanza"> - <p class="verse2">Base people!</p> - <p class="verse">How I dislike you!</p> - </div> - </div> - </div> -<p class="noindent"> -Maybe you think this is funny, but certainly it is not intended to be. Seriousness, -thick, black, dense seriousness is the keynote of <span class="smallcaps">The Little Review</span>. This is vers -libre with a vengeance. “Persons will come out and shake legs. I do not want legs -shaken.” Here we have the spirit of the dance! It is quite evident Mr. Ficke does -not wish joy to be unconfined. -</p> - -<p> -There have been many descriptions of dawn, probably none so unique as “the -dawn spilled across the blackness like a scrambled egg on the skillet.” The second -verse is short and to the point, but it is much to be thankful for both in point of -length and the statement that we are abhorred. -</p> - -<p> -In order to restore our thoughts to something sane, to take away from us the -taste of such gibberish, consider for a moment the following eight lines by Harriet -Howe, recently published in <span class="smallcaps">The Literary Digest</span>. Comparison between the two -authors is utterly impossible, totally unnecessary: -</p> - -<h3 class="section" id="SUNSETAFTERRAIN"> -SUNSET AFTER RAIN -</h3> - - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">The cradle of the valley</p> - <p class="verse2">Is filled with floating mist,</p> - <p class="verse">The summits of the mountains</p> - <p class="verse2">Are veiled in amethyst.</p> - </div> - <div class="stanza"> - <p class="verse">The trees spread grateful branches</p> - <p class="verse2">Above a smiling sod,</p> - <p class="verse">For thirsting slaked, for hunger fed,</p> - <p class="verse2">All things are praising God.</p> - </div> - </div> - </div> -<p class="from"> -<em>Huntly Carter, London</em>: -</p> - -<p> -The letter by C. Smith of Chicago, in the October issue of <span class="smallcaps">The Little Review</span>, -is so phenomenally stupid and so intellectually dishonest that it is almost beneath -notice. If I consent to notice it, I do so in order to warn Smithsonian understudies -that they will be severely dealt with if they attempt to repeat Smith’s brazen offence -of writing to a significant journal and coolly suggesting that a single and relatively -unimportant wrong attribution is to be regarded as a fair and honest sample of the -whole subject matter of an article occupying several pages and mainly devoted to a -metaphysical explanation of the origin and nature of poetry. Furthermore, suggesting -that I am applying to a poet (Browning) a rigid test of poetry, seeking to prove -his words poetically good or bad by my poetical experience, when as a matter of -fact I am offering certain words, some of which are wrongly attributed to Browning, -as indisputable evidence that in venting the emotions versifiers find descriptive figures -efficacious. -</p> - -<p> -No doubt some of the words flaunted by Smith are wrongly attributed to Browning. -They are so wrongly attributed that anyone can see they are wrongly attributed. -And any “sane, intelligent and decently responsible man” (to use Smith’s yellow press -tautology) would have given me an opportunity of saying they are wrongly attributed -before venturing to put on silly airs of hypercriticism. Then he would have learnt -that the first and third line of the quotation belong oddly enough, to another piece of -<a id="page-33" class="pagenum" title="33"></a> -poetry, and have got mixed up with Browning’s stuff in some unaccountable way. I -have not the least idea how the mix took place. All I know is that my article was -finished off in great haste to catch the mail. It was sent in handscript and not typescript. -And there was no time to send me a proof; otherwise the quotation would -certainly have been corrected, and the many errors which now appear in my article -would have disappeared. I feel I am justified in saying it was not my intention to send -the words which have crept into print by the discovery that I have actually written -down Browning’s very words. Here is Browning: -</p> - - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">And the sun looked over the mountain’s rim:</p> - <p class="verse">And straight was a path of gold for him,</p> - <p class="verse">And the need of a world of men for me.</p> - </div> - </div> - </div> -<p class="noindent"> -The first line of the verse is missing. The three lines however serve the purpose of -my comparison. I had also set down these lines by Browning: -</p> - - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">One lyric woman in her crocus vest,</p> - <p class="verse">Woven of sea-wools.</p> - </div> - </div> - </div> -<p class="noindent"> -I intended to include this with my quotations. For here in my view is a figure -as original and precisely felicitous as anything the Imagists have given us. -</p> - -<p> -That this dragging in of some wrongly attributed words—so obviously wrong -as to deceive no one—for the sole purpose of discrediting an important article is dishonest, -is clear from the fact that Smith does not drag in any other quotation from -the many given, nor produce any other evidence whatsoever in support of his contention -that my article is inept and careless throughout. In fact he has nothing more -damaging to offer than his own fatuous statement that he happens “to consider my -article an ill-digested congeries of vague views”; which, when one comes to examine -it is found to contain a baseless assertion and a clear admission that my article is -above and beyond Smith’s head. -</p> - -<p> -As to the silliness of Smith’s letter, this may be judged from the following: -Smith begins with the generalization that magazines die “whose pages are as a rule -careless, inconsidered and inept” (note the repetition and consequent lack of thoroughness). -The publications of the capitalist press answer this description. The news -sheets, for instance, are rotten with carelessness, inconsideredness and ineptness. They -would be rottener if they could. Yet they do not die. On the contrary they sell by -the million. If so, then <span class="smallcaps">The Little Review</span> should sell by the million. But Smith -says it will die. And Smith is a careful, serviceable, and accurate man. -</p> - -<p> -By way of comparison Smith relieves himself of this matchless composition. -“Your magazine will die,—as a steam engine would grow useless in which no direction -towards any cylinder was given to the indubitable forces generated in the boiler.” -What is the precise meaning of this bombastic twaddle? In homely words, it means -that a steam engine is (not “would grow”) useless when the steam power developed in -its boiler is not utilised in any cylinder. Anyone who examines this analogy will -agree with me that Smith is a careful, serviceable, and accurate man. -</p> - -<p> -From the general Smith comes to the particular and quotes what he is pleased to -call an example of my “ineptitude and carelessness” as an example of the general “ineptitude -and carelessness” of <span class="smallcaps">The Little Review</span>. Without knowing anything as to -the circumstances under which the wrongly attributed words found their way into -print, without stopping to inquire to what extent I contributed to the mistake, and -upon no other evidence whatsoever than the said wrongly attributed words, he proceeds -to saddle me with the astounding intention “to obliterate all sense of accuracy, -all love of clear and rational communication, all fidelity to honest statement, and all -interest in truth” (which makes four ways of uttering the same inverifiable statement). -</p> - -<p> -Finally Smith challenges the editor of <span class="smallcaps">The Little Review</span> to print his ghastly -ineptitude. She has taken the short way and done so. It serves Smith right. -</p> - -<p class="from"> -<a