diff options
Diffstat (limited to 'old/67467-h')
| -rw-r--r-- | old/67467-h/67467-h.htm | 4764 | ||||
| -rw-r--r-- | old/67467-h/images/bent.jpg | bin | 54182 -> 0 bytes | |||
| -rw-r--r-- | old/67467-h/images/cover.jpg | bin | 97623 -> 0 bytes | |||
| -rw-r--r-- | old/67467-h/images/mason.jpg | bin | 40902 -> 0 bytes |
4 files changed, 0 insertions, 4764 deletions
diff --git a/old/67467-h/67467-h.htm b/old/67467-h/67467-h.htm deleted file mode 100644 index bd27376..0000000 --- a/old/67467-h/67467-h.htm +++ /dev/null @@ -1,4764 +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, March 1916 (Vol. 3, No. 1), Ed. Margaret C. Anderson</title> - <link rel="coverpage" href="images/cover.jpg" /> - <meta name="cover" content="images/cover.jpg" /> - <!-- TITLE="The Little Review: 1916/3 (Vol. 3, No. 1)" --> - <!-- 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.excerpt.narrow { margin-top:1em; margin-bottom:1em; margin-left:auto; margin-right:auto; - width:50%; } -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.hang p { text-indent:-2em; margin-left:2em; } -div.linespace p { margin-top: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; } -div.letters div.note { margin:0; margin-top:1em; margin-bottom:1em; } -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 .verse1 { text-align:left; text-indent:-2em; margin-left:3em; } -.stanza .verse2 { text-align:left; text-indent:-2em; margin-left:4em; } -.stanza .verse3 { text-align:left; text-indent:-2em; margin-left:5em; } -.stanza .verse5 { text-align:left; text-indent:-2em; margin-left:7em; } - -/* 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; } - -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.bent { max-width:40%; } -div.centerpic.bent img { max-width:100%; } -div.centerpic.mason { max-width:40%; } -div.centerpic.mason 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, March 1916 (Vol. 3, No. 1), by Various</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, March 1916 (Vol. 3, No. 1)</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: February 22, 2022 [eBook #67467]</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, MARCH 1916 (VOL. 3, NO. 1) ***</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"> -MARCH 1916 -</p> - - <div class="table"> -<table class="tocn" summary=""> -<tbody> - <tr> - <td class="col1"><a href="#CHEAP">Cheap</a></td> - <td class="col2"><em>Helen Hoyt</em></td> - </tr> - <tr> - <td class="col1"><a href="#ARTANDANARCHISM">Art and Anarchism</a></td> - <td class="col2"><em>Margaret C. Anderson</em></td> - </tr> - <tr> - <td class="col1"><a href="#GROTESQUES">Stravinsky’s “Grotesques”</a></td> - <td class="col2"><em>Amy Lowell</em></td> - </tr> - <tr> - <td class="col1"><a href="#VIBRANTLIFE">Vibrant Life</a></td> - <td class="col2"><em>Sherwood Anderson</em></td> - </tr> - <tr> - <td class="col1"><a href="#DONTSFORCRITICS">Don’ts for Critics</a></td> - <td class="col2"><em>Alice Corbin Henderson</em></td> - </tr> - <tr> - <td class="col1"><a href="#POEMS">Poems</a>:</td> - <td class="col2"><em>Jeanne D’Orge</em></td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THECUP">The Cup</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THESTRANGER">The Stranger</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THEKISS">The Kiss</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THEINTERPRETER">The Interpreter</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#THESEALEDPACKAGE">The Sealed Package</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#MEMORIES">Memories</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#THERUSSIANBALLET">The Russian Ballet</a></td> - <td class="col2"><em>Charles Zwaska</em></td> - </tr> - <tr> - <td class="col1"><a href="#EDITORIALS">Editorials</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#PROPAGANDA">Propaganda</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#POEMS2">Poems</a>:</td> - <td class="col2"><em>Richard Aldington</em></td> - </tr> - <tr class="i"> - <td class="col1"><a href="#BLOOMSBURYSQUARE">Bloomsbury Square</a></td> - <td class="col2"> </td> - </tr> - <tr class="i"> - <td class="col1"><a href="#EPIGRAM">Epigram</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#LOLLIPOPVENDERS">Lollipop Venders</a></td> - <td class="col2"><em>Lupo de Braila</em></td> - </tr> - <tr> - <td class="col1"><a href="#VERSLIBRE">Vers Libre Prize Contest</a></td> - <td class="col2"> </td> - </tr> - <tr> - <td class="col1"><a href="#ANEILLYONS">A. Neil Lyons</a></td> - <td class="col2"><em>Allan Ross Macdougall</em></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. III -</p> - -<p class="issue"> -MARCH, 1916 -</p> - -<p class="number"> -NO. 1 -</p> - - </div> - </div> -<p class="cop"> -Copyright, 1916, by Margaret C. Anderson -</p> - -</div> - -<h2 class="article1" id="CHEAP"> -Cheap -</h2> - -<p class="aut"> -HELEN HOYT -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">After all, what does a man amount to?</p> - <p class="verse">It only takes some twenty—thirty—years or so</p> - <p class="verse">To make a man, with everything complete.</p> - <p class="verse">Longer, it is true, than growing cabbages</p> - <p class="verse">Or currant bushes, or a cow,—</p> - <p class="verse">Or a fair-sized hog;</p> - <p class="verse">But not so very long, and there’s always time.</p> - <p class="verse">When breeding’s good we get them fast enough....</p> - <p class="verse">Merely a matter of waiting till they grow....</p> - <p class="verse">Some food and clothes must be supplied—</p> - <p class="verse">And shelter—and all that—</p> - <p class="verse">But it’s surprising (in fact, without statistics,</p> - <p class="verse">A person would scarcely believe it possible)</p> - <p class="verse">How very little a man can live upon</p> - <p class="verse">From birth until he reaches the enlisting age.</p> - </div> - <div class="stanza"> - <p class="verse">For first he has to be born, of course,</p> - <p class="verse">And that takes time,—makes us some trouble too—</p> - <p class="verse">But it’s a simple matter on the whole,</p> - <p class="verse">And not expensive: not at all expensive:</p> - <p class="verse">You see, the women are the ones that attend to this</p> - <p class="verse">And they work cheap.</p> - <p class="verse">They <em>pour</em> men from their bodies.</p> - <p class="verse">Always pleased to undertake affairs of this sort,</p> - <p class="verse">Women are,—O, most delighted. It’s their way.</p> - </div> - <div class="stanza"> -<a id="page-2" class="pagenum" title="2"></a> - <p class="verse">Willing and lavish: it doesn’t cost them much.</p> - <p class="verse">They only have to give some flesh and bone</p> - <p class="verse">And blood; and perhaps, one might say,</p> - <p class="verse">A scrap of soul, to make the creature go;</p> - <p class="verse">But these things nature furnishes;</p> - <p class="verse">They’re free and plenty:</p> - <p class="verse">And after a man’s once started, he’s not long growing;</p> - <p class="verse">There’s always a generation on the way:</p> - <p class="verse">More than we want, sometimes, or there is room for.</p> - </div> - <div class="stanza"> - <p class="verse">Lord, how they swarm! In the cities like flies.</p> - <p class="verse">If only horses were so plentiful!</p> - <p class="verse">If only horses could be foddered so lightly</p> - <p class="verse">And bedded so many to a stall as men!</p> - </div> - <div class="stanza"> - <p class="verse">Certainly, men are less of a bother</p> - <p class="verse">And also, think what men do for you that a horse can’t.</p> - <p class="verse">You cannot teach a horse to hold a gun.</p> - <p class="verse">A horse can’t shoot or burn or pillage or murder well in the least.</p> - <p class="verse">And too, a man has this convenient feature,</p> - <p class="verse">That you can make him go without whip or lash.</p> - <p class="verse">You only have to charm him the right way.</p> - </div> - <div class="stanza"> - <p class="verse">Other animals you charm by dazzling radiance:</p> - <p class="verse">With men it’s always colors and bright sounds</p> - <p class="verse">(Slogans and bands and banners are the best).</p> - <p class="verse">Why, you can play upon them with the beat of drums</p> - <p class="verse">Till they are got to an energy and fury fine as a bull’s</p> - <p class="verse">How they will fight for you then!</p> - <p class="verse">Tigers and wolves and wild-cats</p> - <p class="verse">(Considering differences in weight and bulks of meat)</p> - <p class="verse">Wouldn’t fight fiercer or longer or more willingly.</p> - </div> - <div class="stanza"> - <p class="verse">You never could train a horse to be so clever.</p> - <p class="verse">And therefore it’s curious, when you think of it,</p> - <p class="verse">That horses should come so much more dear than men.</p> - <p class="verse">To be sure, there isn’t the cheap source of supply</p> - <p class="verse">Or the same over-stock as in the case of men:</p> - <p class="verse">A horse is harder to raise and more expense—</p> - <p class="verse">More trouble; more of a responsibility:</p> - <p class="verse">But nevertheless, allowing for all this,</p> - <p class="verse">It still is curious, that difference in value....</p> - <p class="verse">Now isn’t it?</p> - <p class="verse">Rather?