id="page-34" class="pagenum" title="34"></a> -<em>M. Silverman, Chicago</em>: -</p> - -<p> -Your last issue is a failure—with two exceptions, Miss Goldman’s article on -“Preparedness” and Mr. Hecht’s letter. Both of them are human, understandable, -and sincere. They shout—but do not roar. All the others are ostentatious, plebeian, -and lack artistic restraint. They are not beautiful. They <em>holler</em> and produce a sense -of heaviness and overexertion. Sympathy and politeness are apparently the cardinal -virtues of the highly esteemed editor. Hence this “democratic” hash. -</p> - -<p> -To be more specific: Your editorial, “Toward Revolution,” is the acme of nonsense. -I tried to take you seriously but I couldn’t. It is pamphletory, and should -have no place in <span class="smallcaps">The Little Review</span>. -</p> - -<p> -“The Ecstasy of Pain” is a stage hurricane, and, to paraphrase Mr. Goldbeck, it -is like Chicago: vast, but not impressive. It lacks artistic touch and symmetrical -wholeness. The fourth paragraph is excellent. The rest was unnecessary. The -fragmentary mind of Mr. Kaun is phosphorescent, produces tiny sparks which are -soon lost in the darkness. Higher mathematics is the best remedy for Mr. Kaun’s -mind. -</p> - -<p> -“The Spring Recital” is a bore. The author of <em>The “Genius”</em> seems to have a -mania for torturing the innocent public. I read “The Spring Recital” twice, yes -twice; and when I got through with it I felt extremely uncomfortable. I don’t understand -it and it doesn’t mean anything to me. I challenge anyone to explain to me: -What does this piece of “dramatic” “quatch” mean? -</p> - -<p> -All the other articles—well, they are harmless. -</p> - -<p class="from"> -<em>Woods Dargan, Darlington, S. C.</em>: -</p> - -<p> -I enclose a check for $1.50, and ask that you enter my name for one year’s subscription—that -is, if you will let one of the rabble creep in. Frankly, I know no more -about art (with a capital A or otherwise) than a rabbit. I don’t even know what -an “Imagist” is! And for the life of me I cannot understand why the temperamental, -fussy gentleman named Alexander S. Kaun should not use a singular verb with a -singular noun, just like ordinary people. But when he says, as he does in the first -line of the fourth paragraph of his article, “the dearer a person or a thing <em>are</em> to me, -etc.,” I know there must be intellectual purpose in it, some esoteric effect that gets -to the cultured few but passes over my head; so I bow before the unknown beauty -of it, thinking, “Odd, but no doubt it’s all right.” -</p> - -<p> -Also, to my untutored mind, the frequent use of profanity in an everyday, conversational -way in two or three of the articles is amusing, and makes me wonder. -It reminds me of the days when I first took up the art, and used to feel a shudder of -delight when I ripped out a good, mouth-filling, “Damn it all to hell!” Perhaps it has -lost its charm for me as a literary ornament because I swear so much myself, just as -a matter of habit without deriving the oldtime pleasure from it. -</p> - -<p> -Other places where these boys put it all over me are in music and Russians. It -is one of my secret sorrows that I know I know nothing about music. I like it, but -it never occurs to me to fade away and fill an early grave if I hear somebody’s nocturne -murdered—that is, if I know it is being murdered, which is highly unlikely. And -as to the Russians, old Dostoevsky is my limit so far, but I’m game, and am going -in for all the others,—the more gloomy and morbid the better. -</p> - -<p> -Then, there’s this Mr. Theodore Dreiser. As we say in this neck of the woods, -in our uncouth manner, “He must be a bear-cat.” (By the way, I’d give a lot to know -what “demiurge” means in the sense in which it is applied to him. Mr. Masters used it -in <em>The New York Times</em> some weeks ago, and now I find it again in Mr. Powys’ -appreciation. I don’t know what they mean.) Well, I’ve had his book, <em>The “Genius,”</em> -for sometime, and mean to read it all as soon as I can get round to it. Perhaps I’ll -know what “demiurge” means then—but I doubt it. -</p> - -<p> -<a id="page-35" class="pagenum" title="35"></a> -For all that I have said I would not have you think that I am wholly lacking in -soul. I have some things in common with these fellows, for I have no religion or -morals, and I enjoy getting drunk, riotously, gloriously drunk, once or twice a year. -</p> - -<p> -And now, after telling you at more length than any decent person should what -has puzzled me in your Review, permit me to say what I like. The first part of your -own contribution, “Life Itself,” strikes me as the real thing. I understand all that, -being a common person. For the last part, as I’ve said, I know nothing of art, and -life doesn’t mean those things to me, naturally. But I like it. I can, after a fashion, -see how it <em>might</em> mean them. The review of Dreiser by Mr. Powys that I have mentioned -already is good writing and good sense. How true it is, I am not yet in a position -to guess. Then, Mr. Edgar Masters always writes vividly, deeply. I am glad to -add “So We Grew Together” to what I know of his stuff. It is almost as good a -portrait and short story as some of the best of the Anthology. -</p> - -<p> -That fellow Ben Hecht can write. Personally, I have a sort of leaning toward -the dregs, but, as a general thing, I don’t know that there’s much use in writing -about them just so. But he’s certainly good. He can write. I never heard of him -before, but I shall look out for him in future. -</p> - -<p> -For the sake of what I find good I’m willing to put up with what I fail to grasp, -and so I look forward to much pleasure and instruction from <span class="smallcaps">The Little Review</span>. -Luck to it. As long as you, Miss Lowell, Mr. Masters, and Mr. Hecht contribute, -so long will it be cheap at any price. And, who knows? I may yet learn from my -friend Mr. Kaun the hidden beauties of a singular subject with a plural verb. -</p> - -</div> - -<div class="filler"> -<h2 class="filler" id="THEJANUARYFEBRUARYISSUE"> -<em>The January-February Issue</em> -</h2> - -<p class="noindent"> -On account of having no funds during January -we have been forced to combine the two -issues. Subscriptions will be extended accordingly. -</p> - -</div> - -<div class="ads chapter"> -<p class="h1 adh"> -FINE ARTS THEATRE -</p> - -<hr /> - -<p class="h3 u adh"> -For TWO WEEKS, Beginning<br /> -January 17, 1916 -</p> - -<p class="h2 u adh"> -THE CHICAGO PLAYERS<br /> -with<br /> -MME. BORGNY HAMMER -</p> - -<p class="u c"> -Evenings (Except Wednesdays and Thursdays)<br /> -and Saturday Matinees -</p> - -<p class="h3 u adh"> -“AGNETE”<br /> -by<br /> -AMALIE SKRAM<br /> -(First Time in English) -</p> - -<p class="u c"> -Wednesday and Thursday Evenings<br /> -and Special Matinees -</p> - -<p class="c"> -JANUARY 20, 21, 26 and 27 -</p> - -<p class="h3 u adh"> -“THERESE RAQUIN”<br /> -by<br /> -EMILE ZOLA -</p> - -<hr /> - -<p class="b c"> -<span class="larger">FINE ARTS THEATRE</span> -</p> - -</div> - -<div class="ads chapter"> -<a id="page-36" class="pagenum" title="36"></a> - <div class="box"> -<p class="h1 adh"> -BLACKSTONE HOTEL -</p> - -<p class="c"> -French Room -</p> - -<p class="narrow"> -Eight talks on Literature, Art and the Drama on -successive Saturday afternoons at half-past three, during -the entire months of January and February, beginning -January the eighth. -</p> - -<p class="c"> -Lecturer -</p> - -<p class="h2 adh"> -JESSE QUITMAN -</p> - - <div class="table"> -<table class="table036" summary=""> -<tbody> - <tr> - <td class="col1">Saturday, January</td> - <td class="col2">29th,</td> - <td class="col3">3:30—Subject to be announced.</td> - </tr> - <tr> - <td class="col1">Saturday, February</td> - <td class="col2">5th,</td> - <td class="col3">3:30—Subject to be announced.