</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="ARTANDANARCHISM"> -<a id="page-3" class="pagenum" title="3"></a> -Art and Anarchism -</h2> - -</div> - -<p class="aut"> -MARGARET C. ANDERSON -</p> - -<p class="first"> -<span class="firstchar">W</span><span class="postfirstchar">hen</span> “they” ask you what anarchism is, and you scuffle around for -the most convincing definition, why don’t you merely ask instead: -“What is art?” Because anarchism and art are in the world for exactly -the same kind of reason. -</p> - -<p> -An anarchist is a person who realizes the gulf that lies between government -and life; an artist is a person who realizes the gulf that lies -between life and love. The former knows that he can never get from the -government what he really needs for life; the latter knows that he can -never get from life the love he really dreams of. -</p> - -<p> -Now there is only one class of people—among the very rich or the -very poor or the very middling—that doesn’t know about these things. -It is the uneducated class. It is composed of housewives, business men, -church-goers, family egoists, club women, politicians, detectives, debutantes, -drummers, Christian Scientists, policemen, demagogues, social climbers, -ministers who recommend plays like <em>Experience</em>, etc., etc. It even includes -some who may be educated—journalists, professors, philanthropists, -patriots, “artistic” people, sentimentalists, cowards, and the insane. It is -the great middle-class mind of America. It is the kind of mind that -either doesn’t think at all or that thinks like this: “Without the violence -and the plotting there would be nothing left of anarchism but a dead -theory. Without the romance of it anarchism would be nothing but a -theory which will not work and never can until nature has evolved something -very different out of man. It is cops and robbers, hare and hounds, -Ivanhoe and E. Phillips Oppenheim all acted out in life. It is not really -dangerous to society, but only to some members of it, because unless every -one is against it there is no fun in it.” -</p> - -<p> -There is no fun talking about anarchism to people who understand it. -But it would be great fun to make the middle-class mind understand -it. This is the way I should go about it: -</p> - -<hr class="tb" /> - -<p class="noindent"> -What things do you need in order to live? Food, clothing, shelter. -What things <em>must</em> you have to get life out of the process of living? Love, -work, recreation. All right. -</p> - -<p> -Does the government give you the first three things? Not at all. It -isn’t the government or law or anything of that sort that gives you food -or clothes. It’s the efficient organization between those who produce these -things and those who sell them to you. And it isn’t government that keeps -<a id="page-4" class="pagenum" title="4"></a> -that organization efficient. It’s the brains of those who work in it. You -will say that government exists to prevent that organization from charging -you too much for food and clothes. <em>Then why doesn’t government do it?</em> -Heaven knows you’ve got all the government you can very well use and -you pay too much for everything. -</p> - -<p> -Does the government give you a house? If you happen to be an -ambassador or something like that. Not if you happen to be a mail man. -Maybe some one leaves you a house—which means that he once bought it -or stole it or had it left to him. You can do any of these three things -yourself. Or you can go without, as nearly every one else does. Sometimes -the government helps you to steal one—but not you of the middle-class. What I want to know is why <em>you</em> are so crazy about the government? -</p> - -<hr class="tb" /> - -<p class="noindent"> -Now, about work. What do you call work?—spending eight hours a -day in an office to help make somebody’s business a success, and incidentally -to earn the money for your bread and butter? But that’s a third of -the time you’re given on earth. Another third has to be spent in sleep, -and the last third in eating your dinner, “spending the evening,” getting -undressed, getting dressed, eating your breakfast, and catching your train. -I call that slavery. Work is something over which you can toil twenty-four -hours a day if you feel like it, because if you don’t your life will -have no meaning. It’s like art. What has the government to do with -your work? About as much as it had to do with Marconi’s brain when -he was conceiving his wireless. -</p> - -<p> -What do you call recreation?—lounging in hotel lobbies, gossiping -over tea tables, going to the movies? All right. But what has the government -got to do with it? Or do you call it walking, riding, reading, lying -in the sun? The government doesn’t give you good legs or a motor car -or books or a stretch of beach to lie on. But it can keep some of the best -books away from you and close up the bathing beaches on the hottest -October day. Maybe you call recreation what it really means: <em>re-creation</em>. -That means the time and the leisure to invite your soul. You’ve got government: -have you got either time or leisure? -</p> - -<p> -And as for love.... You love some one who loves you, and -the world is good. Or you love some one who doesn’t love you and the -world is hell. Or you love and love and can find no one to love. Or you -love and cannot give, or love and cannot take, or maybe you cannot love -at all. And where is the government all this time? -</p> - -<p> -The government can bring you a letter from some one you love. But -why must even that be done with graft? -</p> - -<p> -Some one assaults a woman in a dark alley, you say, and where would -we be without the government? What has that to do with love, first? -Now clear up your minds: have you ever imagined why these things -<a id="page-5" class="pagenum" title="5"></a> -happen? Because some people are vicious, you say. But every one is -vicious—every one who has life in him. You are: only you can take it -out on your wife or on whatever prostitutes you can afford, or in eating -large dinners, or in joy rides, in vulgar parties, in the movies, in luxury, -in fads, in art, even in religion. It just depends upon your type. The -point is that you have your outlets and the other wretch hasn’t. And -second, since these things are always happening and you have plenty of -chances to see how the government deals with them, the only sensible -question left for you to ask is: <em>Why aren’t they dealt with?</em> You’ve -got government and you’ve got crime on the increase. May it be that -you will ever see this: that the thing needs <em>treat-ment</em>, not <em>govern-ment</em>? -</p> - -<p> -But if you’re talking about love.... In love you will act just -like a cave man or an Athenian or an early Christian or an Elizabethan -or a modern, like a satyr or a traveling salesman or an artist—it depends -upon your type. Governments may come and go, may change or cease -to be, and nothing remains forever except “your type.” -</p> - -<p> -But it’s just here that your government has its functions. It can -do various things. And since the value of your life depends upon the -intensity with which you love something or somebody, you might as well -recognize what your government can do for you in this regard: -</p> - -<p> -If you think that love and freedom ought to go together the government -can put you in prison. -</p> - -<p> -If you marry out of respect for the government, and grow to hate -each other, the government won’t give you a divorce out of respect for you. -</p> - -<p> -If you marry as a concession to the government, because you don’t -want to ruin your business or have your wife insulted, the government -will divorce you—and on the concession basis: but you pay for both the -concessions. -</p> - -<p> -If you believe that love is love, whether it brings you children or not, -you may be happy and prosperous, but you will not be safe. The government -can put your physician in prison. -</p> - -<p> -If you’re very poor or very ill, and ought not have children, the -government can keep information for prevention away from you; and it -can put any one who tries to give you that information in prison. -</p> - -<p> -If you should die from an abortion—and you surely will die if you -contract blood-poisoning; and you surely will do that if you must be -treated in secrecy and without skill—the government can hang your -physician. -</p> - -<hr class="tb" /> - -<p class="noindent"> -Why are you so crazy about the government? -</p> - -<p> -Why do you want to govern anything or anybody?—even your own -temper? Nietzsche said not to preserve yourself but to discharge yourself! -Why not <em>use</em> your temper as well as your nice moods? -</p> - -<p> -<a id="page-6" class="pagenum" title="6"></a> -Why do you want to govern your child? To give him character? -But who ever told you that life is for the making of character? Even -if it were, you can’t give your child character. He can get it by going -through a great deal. But if you govern him successfully he won’t go -through a great deal. He will just be something that is like something -else. He won’t be himself. -</p> - -<p> -Why do you want to govern human nature? Because you want -people to be good instead of bad? But how can you tell when they’re -good and when they’re bad? Suppose you all agree that Jean Crones did -a very bad thing? If you knew Jean Crones you should probably all -see at once that he is a very good man—if he exists at all. Clear up -your thinking! -</p> - -<hr class="tb" /> - -<p class="noindent"> -Who ever told you that an anarchist wants to change human nature? -Who ever told you that an anarchist’s ideal could never be attained until -human nature had improved? Human nature will never “improve.” It -doesn’t matter much whether you have a good nature or a bad one. It’s -your thinking that counts. Clean out your minds! -</p> - -<p> -If you believe these things—no, that is not enough: if you live them—you -are an anarchist. You can be one right now. You needn’t wait -for a change in human nature, for the millennium, or for the permission -of your family. Just be one! -</p> - -<p> -You have seen that “the blind, heavy, stupid thing we call government” -can not give you a happy childhood. It cannot educate you or -make you an interesting person. It cannot give you work, art, love, or -life—or death if you think it is better to die. -</p> - -<hr class="tb" /> - -<p class="noindent"> -And finally when you see that you can never get all the love you -imagined from life; that you are trapped, really, and must find a way -out; when you see that here where there is nothing is the way out, and -that the wonder of life begins here—when you see all this you will be an -artist, and your love that is “left over” will find its music or its words. -</p> - -<div class="chapter"> - -<h2 class="article" id="GROTESQUES"> -<a id="page-7" class="pagenum" title="7"></a> -Stravinsky’s Three Pieces, “Grotesques,” -for String Quartets<a class="fnote" href="#footnote-1" id="fnote-1">[1]</a> -</h2> - -</div> - -<p class="aut"> -AMY LOWELL -</p> - -<h3 class="section" id="FIRSTMOVEMENT"> -First Movement -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Thin-voiced, nasal pipes</p> - <p class="verse">Drawing sound out and out</p> - <p class="verse">Until it is a screeching thread,</p> - <p class="verse">Sharp and cutting, sharp and cutting,</p> - <p class="verse">It hurts.</p> - <p class="verse">Whee-e-e!</p> - <p class="verse">Bump! Bump! Tong-ti-bump!</p> - <p class="verse">There are drums here,</p> - <p class="verse">Banging,</p> - <p class="verse">And wooden shoes beating the round, grey stones</p> - <p class="verse">Of the market-place.</p> - <p class="verse">Whee-e-e!</p> - <p class="verse">Sabots slapping the worn, old stones,</p> - <p class="verse">And a shaking and cracking of dancing bones,</p> - <p class="verse">Clumsy and hard they are,</p> - <p class="verse">And uneven,</p> - <p class="verse">Losing half a beat</p> - <p class="verse">Because the stones are slippery.