</td> - </tr> - <tr> - <td class="col1">Saturday, February</td> - <td class="col2">12th,</td> - <td class="col3">3:30—Subject to be announced.</td> - </tr> - <tr> - <td class="col1">Saturday, February</td> - <td class="col2">19th,</td> - <td class="col3">3:30—Subject to be announced.</td> - </tr> - <tr> - <td class="col1">Saturday, February</td> - <td class="col2">26th,</td> - <td class="col3">3:30—Subject to be announced.</td> - </tr> -</tbody> -</table> - </div> -<p class="b c"> -<span class="larger">An Invitation Cordially Extended</span> -</p> - -<p class="c"> -No Door Fee -</p> - - </div> - <div class="box"> -<p class="h2 adh"> -Free Coal to Those Who Can’t<br /> -Afford to Buy It -</p> - - <div class="s"> -<p> -Nobody is going to be cold this winter if the Consumers Company can help it. We even -want those who can’t afford to pay for coal now, to use Consumers coal, because at some time -in the future their circumstances may change; they may be able to pay for coal then and if they -once use Consumers coal they will never use any other. In any event we want them to keep warm. -</p> - -<p> -You can call it either charity or advertising, it makes no difference to us as long as we -accomplish the results we are after, but we will give 50 pounds of coal free every day, as we -have for the past three winters, on presentation at any of our yards listed below of our coal -certificates which may be had from any Physician, Minister, Priest, Rabbi, Newspaper, the Salvation -Army, the Volunteers of America, Associated Charities, the Visiting Nurses Association, any -Woman’s Club or Charitable Organization. And we give it freely without any fuss or foolishness. -</p> - - </div> -<p> -Last year we distributed 70,720 fifty-pound lots of Consumers coal. You may -call them advertising samples or charity just as you choose. In either event we <em>know</em> -that we kept <em>70,720 families warm</em>. This is our Christmas offering and in this manner -<em>we propose to make Christmas last all winter</em>. If we profit by it later—when -these good folks are in position to become <em>paying</em> customers, you won’t care, will you? -We think not. -</p> - -<p class="c"> -Consumers Company -</p> - -<p class="r"> -FRED W. UPHAM, President. -</p> - - </div> -</div> - -<div class="ads chapter"> -<a id="page-37" class="pagenum" title="37"></a> - <div class="box"> -<p class="h2 adh"> -BUY YOUR BOOKS HERE -</p> - -<p> -If you wish to assist The Little Review without cost to yourself you may -order books—any book—from the Gotham Book Society and The Little -Review will be benefitted by the sales. By this method The Little Review -hopes to help solve a sometimes perplexing business problem—whether the -book you want is listed here or not the Gotham will supply your needs. -Price the same, or in many instances much less, than were you to order -direct from the publisher. All books are exactly as advertised. Send P. O. -Money Order, check, draft or postage stamps. Order direct from the -Gotham Book Society, 142 W. 23rd St., N. Y., Dept. K. Don’t fail to -mention Department K. Here are some suggestions of the books the -Gotham Book Society is selling at publishers’ prices. All prices cover -postage charges. -</p> - - </div> -<p class="h4 adh"> -POETRY AND DRAMA -</p> - -<p> -<b>SEVEN SHORT PLAYS.</b> By Lady Gregory. Contains -the following plays by the woman who holds -one of the three places of most importance in the -modern Celtic movement, and is chiefly responsible for -the Irish theatrical development of recent years: -“Spreading the News,” “Hyacinth Halvey,” “The Rising -of the Moon,” “The Jackdaw,” “The Workhouse -Ward,” “The Traveling Man,” “The Gaol Gate,” together -with music for songs in the plays and explanatory -notes. Send $1.60. -</p> - -<p> -<b>THE MAN WHO MARRIED A DUMB WIFE.</b> By -Anatole France. Translated by Curtis Hidden Page. -Illustrated. Founded on the plot of an old but lost -play mentioned by Rabelais. Send 85c. -</p> - -<p> -<b>THE GARDENER.</b> By Rabindranath Tagore. The -famous collection of lyrics of love and life by the Nobel -Prizeman. Send $1.35. -</p> - -<p> -<b>DOME OF MANY-COLORED GLASS.</b> New Ed. of -the Poems of Amy Lowell. Send $1.35. -</p> - -<p> -<b>SPOON RIVER ANTHOLOGY.</b> By Edgar Lee Masters. -Send $1.35. -</p> - -<p> -<b>DREAMS AND DUST.</b> A book of lyrics, ballads and -other verse forms in which the major key is that of -cheerfulness. Send $1.28. -</p> - -<p> -<b>SOME IMAGIST POETS.</b> An Anthology. The best -recent work of Richard Aldington, “H. D.,” John Gould, -Fletcher, F. S. Flint, D. H. Lawrence and Amy Lowell. -83c, postpaid. -</p> - -<p> -<b>THE WAGES OF WAR.</b> By J. Wiegand and Wilhelm -Scharrelman. A play in three acts, dedicated to -the Friends of Peace. Life in Russia during Russo-Japanese -War. Translated by Amelia Von Ende. -Send 95c. -</p> - -<p> -<b>THE DAWN</b> (Les Aubes). A symbolic war play, by -Emile Verhaeren, the poet of the Belgians. The author -approaches life through the feelings and passions. Send -$1.10. -</p> - -<p> -<b>CHILD OF THE AMAZONS</b>, and other Poems by -Max Eastman. “Mr. Eastman has the gift of the singing -line.”—Vida D. Scudder. “A poet of beautiful -form and feeling.”—Wm. Marion Reedy. Send $1.10. -</p> - -<p> -<b>THE POET IN THE DESERT.</b> By Charles Erskine -Scott Wood. A series of rebel poems from the Great -American Desert, dealing with Nature, Life and all -phases of Revolutionary Thought. Octavo gray boards. -Send $1.10. -</p> - -<p> -<b>CHALLENGE.</b> By Louis Untermeyer. “No other -contemporary poet has more independently and imperiously -voiced the dominant thought of the times.”—Philadelphia -North American. Send $1.10. -</p> - -<p> -<b>ARROWS IN THE GALE.</b> By Arturo Giovannitti, -introduction by Helen Keller. This book contains the -thrilling poem “The Cage.” Send $1.10. -</p> - -<p> -<b>SONGS FOR THE NEW AGE.</b> By James Oppenheim. -“A rousing volume, full of vehement protest and splendor.” -Beautifully bound. Send $1.35. -</p> - -<p> -<b>AND PIPPA DANCES.</b> By Gerhart Hauptmann. A -mystical tale of the glassworks, in four acts. Translated -by Mary Harned. Send 95c. -</p> - -<p> -<b>AGNES BERNAUER.</b> By Frederick Hebbel. A -tragedy in five acts. Life in Germany in 15th century. -Translated by Loueen Pattie. Send 95c. -</p> - -<p> -<b>IN CHAINS</b> (“Les Tenailles”). By Paul Hervieu. -In three acts. A powerful arraignment of “Marriage a -La Mode.” Translated by Ysidor Asckenasy. Send 95c. -</p> - -<p> -<b>SONGS OF LOVE AND REBELLION.</b> Covington -Hall’s best and finest poems on Revolution, Love and -Miscellaneous Visions. Send 56c. -</p> - -<p> -<b>RENAISSANCE.</b> By Holger Drachman. A melodrama. -Dealing with studio life in Venice, 16th century. -Translated by Lee M. Hollander. Send 95c. -</p> - -<p> -<b>THE MADMAN DIVINE.</b> By Jose Echegaray. Prose -drama in four acts. Translated by Elizabeth Howard -West. Send 95c. -</p> - -<p> -<b>TO THE STARS.</b> By Leonid Andreyieff. Four acts. A -glimpse of young Russia in the throes of the Revolution. -Time: The Present. Translated by Dr. A. -Goudiss. Send 95c. -</p> - -<p> -<b>PHANTASMS.</b> By Roberto Bracco. A drama in four -acts, translated by Dirce St. Cyr. Send 95c. -</p> - -<p> -<b>THE HIDDEN SPRING.</b> By Roberto Bracco. A -drama in four acts, translated by Dirce St. Cyr. Send -95c. -</p> - -<p> -<b>THE DRAMA LEAGUE SERIES.</b> A series of modern -plays, published for the Drama League of America. -Attractively bound. -</p> - -<p> -<a id="page-38" class="pagenum" title="38"></a> -<b>THE THIEF.</b> By Henry Bernstein. (Just Out). -</p> - -<p> -<b>A FALSE SAINT.</b> By Francois de Curel. -</p> - -<p> -<b>THE TRAIL OF THE TORCH.</b> By Paul Hervieu. -</p> - -<p> -<b>MY LADY’S DRESS.</b> By Edward Knoblauch. -</p> - -<p> -<b>A WOMAN’S WAY.</b> By Thompson Buchanan. -</p> - -<p> -<b>THE APOSTLE.