</p> - <p class="verse">Bump-e-ty-tong! Whee-e-e! Tong!</p> - <p class="verse">The thin Spring leaves</p> - <p class="verse">Shake to the banging of shoes.</p> - </div> - <div class="stanza"> -<a id="page-8" class="pagenum" title="8"></a> - <p class="verse">Shoes beat, slap,</p> - <p class="verse">Shuffle, rap,</p> - <p class="verse">And the nasal pipes squeal with their pig’s voices,</p> - <p class="verse">Little pig’s voices</p> - <p class="verse">Weaving among the dancers,</p> - <p class="verse">A fine, white thread</p> - <p class="verse">Linking up the dancers.</p> - <p class="verse">Bang! Bump! Tong!</p> - <p class="verse">Petticoats,</p> - <p class="verse">Stockings,</p> - <p class="verse">Sabots,</p> - <p class="verse">Delirium flapping its thigh-bones;</p> - <p class="verse">Red, blue, yellow,</p> - <p class="verse">Drunkenness steaming in colours;</p> - <p class="verse">Red, yellow, blue,</p> - <p class="verse">Colours and flesh weaving together,</p> - <p class="verse">In and out, with the dance,</p> - <p class="verse">Coarse stuffs and hot flesh weaving together.</p> - <p class="verse">Pig’s cries white and tenuous,</p> - <p class="verse">White and painful,</p> - <p class="verse">White and—</p> - <p class="verse">Bump!</p> - <p class="verse">Tong!</p> - </div> - </div> -</div> - -<h3 class="section" id="SECONDMOVEMENT"> -Second Movement -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Pale violin music whiffs across the moon,</p> - <p class="verse">A pale smoke of violin music blows over the moon,</p> - <p class="verse">Cherry petals fall and flutter,</p> - <p class="verse">And the white Pierrot,</p> - <p class="verse">Wreathed in the smoke of the violins,</p> - <p class="verse">Splashed with cherry petals falling, falling,</p> - <p class="verse">Claws a grave for himself in the fresh earth</p> - <p class="verse">With his finger-nails.</p> - </div> - </div> -</div> - -<h3 class="section" id="THIRDMOVEMENT"> -Third Movement -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">An organ growls in the heavy roof-groins of a church,</p> - <p class="verse">It wheezes and coughs.</p> - <p class="verse">The nave is blue with incense,</p> - <p class="verse">Writhing, twisting,</p> - <p class="verse">Snaking over the heads of the chanting priests.</p> -<a id="page-9" class="pagenum" title="9"></a> - <p class="verse3"><em>Requiem aeternam dona ei, Domine</em>;</p> - <p class="verse">The priests whine their bastard Latin</p> - <p class="verse">And the censers swing and click.</p> - <p class="verse">The priests walk endlessly</p> - <p class="verse">Round and round,</p> - <p class="verse">Droning their Latin</p> - <p class="verse">Off the key.</p> - <p class="verse">The organ crashes out in a flaring chord,</p> - <p class="verse">And the priests hitch their chant up half a tone.</p> - <p class="verse5"><em>Dies illa, dies irae,</em></p> - <p class="verse5"><em>Calamitatis et miseriae,</em></p> - <p class="verse5"><em>Dies magna et amara valde.</em></p> - <p class="verse">A wind rattles the leaded windows.</p> - <p class="verse">The little pear-shaped candle-flames leap and flutter,</p> - <p class="verse5"><em>Dies illa, dies irae</em>,</p> - <p class="verse">The swaying smoke drifts over the altar,</p> - <p class="verse5"><em>Calamitatis et miseriae</em>,</p> - <p class="verse">The shuffling priests sprinkle holy water,</p> - <p class="verse5"><em>Dies magna et amara valde</em>.</p> - <p class="verse">And there is a stark stillness in the midst of them</p> - <p class="verse">Stretched upon a bier.</p> - <p class="verse">His ears are stone to the organ,</p> - <p class="verse">His eyes are flint to the candles,</p> - <p class="verse">His body is ice to the water.</p> - <p class="verse">Chant, priests,</p> - <p class="verse">Whine, shuffle, genuflect,</p> - <p class="verse">He will always be as rigid as he is now</p> - <p class="verse">Until he crumbles away in a dust heap.</p> - <p class="verse5"><em>Lacrymosa dies illa,</em></p> - <p class="verse5"><em>Qua resurget ex favilla</em></p> - <p class="verse5"><em>Judicandus homo reus.</em></p> - <p class="verse">Above the grey pillars, the roof is in darkness.</p> - </div> - </div> -</div> - -<hr class="footnote" /> - -<p class="footnote"> -<a class="footnote" href="#fnote-1" id="footnote-1">[1]</a> This Quartet was played from the manuscript by the Flonzaley -Quartet during their season of 1915 and 1916. The poem is based upon -the programme which M. Stravinsky appended to his piece, and is an -attempt to reproduce the sound and movement of the music as far as is -possible in another medium. -</p> - -<div class="chapter"> - -<h2 class="article" id="VIBRANTLIFE"> -<a id="page-10" class="pagenum" title="10"></a> -Vibrant Life -</h2> - -</div> - -<p class="aut"> -SHERWOOD ANDERSON -</p> - -<p class="first"> -<span class="firstchar">H</span><span class="postfirstchar">e</span> was a man of forty-five, vigorous and straight of body. About his -jaws was a slight heaviness, but his eyes were quiet. In his young -manhood he had been involved in a scandal that had made him a marked -man in the community. He had deserted his wife and children and had -run away with a serious, dark-skinned young girl, the daughter of a Methodist -minister. -</p> - -<p> -After a few years he had come back into the community and had -opened a law office. The social ostracism set up against him and his wife -had in reality turned out to their advantage. He had worked fiercely and -the dark-skinned girl had worked fiercely. At forty-five he had risen to -wealth and to a commanding position before the bar of his state, and his -wife, now a surgeon, had a fast-growing reputation for ability. -</p> - -<p> -It was night and he sat in a room with the dead body of his younger -brother, who had gone the road he had traveled in his twenties. The -brother, a huge good-natured fellow, had been caught and shot in the home -of a married woman. -</p> - -<p> -In the room with the lawyer sat a woman. She was a nurse, in charge -of the children of his second wife, a magnificent blonde creature with -white teeth. They sat beside a table, spread with <a id="corr-3"></a>books and magazines. -</p> - -<p> -The woman who sat with the lawyer in the room with the dead man, -was, like himself, flush with life. He remembered, with a start, that she had -been introduced into the house by the boy who was dead. He began to -couple them in his mind and talked about it. -</p> - -<p> -“You were in love with him, eh?” he asked presently. -</p> - -<p> -The woman said nothing. She sat under a lamp with her legs -crossed. The lamplight fell upon her shapely shoulders. -</p> - -<p> -The lawyer, getting out of his chair, walked up and down the room. -He thought of his wife, the woman he loved, asleep upstairs, and of the -price they had paid for their devotion to each other. -</p> - -<p> -“It is barbarous, this old custom of sitting up with the dead,” he -said, and, going to another part of the house, returned with a bottle of -wine and two glasses. -</p> - -<p> -With the wine before them the lawyer and the woman sat looking -at each other. They stared boldly into each other’s eyes, each concerned -with his own thoughts. A clock ticked loudly and the woman moved -uneasily. By an open window the wind stirred a white curtain and tossed -<a id="page-11" class="pagenum" title="11"></a> -it back and forth above the coffin, black and ominous. He began thinking -of the years of hard, unremittent labor and of the pleasures he had -missed. Before his eyes danced visions of white-clad dinner tables, with -men and bare-shouldered women sitting about. Again he walked up and -down the room. -</p> - -<p> -Upon the table lay a magazine, devoted to farm life, and upon the -cover was a scene in a barn yard. A groom was leading a magnificent -stallion out at the door of a red barn. -</p> - -<p> -Pointing his finger at the picture, the lawyer began to talk. A new -quality came into his voice. His hand played nervously up and down -the table. There was a gentle swishing sound of the blown curtain across -the top of the coffin. -</p> - -<p> -“I saw one once when I was a boy,” he said, pointing with his finger -at the stallion. -</p> - -<p> -He approached and stood over her. -</p> - -<p> -“It was a wonderful sight,” he said, looking down at her. “I have -never forgotten it. The great animal was all life, vibrant, magnificent -life. Its feet scarcely touched the ground.” -</p> - -<p> -“We are like that,” he added, leaning over her. “The men of our -family have that vibrant, conquering life in us.” -</p> - -<p> -The woman arose from the chair and moved toward the darkened -corner where the coffin stood. He followed slowly. When they had gone -thus across the room she put up her hand and plead with him. -</p> - -<p> -“No, no!—Think! Remember!” she whispered. -</p> - -<p> -With a low laugh he sprang at her. She dodged quickly. Both of -them had become silent. Among the chairs and tables they went, swiftly, -silently, the pursuer and the pursued. -</p> - -<p> -Into a corner of the room she got, where she could no longer elude -him. Near her sat the long coffin, its ends resting on black stands made -for the purpose. They struggled, and then as they stood breathless with -hot startled faces, there was a crash, the sound of broken glass and the -dead body of his brother with its staring eyes rolled, from the fallen -coffin, out upon the floor. -</p> - -<div class="chapter"> - -<h2 class="article" id="DONTSFORCRITICS"> -<a id="page-12" class="pagenum" title="12"></a> -Don’ts for Critics<a class="fnote" href="#footnote-2" id="fnote-2">[2]</a> -</h2> - -</div> - -<p class="subt"> -(<em>Apropos of recent criticisms of Imagism, vers libre, and modern -poetry generally.