</b> By Paul Hyacinthe Loyson. -</p> - -<p> -Each of the above books 82c, postpaid. -</p> - -<p> -<b>DRAMATIC WORKS, VOLUME VI.</b> By Gerhart -Hauptmann. The sixth volume, containing three of -Hauptmann’s later plays. Send $1.60. -</p> - -<p> -<b>THE DAWN (Les Aubes).</b> A symbolic war play, by -Emile Verhaeren, the poet of the Belgians. “The -author approaches life through the feelings and passions. -His dramas express the vitality and strenuousness of -his people.” Send $1.10. -</p> - -<p> -<b>THE GREEK COMMONWEALTH.</b> By Alfred A. -Zimmern. Send $3.00. -</p> - -<p> -<b>EURIPIDES</b>: “Hippolytus,” “Bacchae,” Aristophanes’ -“Frogs.” Translated by Gilbert Murray. Send $1.75. -</p> - -<p> -<b>THE TROJAN WOMEN.</b> Translated by Gilbert Murray. -Send 85c. -</p> - -<p> -<b>MEDEA.</b> Translated by Gilbert Murray. Send 85c. -</p> - -<p> -<b>ELECTRA.</b> Translated by Gilbert Murray. Send 85c. -</p> - -<p> -<b>ANCIENT GREEK LITERATURE.</b> By Gilbert Murray. -Send $2.10. -</p> - -<p> -<b>EURIPIDES AND HIS AGE.</b> By Gilbert Murray. -Send 75c. -</p> - -<p class="h4 adh"> -GENERAL -</p> - -<p> -<b>VAGRANT MEMORIES</b>. By William Winter. Illustrated. -The famous dramatic critic tells of his associations with the -drama for two generations. Send $3.25. -</p> - -<p> -<b>THE NEARING CASE.</b> By Lightner Witmer. A complete -account of the dismissal of Professor Nearing from the -University of Pennsylvania, containing the indictment, the -evidence, the arguments, the summing up and all the important -papers in the case, with some indication of its importance -to the question of free speech. 60c postpaid. -</p> - -<p> -<b>THE ART OF THE MOVING PICTURE.</b> By Vachel Lindsay. -Send $1.60. -</p> - -<p> -<b>WRITING AND SELLING A PLAY.</b> By Fanny Cannon. -A practical book by a woman who is herself an actress, a -playwright, a professional reader and critic of play manuscripts, -and has also staged and directed plays. Send $1.60. -</p> - -<p> -<b>GLIMPSES OF THE COSMOS.</b> A Mental Autobiography. -By Lester F. Ward. Vol. IV. The fourth in the series -of eight volumes which will contain the collected essays -of Dr. Ward. Send $2.65. -</p> - -<p> -<b>EVERYMAN’S ENCYCLOPEDIA</b> is the cure for inefficiency. -It is the handiest and cheapest form of modern collected -knowledge, and should be in every classroom, every office, -every home. <b>Twelve volumes in box. Cloth.</b> Send $6.00. -</p> - -<p> -Three Other Styles of Binding. Mail your order today. -</p> - -<p> -<b>NIETZSCHE.</b> By Dr. Georg Brandes, the discoverer -of Nietzsche. Send $1.25. -</p> - -<p> -<b>WAR AND CULTURE.</b> By John Cowper Powys. Send 70c. -</p> - -<p> -<b>SHATTUCK’S PARLIAMENTARY ANSWERS.</b> By Harriette -R. Shattuck. Alphabetically arranged for all questions -likely to arise in Women’s organizations. 16mo. Cloth. -67c postpaid. Flexible Leather Edition. Full Gilt Edges. -Net $1.10 postpaid. -</p> - -<p> -<b>EAT AND GROW THIN.</b> By Vance Thompson. A collection -of the hitherto unpublished Mahdah menus and recipes for -which Americans have been paying fifty-guinea fees to -fashionable physicians in order to escape the tragedy of -growing fat. Cloth. Send $1.10. -</p> - -<p> -<b>FORTY THOUSAND QUOTATIONS.</b> By Charles Noel -Douglas. These 40,000 prose and poetical quotations are -selected from standard authors of ancient and modern times, -are classified according to subject, fill 2,000 pages, and are -provided with a thumb index. $3.15, postpaid. -</p> - -<p> -<b>THE CRY FOR JUSTICE.</b> An anthology of the literature -of social protest, edited by Upton Sinclair. Introduction -by Jack London. “The work is world-literature, as -well as the Gospel of a universal humanism.” Contains the -writings of philosophers, poets, novelists, social reformers, -selected from twenty-five languages, covering a period of five -thousand years. Inspiring to every thinking man and woman; -a handbook of reference to all students of social conditions. -955 pages, including 32 illustrations. <b>Cloth Binding</b>, vellum -cloth, price very low for so large a book. Send $2.00. -<b>Three-quarter Leather Binding</b>, a handsome and durable -library style, specially suitable for presentation. Send $3.50. -</p> - -<p> -<b>MY CHILDHOOD.</b> By Maxim Gorky. The autobiography -of the famous Russian novelist up to his seventeenth year. -An astounding human document and an explanation (perhaps -unconscious) of the Russian national character. Frontispiece -portrait. 8vo. 308 pages. $2.00 net, postage 10 cents. -(Ready Oct. 14). -</p> - -<p> -<b>AFFIRMATIONS.</b> By Havelock Ellis. A discussion of -some of the fundamental questions of life and morality as -expressed in, or suggested by, literature. The subjects of the -five studies are Nietzsche, Zola, Huysmans, Casanova and St. -Francis of Assisi. Send $1.87. -</p> - -<p class="h4 adh"> -LITERATURE -</p> - -<p> -<b>COMPLETE WORKS.</b> Maurice Maeterlinck. The Essays, -10 vols., per vol., net $1.75. The Plays, 8 vols., per vol., -net $1.50. Poems, 1 vol., net $1.50. Volumes sold separately. -In uniform style, 19 volumes. Limp green leather, flexible -cover, thin paper, gilt top, 12mo. Postage added. -</p> - -<p> -<b>INTERPRETATIONS OF LITERATURE.</b> By Lafcadio -Hearn. A remarkable work. Lafcadio Hearn became as -nearly Japanese as an Occidental can become. English literature -is interpreted from a new angle in this book. Send -$6.50. -</p> - -<p> -<b>BERNARD SHAW: A Critical Study.</b> By P. P. Howe. -Send $2.15. -</p> - -<p> -<b>MAURICE MAETERLINCK: A Critical Study.</b> By Una -Taylor. 8vo. Send $2.15. -</p> - -<p> -<b>W. B. YEATS: A Critical Study.</b> By Forest Reid. Send -$2.15. -</p> - -<p> -<b>DEAD SOULS.</b> Nikolai Gogol’s great humorous classic -translated from the Russian. Send $1.25. -</p> - -<p> -<b>ENJOYMENT OF POETRY.</b> By Max Eastman. “His -book is a masterpiece,” says J. B. Kerfoot in Life. -By mail, $1.35. -</p> - -<p> -<b>THE PATH OF GLORY.</b> By Anatole France. Illustrated. -8vo. Cloth. An English edition of a remarkable -book that M. Anatole France has written to be sold for the -benefit of disabled soldiers. The original French is printed -alongside the English translation. Send $1.35. -</p> - -<p> -<b>THE PILLAR OF FIRE</b>: A Profane Baccalaureate. By -Seymour Deming. Takes up and treats with satire and with -logical analysis such questions as, What is a college education? -What is a college man? What is the aristocracy of -intellect?—searching pitilessly into and through the whole -question of collegiate training for life. Send $1.10. -</p> - -<p> -<b>IVORY APES AND PEACOCKS.</b> By James Huneker. A -collection of essays in Mr. Huneker’s well-known brilliant -style, of which some are critical discussions upon the work -and personality of Conrad, Whitman, Tolstoy, Dostoevsky, -and the younger Russians, while others deal with music, -art, and social topics. The title is borrowed from the -manifest of Solomon’s ship trading with Tarshish. Send -$1.60. -</p> - -<p> -<b>INTERPRETATIONS OF ENGLISH LITERATURE.</b> By -Lafcadio Hearn. Two volumes. Mr. Hearn, who was at -once a scholar, a genius, and a master of English style, -interprets in this volume the literature of which he was a -student, its masterpieces, and its masters, for the benefit, -originally, of the race of his adoption. $6.50, postpaid. -</p> - -<p> -<b>IDEALS AND REALITIES IN RUSSIAN LITERATURE.</b> -By Prince Kropotkin. Send $1.60. -</p> - -<p> -<b>VISIONS AND REVISIONS.</b> By John Cowper Powys. A -Book of Literary Devotions. Send $2.10. -</p> - -<p> -<b>SIX FRENCH POETS.</b> By Amy Lowell. First English -book to contain a minute and careful study of Verhaeren, -Albert Samain, Remy de Gourmont, Henri de Régnier, Francis -Jammes and Paul Fort. Send $2.75. -</p> - -<p> -<b>LANDMARKS IN RUSSIAN LITERATURE.</b> By Maurice -Baring. Intimate studies of Tolstoi, Turgenev, Gogol, Chekov, -Dostoevsky. Send $2.00. -</p> - -<p class="h4 adh"> -<a id="page-39" class="pagenum" title="39"></a> -FICTION -</p> - -<p> -<b>THE TURMOIL.</b> By Booth Tarkington. A beautiful story -of young love and modern business. Send $1.45. -</p> - -<p> -<b>SET OF SIX.</b> By Joseph Conrad. Short stories. Scribner. -Send $1.50. -</p> - -<p> -<b>AN ANARCHIST WOMAN.</b> By H. Hapgood. This extraordinary -novel points out the nature, the value and also -the tragic limitations of the social rebel. Published at -$1.25 net; our price, 60c., postage paid. -</p> - -<p> -<b>THE HARBOR.</b> By Ernest Poole. A novel of remarkable -power and vision in which are depicted the great changes -taking place in American life, business and ideals. Send -$1.60. -</p> - -<p> -<b>MAXIM GORKY.</b> Twenty-six and One and other stories -from the Vagabond Series. Published at $1.25; our price -60c., postage paid. -</p> - -<p> -<b>SANINE.</b> By Artzibashef. The sensational Russian novel -now obtainable in English. Send $1.45. -</p> - -<p> -<b>A FAR COUNTRY.</b> Winston Churchill’s new novel is -another realistic and faithful picture of contemporary American -life, and more daring than “The Inside of the Cup.” Send -$1.60. -</p> - -<p> -<b>BOON—THE MIND OF THE RACE.</b> Was it written -by H. G. Wells? He now admits it may have been. It -contains an “ambiguous introduction” by him. Anyhow it’s -a rollicking set of stories, written to delight you. Send $1.45. -</p> - -<p> -<b>NEVER TOLD TALES.</b> Presents in the form of fiction, -in language which is simplicity itself, the disastrous results -of sexual ignorance. The book is epoch-making; it has -reached the ninth edition. It should be read by everyone, -physician and layman, especially those contemplating marriage. -Cloth. Send $1.10. -</p> - -<p> -<b>PAN’S GARDEN.</b> By Algernon Blackwood. Send $1.60. -</p> - -<p> -<b>THE CROCK OF GOLD.</b> By James Stephens. Send $1.60. -</p> - -<p> -<b>THE INVISIBLE EVENT.</b> By J. D. Beresford. Jacob -Stahl, writer and weakling, splendidly finds himself in the -love of a superb woman. Send $1.45. The Jacob Stahl -trilogy: “The Early History of Jacob Stahl,” “A Candidate -for Truth,” “The Invisible Event.” Three volumes, boxed. -Send $2.75. -</p> - -<p> -<b>OSCAR WILDE’S WORKS.</b> Ravenna edition. Red limp -leather. Sold separately. The books are: The Picture of -Dorian Gray, Lord Arthur Saville’s Crime, and the Portrait -of Mr. W. H., The Duchess of Padua, Poems (including -“The Sphinx,” “The Ballad of Reading Gaol,” and Uncollected -Pieces), Lady Windermere’s Fan, A Woman of No -Importance, An Ideal Husband, The Importance of Being -Earnest, A House of Pomegranates, Intentions, De Profundis -and Prison Letters, Essays (“Historical Criticism,” “English -Renaissance,” “London Models,” “Poems in Prose”), Salome, -La Sainte Courtisane. Send $1.35 for each book. -</p> - -<p> -<b>THE RAT-PIT.</b> By Patrick MacGill. A novel by the -navvy-poet who sprang suddenly into attention with his -“Children of the Dead End.” This story is mainly about a -boarding house in Glasgow called “The Rat-Pit,” and the -very poor who are its frequenters. Send $1.35. -</p> - -<p> -<b>THE AMETHYST RING.</b> By Anatole France. Translated -by B. Drillien. $1.85 postpaid. -</p> - -<p> -<b>CRAINQUEBILLE.</b> By Anatole France. Translated by -Winifred Stevens. The story of a costermonger who is -turned from a dull-witted and inoffensive creature by the -hounding of the police and the too rigorous measures of the -law into a desperado. Send $1.85. -</p> - -<p> -<b>VIOLETTE OF PERE LACHAISE.</b> By Anna Strunsky -Walling. Records the spiritual development of a gifted -young woman who becomes an actress and devotes herself -to the social revolution. Send $1.10. -</p> - -<p> -<b>THE “GENIUS.”</b> By Theodore Dreiser. Send $1.60. -</p> - -<p> -<b>JERUSALEM.</b> By Selma Lagerlof. Translated by Velma -Swanston. The scene is a little Swedish village whose inhabitants -are bound in age-old custom and are asleep in -their narrow provincial life. The story tells of their awakening, -of the tremendous social and religious upheaval that -takes place among them, and of the heights of self-sacrifice -to which they mount. Send $1.45. -</p> - -<p> -<b>BREAKING-POINT.</b> By Michael Artzibashef. A comprehensive -picture of modern Russian life by the author of -“Sanine.” Send $1.35. -</p> - -<p> -<b>RUSSIAN SILHOUETTES.</b> By Anton Tchekoff. Translated -by Marian Fell. Stories which reveal the Russian -mind, nature and civilization. Send $1.47. -</p> - -<p> -<b>THE FREELANDS.</b> By John Galsworthy. Gives a large -and vivid presentation of English life under the stress of -modern social conflict, centering upon a romance of boy-and-girl -love—that theme in which Galsworthy excels all -his contemporaries. Send $1.45. -</p> - -<p> -<b>FIDELITY.</b> Susan Glaspell’s greatest novel. The author -calls it “The story of a woman’s love—of what that love -impels her to do—what it makes of her.” Send $1.45. -</p> - -<p> -<b>WOOD AND STONE.</b> By John Cowper Powys. An Epoch -Making Novel. Send $1.60. -</p> - -<p> -<b>RED FLEECE.</b> By Will Levington Comfort. A story of the -Russian revolutionists and the proletariat in general in the -Great War, and how they risk execution by preaching peace -even in the trenches. Exciting, understanding, and everlastingly -true; for Comfort himself is soldier and revolutionist as -well as artist. He is our American Artsibacheff; one of -the very few American masters of the “new fiction.” Send -$1.35. -</p> - -<p> -<b>THE STAR ROVER.</b> By Jack London. Frontispiece in -colors by Jay Hambidge. A man unjustly accused of murder -is sentenced to imprisonment and finally sent to execution, -but proves the supremacy of mind over matter by succeeding, -after long practice, in loosing his spirit from his -body and sending it on long quests through the universe, -finally cheating the gallows in this way. Send $1.60. -</p> - -<p> -<b>THE RESEARCH MAGNIFICENT.</b> By H. G. Wells. Tells -the story of the life of one man, with its many complications -with the lives of others, both men and women of varied -station, and his wanderings over many parts of the globe in -his search for the best and noblest kind of life. $1.60, -postpaid. -</p> - -<p class="h4 adh"> -SEXOLOGY -</p> - -<p> -Here is the great sex book of the day: Forel’s <b>THE -SEXUAL QUESTION</b>. A scientific, psychological, hygienic, -legal and sociological work for the cultured classes. By -Europe’s foremost nerve specialist. Chapter on “love and -other irradiations of the sexual appetite” a profound revelation -of human emotions. Degeneracy exposed. Birth control -discussed. Should be in the hands of all dealing with -domestic relations. Medical edition $5.50. Same book, -cheaper binding, now $1.60. -</p> - -<p> -Painful childbirth in this age of scientific progress is unnecessary. -<b>THE TRUTH ABOUT TWILIGHT SLEEP</b>, by -Hanna Rion (Mrs. Ver Beck), is a message to mothers by -an American mother, presenting with authority and deep -human interest the impartial and conclusive evidence of a -personal investigation of the Freiburg method of painless -childbirth. Send $1.62. -</p> - -<p> -<b>FREUD’S THEORIES OF THE NEUROSES.</b> By Dr. E. -Hitschmann. A brief and clear summary of Freud’s theories. -Price, $2. -</p> - -<p> -<b>PLAIN FACTS ABOUT A GREAT EVIL.</b> By Christobel -Pankhurst. One of the strongest and frankest books ever -written, depicting the dangers of promiscuity in men. This -book was once suppressed by Anthony Comstock. Send -(paper) 60c, (cloth) $1.10. -</p> - -<p> -<b>SEXUAL LIFE OF WOMAN.</b> By Dr. E. Heinrich Kisch -(Prague). An epitome of the subject. Sold only to physicians, -jurists, clergymen and educators. Send $5.50. -</p> - -<p> -<b>KRAFFT-EBING’S PSYCHOPATHIA SEXUALIS.</b> Only -authorized English translation of 12th German Edition. By -F. J. Rebman. Sold only to physicians, jurists, clergymen -and educators. Price, $4.35. Special thin paper edition, -$1.60. -</p> - -<p> -<b>THE SMALL FAMILY SYSTEM: IS IT IMMORAL OR -INJURIOUS?