</em>) -</p> - -<p class="aut"> -ALICE CORBIN HENDERSON -</p> - -<div class="hang"> -<p> -Don’t confuse vers libre and Imagism. The two are not identical. One -pertains to verse, the other to vision. -</p> - -<p> -Don’t attempt to “place” Imagism until you know what it is. -</p> - -<p> -Don’t substitute irritability for judgement. -</p> - -<p> -Don’t attempt to establish absolutes—positive or negative—by precedents -of a half or a quarter of a century, or a mere decade ago. -</p> - -<p> -Don’t be a demagogue. -</p> - -<p> -Don’t try to speak the last word—you can’t. -</p> - -<p> -Don’t be dishonest with yourself. Analyze your own inhibitions. -</p> - -<p> -Don’t believe that beauty is conventionality, or that the classic poets chose -only “nice” subjects. -</p> - -<p> -Don’t forget that the age that produced the cathedrals produced also the -grotesques. -</p> - -<p> -Don’t be afraid to expand. -</p> - -<p> -Don’t deny the poet his folly, or expect him to appear always pompously on -stilts. Think of the poets who have fun in their make-up, and you -think of some of the greatest—Shakespeare, Chaucer, Villon,—(by -no means excepting Lewis Carroll, whose Jabberwock is almost -“<em>pure</em>” poetry and the poetic prototype of much excellent modern -painting.) Don’t relax your own appreciation of humor to the soft, -easy level of the newspapers. -</p> - -<p> -Don’t squirm when a poet is a satirist. We need the keen vision. Not all -pessimism is unhealthy, and not all optimism healthy. -</p> - -<p> -Don’t think that Spoon River is more sordid than Athens, Greece, or Athens, -Georgia, than Sparta or Troy, or—the Lake Shore Drive. -</p> - -<p> -Don’t think that the poet must always <em>copy</em> something or somebody, and -that something usually of a recent date. Correspondences, to be -valuable, must be genuine and of the spirit, rather than of the letter.—When -Mr. Powys brackets the names of Chaucer and Edgar Lee -Masters, he is illuminating. When Mr. Hervey or Mr. Willard-Huntington-Wright -<a id="page-13" class="pagenum" title="13"></a> -discover each a different one of Mr. Masters’ -copybooks, and publish their discoveries, the absurdity is manifest. -Picture Mr. Masters sitting with Robinson’s book in one hand, and -somebody’s Small Town in the other, inditing Spoon River with his -teeth! -</p> - -<p> -Don’t expect a poet to repeat himself indefinitely, however much you may -admire his earlier work. You may appreciate his later work in time. -</p> - -<p> -Don’t condemn the work of a man whose books you have not read. Unfortunately -there are no civil service examinations for critics. -</p> - -<p> -Don’t think that competition is unhealthy for the poet, or that his poetry -suffers thereby. -</p> - -<p> -Don’t be confident, as Mr. Arthur J. Eddy said at the “Poetry” dinner, that -no good thing is ever lost. Ask Mr. Eddy, who is a lawyer, to prove -that no good thing is ever lost. -</p> - -<p> -Don’t expect poets to refrain from writing about one another—even in -praise. If you don’t enjoy the feast, don’t eat it. When the poets -tear one another to pieces, don’t you enjoy it? But if, like most -critics of poetry, you are a poet also, take warning. Be <a id="corr-4"></a>prepared! -</p> - -<p> -Don’t wait until a poet is dead before you discover him. -</p> - -<p> -Don’t gnash your teeth and expect the public to take it as a sign of force -and insight. -</p> - -<p> -Don’t forget that prosody is derived from poetry, not poetry from prosody. -</p> - -<p> -Don’t waste your time trying to squeeze exceptions into the rule. Remember -that exceptions in poetry, as in music, are the variations that give -life. -</p> - -<p> -Don’t measure English poetry by English poetic standards alone. Consider -the sources of English poetry, and don’t begin with Chaucer, -or stop with Tennyson. -</p> - -<p> -Don’t think that English or American poetry may not assimilate as much -new beauty and richness from foreign sources in the future as it -has in the past. -</p> - -<p> -Don’t consider rhyme as the be-all and end-all of poetry. Rhyme is sometimes -as beautiful as the reflection of trees in water; it is sometimes -as monotonous as a stitch in time. -</p> - -<p> -Don’t substitute vituperation for the “critique raisonné”—almost an unknown -quantity in this country. -</p> - -<p> -Don’t look first at the publisher’s imprint. -</p> - -<p> -Don’t cling to convictions that you fear to have upset. -</p> - -<p> -Don’t, because you fail to share the convictions of a fellow critic, think that -he is a bigger fool than you are—unless you can prove it. -</p> - -<p> -Don’t imagine that printing a poem as prose makes it prose. A musical -masterpiece may be distorted by unrhythmic playing, yet the composer’s -rhythm remains intact in the score. -</p> - -<p> -<a id="page-14" class="pagenum" title="14"></a> -Don’t object to conceptions in poetry that you might find striking and powerful -in bronze or plaster. “The Hog Butcher of the World” is one -picturesque attitude of Chicago.... Is the truth unbearable? One -may still love Chicago in spite of its dirty face. -</p> - -<p> -Don’t try to establish even a distant kinship between poetry and ethics. -The relation is illicit. -</p> - -<p> -Don’t tell the poet what he must, or must not, write about—he doesn’t -hear you. -</p> - -<p> -Don’t be tedious. -</p> - -<p> -Don’t take ten times as much space as the poet to prove that he is a bad -poet. Your sin against the public is more grievous, and your art -less, than his. -</p> - -<p> -Don’t make up your review from the publisher’s advance notice. The poet -might like to know what you think about his work—not what he -told the publisher to tell you. -</p> - -<p> -Don’t expect a poet to punch a time-clock, or record only the emotions of -his fellow townspeople. -</p> - -<p> -Don’t limit a poet to primary emotions, or find decadence in a refinement -that may exceed your own. -</p> - -<p> -Don’t fancy that brutality is strength, or delicacy weakness. -</p> - -<p> -Don’t fancy that the poem that gives up its meaning quickest gives most, -or lives longest. -</p> - -<p> -Don’t make the mistake of believing that vers libre is easier to write than -rhymed metrical verse—or the reverse. -</p> - -<p> -Don’t think because you say a thing, it is so. Your venture is as uncertain -as the poet’s. Authority, unless bestowed by the Mayor, is the -gift of time; and then not unassailable. -</p> - -<p> -Don’t reverence only dead poets or be certain that the dead poets would -think just as you do about contemporary poets. -</p> - -<p> -Don’t discard the past for the future, or the future for the past. We learn -about the earth from the telescope, and about the stars from the -microscope. -</p> - -<p> -DON’T be as negative as this list, or sit on the fence. It is better to be -on the wrong side than to straddle. -</p> - -</div> - -<hr class="footnote" /> - -<p class="footnote"> -<a class="footnote" href="#fnote-2" id="footnote-2">[2]</a> See <a href="#page-23">page 23</a>. -</p> - -<div class="chapter"> - -<h2 class="article" id="POEMS"> -<a id="page-15" class="pagenum" title="15"></a> -Poems<a class="fnote" href="#footnote-3" id="fnote-3">[3]</a> -</h2> - -</div> - -<p class="aut"> -JEANNE D’ORGE -</p> - -<h3 class="section" id="THECUP"> -The Cup -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">My body is no more clay</p> - <p class="verse2">But rapture—touched and golden:</p> - <p class="verse2">The Cup—the Cup</p> - <p class="verse">From which my lover drinks</p> - <p class="verse2">And drinking makes immortal.</p> - </div> - </div> -</div> - -<h3 class="section" id="THESTRANGER"> -The Stranger -</h3> - -<p class="subt"> -(<em>Eleven years</em>) -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Oh you spoil everything!</p> - <p class="verse">I am glad you are only my teacher—</p> - <p class="verse">My mother would know better:</p> - <p class="verse">She would not make me treat my friend badly as you do;</p> - <p class="verse">She would let me go to the Park and ride on the Merry-go-round with him;</p> - <p class="verse">Even if he is a sailor and a stranger he is grown-up and kind:</p> - <p class="verse">What harm can he do me? Would he beat me? Would he run away with me in his sloop? Would he murder me?</p> - <p class="verse">You shake your head and say nothing!</p> - <p class="verse">You have nothing to say—</p> - <p class="verse">And now you have spoiled everything.</p> - <p class="verse">You scared me so that when he came as he promised I edged away and hid my face and almost cried—</p> - <p class="verse">He couldn’t understand and of course he was hurt and went away</p> - <p class="verse">And I never shall see him again—</p> - <p class="verse">It is all spoiled.</p> - <p class="verse">And you spoiled it—by saying nothing—nothing—</p> - <p class="verse">You never say anything—</p> - <p class="verse">You never speak a true word.</p> - </div> - </div> -</div> - -<h3 class="section" id="THEKISS"> -<a id="page-16" class="pagenum" title="16"></a> -The Kiss -</h3> - -<p class="subt"> -(<em>Fifteen years</em>) -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">I shut my eyes and remember</p> - <p class="verse3">He kissed me,</p> - <p class="verse">My playmate suddenly kissed me</p> - <p class="verse3">Again and again—</p> - <p class="verse">Now I remember all I knew long ago....</p> - <p class="verse3">And more.</p> - <p class="verse">Kisses take your breath, stab to the heart with sweetest, strangest pain;</p> - <p class="verse">Oh, you can grow faint under their sweetness—</p> - <p class="verse">What will the Bridal night be....</p> - <p class="verse">A rush through terror and fire and death</p> - <p class="verse3">Into swift heaven.</p> - </div> - </div> -</div> - -<h3 class="section" id="THEINTERPRETER"> -The Interpreter -</h3> - -<p class="subt"> -(<em>Sixteen years</em>) -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">I wish there were Someone</p> - <p class="verse">Who would hear confession:</p> - <p class="verse">Not a priest—I do not want to be told of my sins;</p> - <p class="verse">Not a mother—I do not want to give sorrow;</p> - <p class="verse">Not a friend—she would not know enough;</p> - <p class="verse">Not a lover—he would be too partial;</p> - <p class="verse">Not God—he is far away;</p> - <p class="verse">But Someone that should be friend, lover, mother, priest, God all in one</p> - <p class="verse">And a Stranger besides—who would not condemn nor interfere,</p> - <p class="verse">Who when everything is said from beginning to end</p> - <p class="verse">Would show the reason of it all</p> - <p class="verse">And tell you to go ahead</p> - <p class="verse">And work it out your own way.