</b> By Dr. C. V. Drysdale. The question of -birth control cannot be intelligently discussed without knowledge -of the facts and figures herein contained. $1.10, postpaid. -</p> - -<p> -<b>MAN AND WOMAN.</b> By Dr. Havelock Ellis, the foremost -authority on sexual characteristics. A new (5th) edition. -Send $1.60. -</p> - -<p> -A new book by Dr. Robinson: <b>THE LIMITATION OF -OFFSPRING BY THE PREVENTION OF PREGNANCY</b>. -The enormous benefits of the practice to individuals, society -and the race pointed out and all objections answered. Send -$1.05. -</p> - -<p> -<b>WHAT EVERY GIRL SHOULD KNOW.</b> By Margaret -Sanger. Send 55 cents. -</p> - -<p> -<b>WHAT EVERY MOTHER SHOULD KNOW.</b> By Margaret -Sanger. Send 30 cents. -</p> - -<p> -<b>THE THEORY OF PSYCHOANALYSIS.</b> By Dr. C. Jung. -A concise statement of the present aspects of the psychoanalytic -hypotheses. Price, $1.50. -</p> - -<p> -<a id="page-40" class="pagenum" title="40"></a> -<b>SELECTED PAPERS ON HYSTERIA AND OTHER -PSYCHONEUROSES.</b> By Prof. S. Freud, M.D. A selection -of some of the more important of Freud’s writings. -Send $2.50. -</p> - -<p> -<b>THREE CONTRIBUTIONS TO SEXUAL THEORY.</b> By -John C. Van Dyke. Fully illustrated. New edition revised -and rewritten. Send $1.60. -</p> - -<p> -<b>THREE CONTRIBUTIONS TO SEXUAL THEORY.</b> By -Prof. Sigmund Freud. The psychology of psycho-sexual -development. Price, $2. -</p> - -<p> -<b>FUNCTIONAL PERIODICITY.</b> An experimental study of -the mental and motor abilities of women during menstruation -by Leta Stetter Hollingworth. Cloth, $1.15. Paper, 85c. -</p> - -<p class="h4 adh"> -ART -</p> - -<p> -<b>MICHAEL ANGELO.</b> By Romain Rolland. Twenty-two -full-page illustrations. A critical and illuminating exposition -of the genius of Michael Angelo. $2.65, postpaid. -</p> - -<p> -<b>INTERIOR DECORATION: ITS PRINCIPLES AND PRACTICE.</b> -By Frank Alvah Parsons. Illustrated. $3.25, postpaid. -</p> - -<p> -<b>THE BARBIZON PAINTERS.</b> By Arthur Hoeber. One -hundred illustrations in sepia, reproducing characteristic work -of the school. $1.90, postpaid. -</p> - -<p> -<b>THE BOOK OF MUSICAL KNOWLEDGE.</b> By Arthur -Elson. Illustrated. Gives in outline a general musical education, -the evolution and history of music, the lives and -works of the great composers, the various musical forms and -their analysis, the instruments and their use, and several -special topics. $3.75, postpaid. -</p> - -<p> -<b>MODERN PAINTING: ITS TENDENCY AND MEANING.</b> -By Willard Huntington Wright, author of “What Nietzsche -Taught,” etc. Four color plates and 24 illustrations. “Modern -Painting” gives—for the first time in any language—a -clear, compact review of all the important activities of -modern art which began with Delacroix and ended only with -the war. Send $2.75. -</p> - -<p> -<b>THE ROMANCE OF LEONARDO DA VINCI.</b> By A. J. -Anderson. Photogravure frontispiece and 16 illustrations in -half-tone. Sets forth the great artist as a man so profoundly -interested in and closely allied with every movement -of his age that he might be called an incarnation of the -Renaissance. $3.95, postpaid. -</p> - -<p> -<b>THE COLOUR OF PARIS.</b> By Lucien Descaves. Large -8vo. New edition, with 60 illustrations printed in four -colors from paintings by the Japanese artist, Yoshio Markino. -By the members of the Academy Goncourt under the general -editorship of M. Lucien Descaves. Send $3.30. -</p> - -<p class="h4 adh"> -SCIENCE AND SOCIOLOGY -</p> - -<p> -<b>CAUSES AND CURES OF CRIME.</b> A popular study of -criminology from the bio-social viewpoint. By Thomas Speed -Mosby, former Pardon Attorney, State of Missouri, member -American Institute of Criminal Law and Criminology, etc. -356 pages, with 100 original illustrations. Price, $2.15, -postpaid. -</p> - -<p> -<b>THE PSYCHOLOGY OF RELAXATION.</b> By G. T. W. -Patrick. A notable and unusually interesting volume explaining -the importance of sports, laughter, profanity, the -use of alcohol and even war as furnishing needed relaxation -to the higher nerve centres. Send 88c. -</p> - -<p> -<b>PSYCHOLOGY OF THE UNCONSCIOUS.</b> By Dr. C. G. -Jung, of the University of Zurich. Translated by Beatrice -M. Hinkle, M.D., of the Neurological Department of Cornell -University and the New York Post-Graduate Medical -School. This remarkable work does for psychology what the -theory of evolution did for biology; and promises an equally -profound change in the thought of mankind. A very important -book. Large 8vo. Send $4.40. -</p> - -<p> -<b>SOCIALIZED GERMANY.</b> By Frederic C. Howe, author -of “The Modern City and Its Problems,” etc., etc.; Commissioner -of Immigration at the Port of New York. “The real -peril to the other powers of western civilization lies in the -fact that Germany is more intelligently organized than the -rest of the world.” This book is a frank attempt to explain -this efficiency. $1.00, postpaid. -</p> - -<p> -<b>SCIENTIFIC INVENTIONS OF TODAY.</b> Illustrated. By -T. W. Corbin. The modern uses of explosives, electricity, -and the most interesting kinds of chemicals are revealed to -young and old. Send $1.60. -</p> - -<p> -<b>THE HUNTING WASPS.</b> By J. Henri Fabre. 12mo. -Bound in uniform style with the other books by the same -author. In the same exquisite vein as “The Life of the -Spider,” “The Life of the Fly,” etc. Send $1.60. -</p> - -<p> -<b>SCHOOLS OF TOMORROW.</b> By John Dewey and Evelyn -Dewey. Illustrated. A study of a number of the schools -of this country which are using advanced methods of experimenting -with new ideas in the teaching and management -of children. The practical methods are described and the -spirit which informs them is analyzed and discussed. Send -$1.60. -</p> - -<p> -<b>THE RHYTHM OF LIFE.</b> By Charles Brodie Patterson. -A discussion of harmony in music and color, and its influence -on thought and character. $1.60, postpaid. -</p> - -<p> -<b>THE FAITHFUL.</b> By John Masefield. A three-act tragedy -founded on a famous legend of Japan. $1.35, postpaid. -</p> - -<p> -<b>INCOME.</b> By Scott Nearing. An economic value is created -amounting to, say, $100. What part of that is returned -to the laborer, what part to the manager, what part -to the property owner? This problem the author discusses -in detail, after which the other issues to which it leads -are presented. Send $1.25. -</p> - -<p> -<b>THE STOIC PHILOSOPHY.</b> By Gilbert Murray. An -account of the greatest system of organized thought that the -mind of man had built up in the Graeco-Roman world -before the coming of Christianity. Dr. Murray exercises his -rare faculty for making himself clear and interesting. -Send 82c. -</p> - -<p> -<b>A MESSAGE TO THE MIDDLE CLASS.</b> By Seymour -Deming. A clarion call so radical that it may well provoke -a great tumult of discussion and quicken a deep and perhaps -sinister impulse to act. Send 60c. -</p> - -<p> -<b>DRIFT AND MASTERY.</b> An attempt to diagnose the current -unrest. By Walter Lippmann. Send $1.60. -</p> - -<p> -<b>FIRST AND LAST THINGS.</b> By H. G. Wells. A confession -of Faith and a Rule of Life. Send $1.60. -</p> - -<p> -<b>THE SOCIALISTS AND THE WAR.</b> By William English -Walling. No Socialist can adequately discuss the war without -the knowledge that this remarkable new book holds. -512 pages. Complete documentary statement of the position -of the Socialists of all countries. Send $1.50. -</p> - -<p> -<b>DREAMS AND MYTHS.</b> By Dr. Karl Abraham. A lucid -presentation of Freud’s theory of dreams. A study in comparative -mythology from the standpoint of dream psychology. -Price, $1.25. -</p> - -<p> -<b>WHAT WOMEN WANT.</b> By Beatrice Forbes-Robertson -Hale. $1.35 net; postage, 10c. -</p> - -<p> -<b>ARE WOMEN PEOPLE?</b> A collection of clever woman suffrage -verses. The best since Mrs. Gilman. Geo. H. Doran -Co. Send 75c. -</p> - -<p> -<b>HOW IT FEELS TO BE THE HUSBAND OF A SUFFRAGETTE.</b> -By “Him.” Illustrated by Mary Wilson Preston. -Send 60c. -</p> - -<p> -<b>ON DREAMS.</b> By Prof. Sigmund Freud. Authorized -English translation by Dr. M. D. Eder. Introduction by -Prof. W. Leslie Mackenzie. This classic now obtainable for -$1.10. -</p> - -<p> -<b>MODERN WOMEN.</b> By Gustav Kobbe. Terse, pithy, -highly dramatic studies in the overwrought feminism of the -day. A clever book. Send $1.10. -</p> - -<hr /> - -<p class="u ade"> -<span class="larger">GOTHAM BOOK SOCIETY</span><br /> -Marlen E. Pew, Gen. Mgr., Dept. K, 142 West 23rd St., New York<br /> -“You Can Get Any Book on Any Subject” -</p> - -</div> - -<div class="ads chapter"> -<a id="page-41" class="pagenum" title="41"></a> - <div class="box"> -<p class="h2 adh"> -THE BLAST -</p> - -<p> -These days of great struggles urgently demand a militant labor voice to aid -the workers in their battles. -</p> - -<p> -<em>The Blast</em> will be such a voice. A revolutionary labor weekly, edited by -ALEXANDER BERKMAN. -</p> - -<p> -The time has come to gather together, so to speak, the scattered forces of -discontent and help them find definite expression. -</p> - -<p> -I am planning to have for <em>The Blast</em> regular correspondences from the -various industrial centers of America, Europe and Australia. I hold that one -of the most important things in the publication of a revolutionary weekly is to -keep the rebels throughout the world in closer touch with each other and informed -of the labor and revolutionary situation in the different countries. It -helps to stimulate the spirit of solidarity and encourage activity. -</p> - -<p> -The other departments of <em>The Blast</em> will be: a strong anti-militarism and -anti-preparedness column; a page dealing with the vital, social and economic -questions; a “Chain Gang” department, containing news from Labor’s prisoners -of war—on trial and in prison—stories of prison life, etc.; a column devoted to -the discussion of special labor questions and general human problems; a Children’s -Department, with the view of ultimately establishing a circle of Ferrer -Schools throughout the country. -</p> - -<p> -First issue of <em>The Blast</em>, January 15th, 1916. -</p> - -<p> -The life of the paper and the success of its work will depend upon <em>your</em> -interest and co-operation. -</p> - -<p> -Send subscriptions or contributions to <em>The Blast</em>, Box 661, San Francisco. -</p> - - </div> - <div class="box"> -<p class="h1 adh"> -<span class="underline">REVOLT</span> -</p> - -<p class="c"> -<em>The stormy petrel of the revolutionary movement.</em> -</p> - -<p> -Men and women active in the combat for emancipation will supply news -from the firing line. Some of our best writers and artists promised their co-operation. -</p> - -<p class="ade"> -HIPPOLYTE HAVEL, Editor. ROBERT MINOR, Cartoonist. -</p> - -<p class="h3 adh"> -<em>ADVISORY BOARD</em>: -</p> - -<p class="u c"> -Leonard D. Abbott<br /> -Elizabeth Gurley Flynn<br /> -Alexander Berkman<br /> -Harry Kelly<br /> -Margaret H. Sanger -</p> - -<p> -Are you interested in our efforts? If so send in your subscription or contribution. -No funds are behind our undertaking. -</p> - -<p> -Mail your subscription or contribution to the -</p> - -<p class="ade"> -<em>REVOLT</em>, 30 Lexington Ave., New York, N. Y. -</p> - -<p class="adp"> -One Year 1.00 Six Months 50 cents Three Months 25 cents -</p> - - </div> -</div> - -<div class="ads chapter"> -<a id="page-42" class="pagenum" title="42"></a> -<div class="centerpic poetry fl"> -<img src="images/poetry.jpg" alt="" /></div> - - <div class="hidden"> -<p class="h1 adh"> -Poetry -</p> - -<p class="h3 adh"> -A Magazine of Verse -</p> - - </div> -<p class="u fr b c"> -543 Cass Street<br /> -Chicago -</p> - -<p class="cb"> -<span class="smallcaps">Padraic Colum</span>, the distinguished Irish poet and lecturer, says: “POETRY -is the best magazine, by far, in the English language. We have nothing in -England or Ireland to compare with it.” -</p> - -<p> -William Marion Reedy, Editor of the St. Louis <em>Mirror</em>, says: “POETRY -has been responsible for the Renaissance in that art. You have done a great -service to the children of light in this country.” -</p> - -<p> -CAN YOU AFFORD TO DO WITHOUT SO IMPORTANT A MAGAZINE? -</p> - -<p> -POETRY publishes the best verse now being written in English, and its -prose section contains brief articles on subjects connected with the art, also reviews -of the new verse. -</p> - -<p> -POETRY has introduced more new poets of importance than all the other -American magazines combined, besides publishing the work of poets already distinguished. -</p> - -<p> -THE ONLY MAGAZINE DEVOTED EXCLUSIVELY TO THIS ART. -</p> - -<p> -SUBSCRIBE AT ONCE. A subscription to POETRY is the best way of -paying interest on your huge debt to the great poets of the past. It encourages -living poets to do for the future what dead poets have done for modern civilization, -for you. -</p> - -<p> -One year—12 numbers—U. S. A., $1.50; Canada, $1.65; foreign, $1.75 -(7 shillings). -</p> - -<hr /> - -<p class="u ade"> -POETRY<br /> -543 Cass Street, Chicago. -</p> - -<p class="u"> -Send POETRY for one year ($1.50 enclosed) beginning .........<br /> -.......................................................... to<br /> -Name ........................................................<br /> -Address ..................................................... -</p> - -</div> - -<div class="ads chapter"> -<a id="page-43" class="pagenum" title="43"></a> - <div class="box"> -<p> -<span class="larger">You should know that in the February number of “THE -DRAMA” there will be published for the first time in English a -play by Artzibashef. It is a war drama which has stimulated thinking -people in Russia to think some more. A penetrating study of -Eugene Walter as the leader of dramatic realism in America and -a scintillating essay on the folly of theatrical advertising are two of -other articles which combine to make the February issue invaluable -to people who are interested not only in drama but in life.</span> -</p> - -<p class="hang"> -We should like to announce that we have on sale back numbers of “The Drama” -with the following plays in them: Galdos’ <em>Electra</em>, Bjornson’s <em>Leonarda</em>, -Becque’s <em>The Crown</em>, Hebbel’s <em>Herod and Marriamne</em>, Schnitzler’s <em>Light-O’-Love</em>, -Heijerman’s <em>The Good Hope</em>, Freytag’s <em>The Journalists</em>, Giacosa’s -<em>The Stronger</em>, Donnay’s <em>The Other Danger</em>, Gillette’s <em>Electricity</em>, Andreyev’s -<em>The Pretty Sabine Women</em>, Goldoni’s <em>The Squabbles of Chioggia</em>, Capus’ -<em>The Adventurer</em>, and Augier’s <em>The Marriage of Olympe</em>. -</p> - -<p class="hang"> -These plays can be obtained by the sending of seventy-five cents to the office of -The Drama Quarterly, 736 Marquette Bldg., Chicago. -</p> - - </div> - <div class="box"> -<p> -In entering upon its third year, THE MISCELLANY -feels that it has found a place in “the order of things.” -A specimen copy will be sent to readers of THE LITTLE -REVIEW. Issued quarterly; one dollar per year. -</p> - -<p class="u ade"> -<span class="larger"><b>THE MISCELLANY</b></span><br /> -17 Board of Trade Building, Kansas City, Missouri. -</p> - - </div> -</div> - -<div class="ads chapter"> -<a id="page-44" class="pagenum" title="44"></a> -<p class="h3 adh"> -We do with Talking Machines what Ford did with Autos -</p> - -<p class="h1 u adh"> -<span class="underline">YOU ASK</span> <span class="larger">WHY</span> THIS<br /> -BEAUTIFUL, <span class="underline">LARGE SIZE</span><br /> -<span class="musigraph fr"><img src="images/musigraph.jpg" alt="" /></span> -TALKING MACHINE<br /> -SELLS FOR ONLY<br /> -<span class="larger">$10</span> -</p> - -<p class="cb vspace"> - -</p> - - <div class="box w40 fr s"> -<p> -Size 15¾ inches at base: 8½ high. Ask for -oak or mahogany finish. Nickel plated, -reversible, tonearm and reproducer, playing -Edison, Victor, Columbia and other disc -records, 10 and 12 inches. Worm gear -motor. Threaded winding shaft. Plays 2 -ten-inch records with one winding—Tone -controlling door. Neat and solidly made. -</p> - - </div> -<p> -If you have never been willing to spend -$25 for a talking machine this is your chance. -</p> - -<p> -The MUSIGRAPH is as large, good-looking, -right-sounding as machines selling for $25. -</p> - -<p> -How do we do it? Here’s the answer: Gigantic -profits have been made from $25 machines because of -patent right monopoly. Millions have gone for advertising -$25 machines, and these millions came back -from the public. The attempt is to make $25 the standard price. It’s too much. -</p> - -<p> -The trust price game is broken. Here is a machine which gives perfect satisfaction -(guaranteed) for only <b>$10</b>. It will fill your home with dancing, good music, fun and happiness. -<b>Money back if it isn’t as represented.