</p> - </div> - </div> -</div> - -<h3 class="section" id="THESEALEDPACKAGE"> -<a id="page-17" class="pagenum" title="17"></a> -The Sealed Package -</h3> - -<p class="noindent"> -I will make it all into a package and put a heavy seal upon it, and -label it “To be destroyed unopened when I am dead.” -</p> - -<p> -These nine black months. These memories that must be cut away—like -a cancer from the breast but without anaesthetics to deaden the pain. Cut -away altogether lest they threaten life and reputation and the honor of the -family. -</p> - -<p> -Here is the signature of the man who caused it all, and the letter he -wrote when he knew the terrible truth. -</p> - -<p> -It includes a perfunctory offer of marriage which I was too proud to -accept. -</p> - -<p> -It also proves that I was virgin when he seduced me and protests that -had he believed in my virtue he never would have touched me. -</p> - -<p> -Here is the paper from the registry office recording the birth of a male -child:—mother unmarried—father’s name withheld. -</p> - -<p> -Here is the receipt for money paid on the adoption of a nameless child, -and the promise in my own handwriting to the woman who adopted him:—never -to make any further claims upon him—a resignation of all the rights -of motherhood. -</p> - -<p> -The rest is misery in black and white. -</p> - -<p> -A diary of stoic days and nights when even dreams were wet with -tears. An account of a secret sojourn in a strange city—veiled walks in -twilight streets—skulking in corners—lies—deceit—trickery—truckling to -convention. The copy of a prayer from Thomas-à-Kempis, and on the opposite -page a character sketch of the drunken and facetious landlady in -whose house the child was born. -</p> - -<p> -Seal up the package. -</p> - -<p> -If I look at it too long I am likely to go blind with rage at my own -weakness. -</p> - -<p> -I am likely to go mad and pull down upon me the pillars of society. -</p> - -<p> -I am likely to go mad and destroy the world— -</p> - -<p> -Seal up the package—hide it away— -</p> - -<p> -Forget—forget. -</p> - -<p> -The incident is closed. -</p> - -<h3 class="section" id="MEMORIES"> -<a id="page-18" class="pagenum" title="18"></a> -Memories -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">The Beauty and the Doom of that last day—</p> - <p class="verse">No heart was in me but an empty gaping wound</p> - <p class="verse">That reddened all the hours.</p> - <p class="verse">We were afraid to speak: to look: to touch—</p> - <p class="verse">At dusk within the house a dog barked wildly</p> - <p class="verse">And at that—I heard a voice—a wizard’s voice</p> - <p class="verse1">That gave me back my heart.</p> - <p class="verse">You spoke—and words were wands that touched and changed</p> - <p class="verse1">Passion to glory—thistles into palms</p> - <p class="verse1">You even made the silly barking of a dog</p> - <p class="verse1">Eternal in mine ears.</p> - <p class="verse">So now the mangiest pup that howls about the world</p> - <p class="verse1">Has voice and power and magic</p> - <p class="verse1">To rend my heart in twain</p> - <p class="verse">Or bid it rise and forth again.</p> - </div> - </div> -</div> - -<hr class="footnote" /> - -<p class="footnote"> -<a class="footnote" href="#fnote-3" id="footnote-3">[3]</a> See <a href="#page-24">page 24</a>. -</p> - -<div class="chapter"> - -<h2 class="article" id="THERUSSIANBALLET"> -The Russian Ballet: -</h2> - -</div> - -<p class="subt"> -It Sojourns in a Strange Land -</p> - -<p class="aut"> -CHARLES ZWASKA -</p> - -<p class="first"> -<span class="firstchar">W</span><span class="postfirstchar">e</span> were disappointed—and we had no right to be. Authorities say this -organization brings the music of the nineteenth century to its logical -conclusion. Logical—see? Authorities are always that. So let’s be logical -and philosophical and reason that what belongs to the nineteenth has no -place this far into the twentieth century. Granted. “Well, then, what <em>do</em> -you want?” they question. I should answer <em>The Faun</em> or something beyond -this, finding its manner and inspiration in this form—interpretive, -impressionistic, compressed, emotional. Of all the Ballets presented by -Diaghileff’s Ballet Russe that is, to me, the most indicative of what the -future is to be, so far as ballet and ballet music is concerned. We’ve had -Isadora Duncan, and Jacques Dalcrose has been at work. Following are -some impressions. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">L’Oiseau de Feu.</span>—The setting an irritating green: scroll-work gates in -the background. Mere finical, petty child’s scribbling in its conventionalized -<a id="page-19" class="pagenum" title="19"></a> -balancing. The characters and their work about on the same level. -Bakst costumed them, but the strength of the Hunter’s garb is not carried -into his action—he’s a most unvirile huntsman. And the finale! a coronation: -quite the proper climax for this. Rather interesting though to have -curtain fall on the incoming procession. The music—Stravinsky’s—fascinating. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Schéhérazade.</span>—“Barbaric” they say—yes, it’s a harem scene, you know. -But broad and daring as Bakst’s color is it’s not <em>very</em> far from the <em>usual</em> -harem scene. The lighting was not as good as it should have been. A -serious offense, for the shadows interfered with the action several times; -but they aided the bizarreness of the kaleidoscopic whirl at the height of the -“barbarities.” This is known as “good ensemble work”—good, yes, but unusual? -No longer so. They say there are no “principals” in this very -modern ballet, but it seems that <em>one</em> person gets the “principal parts”—I -refer to Bolm. Right here I’d like to quarrel with his work—he is “principaled” -too often to escape notice. His Le Negre was lithe, one necessity -of the role, but it was nothing else! His supposedly ecstatic whirls would -break annoyingly. A tiny dressed-up monkey. The end of his leap to -Zobeide’s couch was most ungraceful, awkward. These same broken whirls, -leaps, and evident stumblings—they seemed nothing else—appeared in -<em>Prince Igor</em>. Seeing these two ballets on the same bill emphasizes this -persistent failing. He, as the Desired One and the Desiring in <em>Schéhérazade</em>, -made the infatuation rather absurd, inhuman. The Grand Eunuch, -strange to say, was the human one—his wavering and final surrender of -his duty to the caresses of the females! As a whole: all the passion, all -the “lust,” superbly expressed human-ness—“barbaric,” perhaps, but human. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Carnaval.</span>—A deep blue background—a background that <em>backs</em>. Two -settees, weak spots they seemed. But nevertheless, against and into this -blue came Pierrot, Schumann music, and Colombine. Pierrot seemed grotesque, -absurd—lovers usually do. Excellent pantomime, then other lovers -come upon the scene. Pierrot steps out of the picture into the dark outer -stage, his white and spots of springtime green lying in a heap in the center. -The lovers maneuver. After their not vain pursuits, momentary, yet so -poignant, Colombine returns to a most itching, subtle, ecstatic melody—and -with her is Arlequin!! The knave! see the curve of his back and the -curve of his thighs and legs! Pierrot must be in on this! and <em>Carnaval</em> -proceeds. Arlequin is now and then out of the picture posing on the frame, -the dark fore-stage, looking on: and in such moments we have all—everything -for our eyes, our ears and our hearts: color, movement, sound, in -themselves emotions but also emotions of hearts that are seeking. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<a id="page-20" class="pagenum" title="20"></a> -<span class="smallcaps">Les Sylphides.</span>—Genee. In what years was she at her height? And -how many generations preceded her as exponents of her particular form -of the Dance? I dare say “in those days” when the “people wanted” such -things they wanted them well done. “People” still want it, but evidently -not done well. The background—Belasco!—well, never mind that. The -<em>Chopiniana</em> that Rabinoff’s Russians did had at least finesse; this one has -terrible ragged edges. Even the solo works, waltzes, and prelude seemed -chosen with little taste—the presenting of the thing at all was offensive -taste. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Prince Igor.</span>—The red of the tents not “barbaric,” the paganism of -the costumes a trifle faded, and the leaps of the warriors (Bolm, the “chief -warrior,” you remember) not convincing. The mob, or “ensemble,” if you -must, properly wild and abandoned. The music is the kind that you beat -time to with your feet, you know—primitive I think they call it. Well, the -“very moderns” failed us again—do you see? -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">L’Après Midi d’un Faune.</span>—Green. Some how I was expecting -purple, the hazy opaque purple of a woodland when the sun enters it -from one side; and still I think that purple would have fitted the Debussy -music and the mood of the faun,—a mood, of course dependent on the -music. But it was green, with rather weak spots of red. This scene -framed by a Greek border of pale and dark blue and white. In front of -this frame, looking into the picture at the languid, piping faun, moved -nymphs. They seemed part of the border—a decoration from an urn or -from the walls of some temple. The faun leaves his knoll and moves into -the decorative sphere of the maidens. Beautiful movement, repressed, conventionalized. -A scarf is left by one of the maidens; they have all left the -faun. He has nothing but this to remember them by. Returning to his -mossy rock he possesses the scarf. No lover more delicately held the body -of his love or with more reverence knelt toward her. The curtain lowers -here—the faun is left to dream. “Now, look here, my friends,” as <em>the</em> -Lecturer would say, stamping across the stage; “away with all this nonsense -and hypocrisy, this clatter about ‘indecent,’ ‘revolting,’ ‘vicious,’ ‘offensive,’ -‘decadent,’ and such blabber! Admit that your life, you critics, living for -art as you pretend to, is made up of just such things—in fact if you were -honest you’d admit your entire life is wholly, first and last, rooted, aye, -<em>dwelling</em> on just this episode, and yet you cry aloud unto the heavens ‘indecent,’ -‘revolting,’ ‘offensive’ when it is beautifully simple and much more -perfectly presented before you than you’ll ever experience it yourself. And -as for the substitution of the scarf, well, the psychology of the incident -is perfect and the whole thing is heightened by art, my friends, <em>art</em>—and -you of course, living as you do amongst the fleshpots and the Market -<a id="page-21" class="pagenum" title="21"></a> -Place and knowing not of the Groves of Dionysius and the Temples on the -hillsides at Athens—can’t see it. Well. The gods have pity on you and -may you be shown joy in the hereafter—God knows your chastity will -keep you from it here.” -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Le Spectre de la Rose.</span>—Fragmentary concession to those who -“loved” <em>Les Sylphides</em> and, botanically speaking, a “shoot” from that ballet -and the (unpresented here) <em>Papillons</em> of Schumann. Necessary, no doubt, -to remind us of our ballet history and, like historical data, necessary but -uninteresting. Bakst’s bedroom setting <em>does</em> justify the presenting of this, -however. -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Soleil de Nuit.</span>—M. Leonide Massine—<em>Youth!</em> If you were present -at creation’s turmoil perhaps <em>les Bergers</em> would always have been delightful -and <em>les Paysannes</em> always happy and colorful—and, of course, we would -have had many more serious and glorious Bouffons! The <em>purity</em> of this -ballet—color, music (Rimsky-Korsakov), dancing and pantomime—is -astounding, and beautiful! -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Cleopatre.</span>—<em>I</em> have been to Egypt! All ages have known Cleopatra—her -evil and magnificence; and none will forget that she had slaves. No -age since hers can know of her allurements and the grandeur of her reign -of the souls of two of her slaves as the Russians have shown them to ours! -A temple in Egypt: of pillars once believed eternal, along the then sacred -Nile. Amoun, one of her slaves, loving and loved by another, Ta-or, -craves the caresses of the great Cleopatra! He succeeds: they are granted -midst colorful revels, music made by Assyrians and dancing by dancers -from Greece. The moment is too short ... he pays for it with his life. -The revelers leave, and none in their indifference so cold as the Queen herself. -In the thickness of a red evening, the hall deserted, one heart still -beats. Ta-or grieves over her lost love—alone. I have been to Egypt ... -learned the ways of women—and the world! -</p> - -<hr class="tb" /> - -<p class="noindent"> -<span class="smallcaps">Petrouchka.</span>—Primary things: red, blue, yellow; love, hate, jealousy; -people and artists. All told together in a ballet whose dramatic unification -finds its remarkable inspiration in the music. No doubt Stravinsky’s most -important music for the stage. Pétrouchka, eternal paradox of beauty encased -in ugliness. His jealousy of the Moor, who also loves the Ballerine, -is the ballet, and the music. Foremost the music! Pétrouchka, in whirling -frenzy alone with night and the stars; the Ballerine haunting him with -piercing notes blown from a silver horn; his discovery of the Moor with -his love; and the mannekins entering into the public square, halting the folk-music -of the peasants and squires; Pétrouchka’s death in the snow and the -<a id="page-22" class="pagenum" title="22"></a> -appearance of his spirit. All these episodes are <em>music</em>. Here one gets -the ingenious use of an orchestra, extraordinary combinations of instruments. -Carpenter attempted this, you remember, in his <em>Perambulator</em>. Igor -Stravinsky has accomplished it. He with Leon Bakst, is the most important -figure of the Russian Triumph. They worked together to achieve -<em>Pétrouchka</em>. -</p> - -<hr class="tb" /> - -<p class="noindent"> -The agonizing lack of an audience excuses Diaghileff in laying aside a -completely perfect matinee program in favor of one that would attract -modern children with their innocent parents, but, artistically, there is no -justification of this bowing to the “public” and to “morals” in the reasoning -that moved them to tone down the color of the slaves in <em>Schéhérazade</em>. The -contrast was needed: black was in the color plan, especially for Le Negre. -This makes us suspicious that the other uneven and faulty spots were caused -by just such managerial schemings. Seeing some the second and third -times strengthened these suspicions! The journalistically “notorious faun” -on its third performance (a matinee) moved less lithely and, that there be -no “effrontery of good taste,” posed stupidly, stiffly, while the tense vibrating -music panted for <em>movement</em>—for entry into life. And <em>Cleopatre</em>! -Much as it was Americanized by being “less sensuous, etc.,” the second performance -descended to mere Grand Opera pageantry, or nearer, to a Grand -Opera Gala Performance vaudeville. The actual center of interest, the -Queen’s couch, was draped by a still, unamourous—yet Decency and the -Parents’ League be praised!—unoffensive lover. -</p> - -<p> -In a strange land; so strangely treated! That prophets might be understood -in another land their priests distort them that barbarians may comprehend! -</p> - -<div class="editorials chapter"> -<a id="page-23" class="pagenum" title="23"></a> -<div class="chapter"> - -<h2 class="editorials" id="EDITORIALS"> -Editorials -</h2> - -</div> - -<h3 class="section" id="THEESSENTIALTHING"> -<em>THE ESSENTIAL THING.</em> -</h3> - -<p class="first"> -<span class="smallcaps"><span class="firstchar">T</span><span class="postfirstchar">he</span> Little Review</span> is a magazine of Art and Revolution. If -you ask me which it believes in most I shall have to say—Art. -Because there is no real revolution unless it is born of the -same spirit which produces real art. -</p> - -<p> -A man like Bill Haywood doesn’t agree with this. “Why do -you ask why some one doesn’t start the revolution?” he says; -“don’t you see that we’re in the midst of a revolution now?” No, -I don’t see it. I see evolution at work in labor—not revolution. -But I see something more than evolution at work in the arts—music, -painting, poetry. -</p> - -<p> -“... to obtain victory over man and circumstance there -is no other way but that of feeding one’s own exaltation and magnifying -one’s own dream of beauty or of power.” You can argue -that D’Annunzio, who said this, is neither a very great man nor -a very great artist. Nevertheless it is what Beethoven did; and -it is what Jeanne d’Arc did.... It is what Bill Haywood -does; but it is not what most labor leaders do, or what most -radicals do. It is not what the laborers themselves do. How -horrible it is to realize that when a man is slaving for his very -life he can not be selective in what he does, that he has no dream -left to magnify, and yet that he must have or perish.... -</p> - -<p> -This is why I would go to hear John Cowper Powys even if -he spoke in such a benighted place as the Hebrew Institute. Boycotts -are important, but they will not help a revolution as a dream -will. Mr. Powys will help you to find both an exaltation and a -dream.... -</p> - -<h3 class="section" id="DONTS2"> -“<em>DON’TS FOR CRITICS.</em>” -</h3> - -<p class="first"> -<span class="firstchar">I</span> went to a meeting of the Friday Club the other day, where -Mary Aldis was to read a very good paper which she called “A -Passionate Inquiry into Imagism.” After she had finished, Harriet -Monroe rose to defend the poetry of H. D.—poetry which Mrs. -<a id="page-24" class="pagenum" title="24"></a> -Aldis had confessed left her unmoved. Miss Monroe “explained” -the miracle of such poetry as H. D’s <em>Oread</em> so that even those who -don’t “get” these things ought to have understood. And still—what -is the use? I am convinced that the secret and the beauty of -the Imagists lies somehow <em>in the look of the words</em>, and that if you -have only a feeling for the sounds of words you will never love -Imagism. Witter Bynner, who was also there, made an amusing -little speech about how the Imagists substitute color for sound, sensation -for emotion, and concentrate upon technique instead of upon -that for which technique is intended. And then Alice Corbin Henderson -had the last word. “After all the discussion about Imagism -I am surprised to find that no one really seems to know what it is!... -When Mrs. Aldis told me the title of her paper I said -that what I should like would be a dispassionate inquiry. She said -she didn’t think that possible—apparently it isn’t; but as I was -thinking over the many heated criticisms of Imagism and modern -poetry that have appeared lately, I began to make a list of Don’ts for -the critics.” (They are printed on another page). “Of course, if -the critics can’t find out what Imagism is there isn’t any need telling -them; though it might be well to point out again that it isn’t a -matter of technique: it is a matter of vision.” -</p> - -<h3 class="section" id="ATRIBUTE"> -<em>A TRIBUTE.</em> -</h3> - -<p class="first"> -<span class="firstchar">J</span><span class="postfirstchar">eanne</span> D’Orge, who makes her first appearance in print in -the present issue, has the semblance of a fountain laced with -colored flames.... But you dip a hand in the laced water -and—it is chilled and edged. There is a defiant, battered God -with many swords beneath her casual flow of words—a God that -sometimes suddenly cries out, as at the end of her <em>Sealed Package</em>. -The poems she has in the present number are part of a series -called <em>The Torch</em>, in which with sledge-hammer, burning accurateness -she paints the emotions of a woman, from childhood to -womanhood—a woman who is an utter wistful-lipped pagan. -</p> - -<p class="sign"> -M. B. -</p> - -</div> - -<div class="editorials chapter"> -<a id="page-25" class="pagenum" title="25"></a> -<div class="chapter"> - -<h2 class="editorials" id="PROPAGANDA"> -Propaganda -</h2> - -</div> - -<h3 class="section" id="BIRTHCONTROL"> -<em>BIRTH CONTROL</em> -</h3> - -<p class="first"> -<span class="firstchar">M</span><span class="postfirstchar">argaret</span> Sanger’s case has been dismissed, “because -she is not a disorderly person”—and what has been gained -for the issue of birth control? Nothing, except perhaps a little -education through publicity; and that appears to be very little when -you reflect what has just happened to young Dr. Long, now lying in -jail in Chicago because of an abortion which resulted in the death -of his wife. Think of a society that dares to meddle in people’s -lives to the extent of making them face death rather than face -a scandal. Think of a doctor (the cad by the name of Goldstine, -I believe) who <em>notifies the police</em> as the proper agents to deal -with such a tragedy. Think of a public which makes it a crime -for these operations to be performed intelligently and without -danger of blood poisoning. Think of physicians who will not -fight for their right to do this. And think of splendid Dr. Haiselden! -</p> - -<p> -Margaret Sanger has been “forgiven” by the government, but -the statutes regarding family limitation remain the same. Any -unfortunate unknown can be whisked into jail for propagating -birth control, just as usual. Mrs. Sanger didn’t even demand -redress for her husband, who spent a month in prison. Surely -he was entitled to a dismissal on the same grounds—more entitled -to it, even in the eyes of the law: he had never circulated the -pamphlets or in any way agitated for birth control. He is an -artist, not a propagandist. But he served his sentence, and nothing -was done