</b> MUSIGRAPHS are selling by the -thousands. People who can afford it buy showy autos, but common-sense people gladly ride -Fords—both get over the ground. Same way with talking machines, only the MUSIGRAPH -looks and works like the high-priced instruments. -</p> - -<p> -<b>WHAT BETTER CHRISTMAS GIFT CAN YOU THINK OF? Musigraphs -play any standard disc record, high-priced or even the little five and -ten cent records. Hurry your order to make sure of Christmas delivery.</b> -</p> - -<p> -We are advertising these big bargain machines through our customers—one MUSIGRAPH -in use sells a <b>dozen more</b>. -</p> - -<p> -One cash payment is our plan. So to-day, <b>to insure Christmas delivery</b>, send $10, -by P. O. money order, check, draft, express order or postage stamps. All we ask is that you -tell your neighbors how to get a MUSIGRAPH for only $10. -</p> - - <div class="box w40 fl s"> -<p class="h3 adh"> -GUARANTEE. -</p> - -<p> -This machine is as represented, both as to -materials and workmanship, for a period of -one year. If the MUSIGRAPH is not as -represented send it back immediately and -</p> - -<p class="c"> -<b>Get your money back.</b> -</p> - - </div> -<p class="u ade"> -Address <span class="larger"><b>MUSIGRAPH</b></span>, Dept. K<br /> -Distributors Advertising Service (Inc.)<br /> -<b>142 West 23rd Street, New York City</b> -</p> - -<p class="cb vspace"> - -</p> - -</div> - -<div class="ads chapter"> -<a id="page-45" class="pagenum" title="45"></a> -<p class="u h1 adb"> -THE<br /> -SEXUAL<br /> -QUESTION -</p> - -<p> -Heretofore sold by subscription, only to physicians. Now offered to the public. -Written in plain terms. Former price $5.50. <em>Now sent prepaid for $1.60.</em> This -is the revised and enlarged Marshall English translation. Send check, money -order or stamps. -</p> - -<hr /> - -<p class="h2 adh"> -Ignorance Is the Great Curse! -</p> - -<p> -Do you know, for instance, the scientific difference between love and passion? -Human life is full of hideous exhibits of wretchedness due to ignorance of sexual -normality. -</p> - -<p> -Stupid, pernicious prudery long has blinded us to sexual truth. Science was -slow in entering this vital field. In recent years commercialists eyeing profits have -unloaded many unscientific and dangerous sex books. Now the world’s great -scientific minds are dealing with this subject upon which human happiness often -depends. No longer is the subject tabooed among intelligent people. -</p> - -<p> -<b>We take pleasure in offering to the American public, the work of one of the -world’s greatest authorities upon the question of sexual life. He is August -Forel, M.D., Ph.D., LL.D., of Zurich, Switzerland. His book will open your -eyes to yourself and explain many mysteries. You will be better for this -knowledge.</b> -</p> - -<p> -Every <em>professional man and woman</em>, those dealing with social, medical, criminal, -legal, religious and educational matters will find this book of immediate value. -Nurses, police officials, heads of public institutions, writers, judges, clergymen -and teachers are urged to get this book at once. -</p> - -<p> -The subject is treated from every point of view. The chapter on “love and other -irradiations of the sexual appetite” is a profound exposition of sex emotions—Contraceptive -means discussed—Degeneracy exposed—A guide to all in domestic -relations—A great book by a great man. -</p> - -<hr /> - -<p class="u ade"> -GOTHAM BOOK SOCIETY, DEPT. 564.<br /> -<em>General dealers in books, sent on mail order.</em><br /> -142 W. 23d St., New York City. -</p> - -<p class="c"> -In answering this advertisement mention <span class="smallcaps">The Little Review</span>. -</p> - -</div> - -<div class="ads chapter"> -<a id="page-46" class="pagenum" title="46"></a> -<p class="h1 adh"> -THE EGOIST -</p> - -<p class="h2 adh"> -An Individualist Review -</p> - -<hr /> - -<p> -Subscribe to THE EGOIST and hear what you will get: -</p> - -<p> -Editorials containing the most notable creative and critical -philosophic matter appearing in England today. -</p> - -<p> -Some of the newest and best experimental English and American -poetry. -</p> - -<p> -A page of current French poetry. -</p> - -<p> -Reviews of only those books which are worth praise. -</p> - -<p> -News of modern music, of new painting, of French literary and -artistic life. -</p> - -<p> -A series of translations of Greek and Latin poetry and prose, -done by young modern poets (began September 1st, 1915). -</p> - -<hr /> - -<p class="c"> -PUBLISHED MONTHLY -</p> - -<p class="u adp"> -Price—Fifteen cents a number<br /> -Yearly subscription, One Dollar Sixty Cents -</p> - -<hr /> - -<p> -Buy some of the back numbers. They are literature, not journalism. -</p> - -<hr /> - -<p class="ade"> -OAKLEY HOUSE, BLOOMSBURY STREET, LONDON, W. C. -</p> - -</div> - -<div class="trnote chapter"> -<p class="transnote"> -Transcriber’s Notes -</p> - -<p> -There is obviously some text missing after <a href="#missing">the first line</a> of -the “program” on <a href="#page-6">page 6</a>, between “... a different ...” and -“... are the most beautiful ...” (in “<a href="#ADEEPERMUSIC">A Deeper Music</a>”). This -had to be left uncorrected. -</p> - -<p> -Advertisements were collected at the end of the text. -</p> - -<p> -The table of contents on the title page was adjusted in order to reflect correctly the -headings in this issue of <span class="smallcaps">The Little Review</span>. -</p> - -<p> -The original spelling was mostly preserved. A few obvious typographical errors -were silently corrected. All other changes are shown here (before/after): -</p> - - - -<ul> - -<li> -... On the corner <span class="underline">stands</span> the novelist and the store-manager, still talking. ...<br /> -... On the corner <a href="#corr-3"><span class="underline">stand</span></a> the novelist and the store-manager, still talking. ...<br /> -</li> -</ul> -</div> - - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, JANUARY-FEBRUARY 1916 (VOL. 2, NO. 10) ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law 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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> -</body> -</html> diff --git a/old/67209-h/images/cover.jpg b/old/67209-h/images/cover.jpg Binary files differdeleted file mode 100644 index 0deb1b9..0000000 --- a/old/67209-h/images/cover.jpg +++ /dev/null diff --git a/old/67209-h/images/musigraph.jpg b/old/67209-h/images/musigraph.jpg Binary files differdeleted file mode 100644 index 3c61369..0000000 --- a/old/67209-h/images/musigraph.jpg +++ /dev/null diff --git a/old/67209-h/images/poetry.jpg b/old/67209-h/images/poetry.jpg Binary files differdeleted file mode 100644 index ffb2503..0000000 --- a/old/67209-h/images/poetry.jpg +++ /dev/null |