or is being done about it. Mrs. Sanger means to go on -with her work. What does the government mean to do about it? -</p> - -<p> -Emma Goldman is about to stand trial for the same “offense.” -In her case there will be no “influential” women rushing back and -forth to Washington to interview the President in her behalf. -I only wish there would be. It would insure her freedom for -the next year, and it would be so amusing to figure out on what -grounds the Good Presbyterian could effect the release of the -Arch Anarchist. But Emma Goldman will fight her case alone, -<a id="page-26" class="pagenum" title="26"></a> -and on its merits. If she does not succeed in effecting a revision -of the penal code regarding the whole matter of birth control she -will spend the next year in prison, I understand. You can all -help by sending your protests to Magistrate Simms and also -by giving your support to Dr. Long and Dr. Haiselden or any -other person who gets involved in these laws of the dark ages. -</p> - -<h3 class="section" id="THEBEAUTIFULGESTURE"> -“<em>THE BEAUTIFUL GESTURE</em>” -</h3> - -<p class="first"> -<span class="firstchar">W</span><span class="postfirstchar">hy</span> do you object to Jean Crones’ reasoning? I reprint his -second letter, transposed into English: -</p> - - <div class="excerpt"> -<p class="noindent"> -Why did I do it? While in Europe millions of Christians -are slaughtering each other in the most bloody massacre, -and in this free country thousands of men and -women are tramping the streets without food and shelter, -and at the same time the church holds dinners that cost -$15 a cover, beginning with Beluga caviar and champagne—the -money which was beggared from poor working men -and women, the money which the blood of poor workers -has run for. -</p> - -<p> -These conditions are a scandal. This is the failure -of Christianity—an insult to honesty and a challenge to -humanity. Let the church answer my charges toward the -world and I shall stand for the charges made against me. -</p> - - </div> -<h3 class="section" id="MOTORBUSSESONCHICAGOBOULEVARDS"> -<em>MOTOR BUSSES ON CHICAGO BOULEVARDS.</em> -</h3> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">here</span> is really a definite plan on foot for this miracle. A -Motor Bus Company has been formed, and the necessary certificates -from the State Public Utilities Commission secured. Its -plan is to operate from the south end of Jackson Park to the -north end of the city limits. People who haven’t limousines, who -can’t afford taxis, and who can’t possibly walk the whole distance -of the parks, will be able to drive through the beautiful parts of -the city—the <em>only</em> beautiful parts, it is necessary to add. For -ten cents they can have an astounding romance. They can sit -on top of an omnibus, under the sun or the stars, and watch -<a id="page-27" class="pagenum" title="27"></a> -Lake Michigan stretching out to the other side of the world. That -is, they can do this if the Park Commissioners decide to allow them. -</p> - -<p> -Some of these commissioners raise the objection that motor -busses will add seriously to the traffic congestion. That is true, -but how is the thing managed in New York? Fifth Avenue is -narrower than Michigan, and it is always more crowded. Other -commissioners object to the wear and tear on the boulevards which -have not been constructed for such heavy traffic. But the Chicago -Motor Bus Company “has agreed to pay the Lincoln Park Commissioners -$1,300 a year for each mile of their route and the -South Park Commissioners $1,000 a year per mile.” -</p> - -<p> -The thing that really halts the plan at present is the attitude -of a couple of private citizens who complain to the South Park -Board that motor busses will destroy the beauty of the boulevards! -You know the type of mind whose thinking runs in such -channels? The type that doesn’t give a hang who pays the -taxes which maintain the boulevards; the type that is fond of -talking about democracy and what great things we do for the -foreigner in America. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Of the men who rhyme, so large a number -are cursed with suburban comforts. A villa and -books never made a poet; they do but tend to the -building up of the respectable virtues; and for -the respectable virtues poetry has but the slightest -use. To roam in the sun and air with vagabonds, -to haunt the strange corners of cities, to -know all the useless and improper, and amusing -people who are alone very much worth knowing; -to live, as well as to observe life; or, to be shut -up in hospital, drawn out of the rapid current -of life into a sordid and exasperating inaction; -to wait, for a time, in the ante-room of death; -it is such things as these that make for poetry. -</p> - -<p class="sign"> -—<em>Arthur Symons.</em> -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="POEMS2"> -<a id="page-28" class="pagenum" title="28"></a> -Poems -</h2> - -</div> - -<p class="aut"> -RICHARD ALDINGTON -</p> - -<h3 class="section" id="BLOOMSBURYSQUARE"> -Bloomsbury Square -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">I walk round Bloomsbury Square.</p> - </div> - <div class="stanza"> - <p class="verse">Bright sky over Bloomsbury Square;</p> - <p class="verse">Bright fluttering leaves</p> - <p class="verse">Between the sober houses.</p> - </div> - <div class="stanza"> - <p class="verse">I carry my morning letters,</p> - <p class="verse">Some telling of lives spoiled and cramped,</p> - <p class="verse">Some telling of lives hopeful and gay,</p> - <p class="verse">Some full of yearning for London</p> - <p class="verse">And our wider life.</p> - </div> - <div class="stanza"> - <p class="verse">In Bloomsbury Square</p> - <p class="verse">The worms of a little moth</p> - <p class="verse">Are spinning their Cocoons,</p> - <p class="verse">Weaving them out of bright yellow silk</p> - <p class="verse">And bits of plane bark</p> - <p class="verse">Into strong, comfortable houses.</p> - <p class="verse">But hundreds of them</p> - <p class="verse">Have wandered on to the iron fence</p> - <p class="verse">And go wearily wandering,</p> - <p class="verse">Spending a little silk here</p> - <p class="verse">And a little silk there,</p> - <p class="verse">And at last dropping dead from weariness....</p> - </div> - <div class="stanza"> - <p class="verse">“Our wider life”—</p> - <p class="verse">That is our wider life:</p> - <p class="verse">To wander like blind worms</p> - <p class="verse">Spending our fine useless golden silk</p> - <p class="verse">And at last dropping dead from weariness.</p> - </div> - <div class="stanza"> - <p class="verse">Blue sky over Bloomsbury Square;</p> - <p class="verse">Bright fluttering leaves</p> - <p class="verse">Between the sober houses.</p> - </div> - </div> -</div> - -<h3 class="section" id="EPIGRAM"> -<a id="page-29" class="pagenum" title="29"></a> -Epigram -</h3> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Rain rings break on the pool</p> - <p class="verse">And white rain drips from the reeds</p> - <p class="verse">Which shake and murmur and bend;</p> - <p class="verse">The wind-tossed wistaria falls.</p> - </div> - <div class="stanza"> - <p class="verse">The red-beaked water fowl</p> - <p class="verse">Cower beneath the lily leaves;</p> - <p class="verse">And a grey bee, stunned by the storm,</p> - <p class="verse">Clings to my sleeve.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="LOLLIPOPVENDERS"> -Lollipop Venders -</h2> - -</div> - -<p class="aut"> -LUPO DE BRAILA -</p> - -<p class="first"> -<span class="firstchar"><span class="prefirstchar">“</span>M</span><span class="postfirstchar">isfit</span> clothing”—I saw these words this morning on a small shop -sign and they kept dancing before my eyes. Misfit clothing. In -vain all my attempts to concentrate on the object of my visit to the Art -Institute. -</p> - -<p> -I sat down to search my brain for the cause of this phenomenon, and -I soon recalled another such visit I once made under similar difficulties. -</p> - -<p> -It was at the San Francisco Exposition. I discovered by chance the -so-called Annex of the Fine Arts Building, a stable-like structure in comparison -to the main building. It housed the Norwegian, Hungarian, and -Spanish exhibits—by the way, almost the only ones worth seeing. At that -time another vision kept me from seeing the exhibit for some moments. -It seemed as if some short bald men danced along green velvet walls, each -one plucking his heart beats with gusto and, after arranging them in a -queer design on a crystal glass plate, offering them to the stars and children. -</p> - -<p> -This recollection cleared the air and I realized that surroundings have -a strong effect on me. I have come to enjoy the result of the finest faculty -we possess, our imagination. I have come to admire the result of a year’s -work of our Chicago Artists. -</p> - -<p> -Three hundred and twenty-one paintings, says my catalog; and in -order to simplify matters I decide to look at some of the most popular -names first—names usually found on the juries. -</p> - -<p> -Artists, according to Rodin, are different from other mortals because -they love their work. Let us see: Adam Emory Albright, Alfred Juergens, -Lucie Hartrath, John F. Stacey, and Dahlgreen. Each one of them -<a id="page-30" class="pagenum" title="30"></a> -has between three and seven paintings. With all that canvas they must -have sailed on the most enchanting seas, and surely have brought back a -holiday for our eyes and hearts. -</p> - -<p> -The first one I encounter is <em>An October Afternoon</em> by Mr. Alfred -Juergens; visions of little coral trees with hanging heads against a faint -green dream sky, embroidered brown leaves in the foreground and cool -blue hills like thoughtless sighs in the background, appear on the catalog -page. But see what Mr. Juergens has done with this subject. I -can scarcely believe my eyes. A mushroom dog in front of some formless -and lifeless trees; amateur composition, thoughtless technique, and dirty -color. And Mr. Juergens has a steady job on the jury. I wonder what -is his reason for painting: he certainly does not love his work. Something -suddenly interferes with my thoughts on this subject: it is the -jingling of coin in a visitor’s pocket. I look around and find number 174 -by the same gentleman, and it reminds me of a cat walking on the keyboard -of a stringless piano. -</p> - -<p> -They say this is the best exhibition of the Chicago Artists. If it -is, Mr. Juergens has done nothing to make it good. He has six such things -on the walls. -</p> - -<p> -Mr. Albright, a painter of children playing in the open, has seven pictures -in the exhibit, five of them on one wall. One is called <em>The Barn -Yard</em>. The name reminds me of the reproduction of a painting by Malchevski -I saw in a Polish library a few days ago. It was called <em>Art in -the Back Yard</em> and showed a little satyr playing a flute for a little girl -and a few turkeys. There was romance in the fence boards, and marvelously -clean colors; it shouted life and joy. Mr. Albright’s old-maid’s -conception of childhood made me feel sad. His shapeless hens, his flattened -children on the wall, weak composition, dirty colors, and no sign -of life in the whole thing, or feeling of out-of-door air. Almost disgusted, -I look further:—<em>A Summer Dream</em>. I look for the dream and find it in -the fact that the biggest of the boys has borrowed his older brother’s -head, and the painting is full of some dirty yellow color. A horrible -dream. I wish Mr. Albright as well as Mr. Juergens would at least clean -their pallets if they can not change their conception of things. -</p> - -<p> -Next I visit <em>Sunshine Alley</em>, by Lucie Hartrath. It is the alley of -poverty of ideas and bad color. Miss Hartrath evidently wants to paint -what she sees, but she does not happen to see anything startling. She, too, -has six such things on the walls. -</p> - -<p> -The mediocre work of John F. Stacey and Anna L. Stacey really -deserves no attention. Especially bad is the portrait of John by Anna -(there is little love expressed in it) and <em>The Beach Road, Belvedere, California</em>, -by John, takes the prize for being the poorest painting in the exhibition. -John F. has only one painting that looks as if it were made by -a man who loves his work—<em>The Golden Hills of California</em>. -</p> - -<p> -<a id="page-31" class="pagenum" title="31"></a> -Next comes a man I dislike to place among the lollipop venders—he -being a very nice quiet and honest man; but why does Mr. Dahlgreen -paint? -</p> - -<p> -Now, when I come to Messrs. Griffith and Irvine, I find their anaemic -work quite good in comparison to the work I have seen until now. Of -course, I did not expect paintings with as wide a scope as the work of -the Zubiaure Brothers, Zuologa, Edward Munch, Hodler, Welti, Malchevski, -Franz, Stuck, Fritz Erler, Putz, Elie Reppin, etc., to say nothing -of the latest developments of modern art and ideals—I mean the disciples -of Cezane, Matisse, Van Gogh, Gauguin, etc.—because Chicago is still -a frontier town. All the latest improvements plus the Art Institute cannot -change its real character: a frontier town with frontier town ideals. -In this case, all criticism being comparative, I did not look for the highest -standard. Had I done so, three words might have been my comprehensive -criticism. As it is, all I expected was clear feeling, clean color, good -design, and a certain amount of delicacy in handling. This has been fulfilled -only in a measure by Mr. Bartlett, whose strength and individuality -places him at the head of the landscape painters exhibiting. He reminds -me very much of Trubner, especially his <em>Autumn Afternoon</em>. I -also like his daring composition in <em>Under Chinese Tower, Munich</em>. Pauline -Palmer’s work is full of broadly-painted sunshine, though the foliage -in some of her trees seems too heavy and shapeless. -</p> - -<p> -Next in merit I think comes Marie Lokke, whose yellow sail in <em>The -Old Pier</em> takes the wind out of many a neighbor. Hermann More’s <em>A -Summer Afternoon</em>, is a good example of clear feeling and clean color. I -also like Mr. Kraft’s delicate <em>Silver Mist</em> and <em>An Autumn Afternoon</em>, and -Mr. Ingerles’s, <em>The Fascinating Ozarks</em>. -</p> - -<p> -There is also a class of painters who can best be described as able -and honest. At the head of these artists stands Mr. Peyraud and Edward -B. Butler. There are also Frank V. Dudley, H. Leon Roecker, Edgar S. -Cameron, J. H. Carlsen, Lawton Parker, Charles Francis Brown, A. H. -Schmidt, William Wendt, Alfred Jansson, Alson Clark, Karl A. Buehr, -Grace Ravlin, Edgar Payne and the following portrait painters: our own -Franz Hals, Mr. Christian Abrahamsen, Oscar Gross, Gordon Stevensen, -Cecil Clark Davis and Arvid Nieholm. -</p> - -<p> -Mr. Werner’s mannerism is too monotonous. -</p> - -<p> -Mr. Ufers and Mr. Higgins have taken yellow ochre into the open and -made good use of it. I have taken these two men separately because both -have done good work and I expect much improvement in the near future. -Their work at present looks too much like illustrations. Miss Dorothy -Loeb is the only one who has a real sense of rhythm in line. -</p> - -<p> -The Chicago Society of Artists, which runs this exhibition every year, -seems to be controlled at present by a number of men who have inherited -a long-discarded weak imitation of a technique once used by Segantini. -<a id="page-32" class="pagenum" title="32"></a> -They have excluded almost everything that showed some originality and -feeling, but have accepted and hung a few very poor and meaningless -things, so that they may shine by contrast. However, it seems to me they -are at the end of the rope. The public refuses to buy the dope and their -best men have sent in nothing to this show. I refer to Clarkson, Reynolds, -Betts, Oliver Dennet Grover, Henderson, Rittman; and Lawton Parker -has only one little canvas. -</p> - -<div class="editorials chapter"> -<div class="chapter"> - -<h2 class="editorials" id="VERSLIBRE"> -A Vers Libre Prize Contest -</h2> - -</div> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">hrough</span> the generosity of a friend, <span class="smallcaps">The Little Review</span> -is enabled to offer an unusual prize for poetry—possibly the -first prize extended to free verse. The giver is “interested in all -experiments, and has followed the poetry published in <span class="smallcaps">The Little -Review</span> with keen appreciation and a growing admiration for the -poetic form known as <em>vers libre</em>.” -</p> - -<p> -The conditions are as follows: -</p> - - <div class="linespace"> -<p> -Contributions must be received by April 15th. -</p> - -<p> -They must not be longer than twenty-five lines. -</p> - -<p> -They must be sent anonymously with stamps for return. -</p> - -<p> -The name and address of the author must be fixed to the -manuscript in a sealed envelope. -</p> - -<p> -It should be borne in mind that free verse is wanted—verse -having beauty of rhythm, not merely prose separated into lines. -</p> - -<p> -There will be three judges, the appointing of whom has been -left to the editor of <span class="smallcaps">The Little Review</span>. (Their names will be -given in the next issue, as we are hurrying this announcement to -press without having had time to consult anyone.) -</p> - -<p> -There will be two prizes of $25 each. They are offered not -as a first and second prize, but for “the two best short poems in -free verse form.” -</p> - -<p> -As there will probably be a large number of poems to read, -we suggest that contributors adhere closely to the conditions of -the contest. -</p> - - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="ANEILLYONS"> -<a id="page-33" class="pagenum" title="33"></a> -A. Neil Lyons -</h2> - -</div> - -<p class="book"> -(<em>John Lane Company, New York</em>) -</p> - -<p class="first"> -<span class="firstchar">A</span> roomy garret with a wee dirty window in the sloping roof. Some -trunks with old fine clothes and older musty books—books of hymns and -sermons, most of them were. Broken limp chairs. A fire that would not -“draw.” Bits of worn carpets on the floor. A smelly oil lamp on one of -the trunks. Such was the place of my solitary confinement, for rebellion, -at least once a week. I admit to having even deliberately whistled and -danced a highland fling on dreary Sundays in order to provoke my God-fearing, -Sabbath-respecting elders to send me to the garret! How could -they, unsuspecting, unimaginative Olympians, know that it was one of the -places where I had real joy? -</p> - -<p> -In the smallest trunk there were back numbers of <em>Punch</em>. Pencils and -paper were there also. When the steps sounded no more on the stairs, and -I had stopped my stage crying, I would take out my drawing materials and -an issue of <em>Punch</em> and start to copy the easiest drawings I could find. -</p> - -<p> -Among the artists there was none that I liked better than Phil May. -His sense of the comic and his economy of line appealed to me and my -lack of ability to draw. His Cockney folk gave me more pleasure than -any of the staid humans I knew. He.... -</p> - -<p> -But I forget myself. I started out to write of Neil Lyons.... All -the words I have spun for the prelude are merely to say that during my -re-reading of the work of Neil Lyons in the past few months I have been -struck again and again by its likeness to the drawings of Phil May: the -same joy, the same delight was there in the reading as there was in the -contemplation of the drawings. -</p> - -<p> -Now, this likeness not only existed in the handling of the subject, but -also in the choice thereof. The Cockney men, women and children that -Phil May has drawn Neil Lyons has written about. The pictures of the -peasantry that May has left are alike in line and spirit to those Lyons has -drawn verbally in <em>Cottage Pie</em> and <em>Moby Lane</em>. -</p> - -<p> -If you know Phil May’s work think of one of his drawings of a fat -middle-aged woman, and then listen to this drawing of another, by Neil -Lyons: -</p> - -<div class="excerpt narrow"> -<p class="noindent"> -“She was forty years old -at a venture. She had lots -of mouth and a salmon-coloured -face and a pretence -<a id="page-34" class="pagenum" title="34"></a> -of a nose and small watery -eyes. All these amenities -were built up on a triple -foundation of chin, which -was matched by an exceeding -amplitude of bosom -and waist.” -</p> - -</div> - -<p class="noindent"> -Don’t you recognize the same swift, sure lines? -</p> - -<p> -But I must get away from this parallel. Never at his best is the artist -as great as the writer. There is no line or collection of lines in May’s work -to match this in Lyons’: -</p> - -<div class="excerpt narrow"> -<p class="noindent"> -“Mrs. Godge, who was -lately the mother of twin -babies, is now the mother -of memories.” -</p> - -</div> - -<p class="noindent"> -That sentence is only a shadow of the quiet poignancy of the tale that -follows it. Oh, the wonder of the man who can see every side of the common -people and set them down with such verve, such relish, such keen -poignancy and hilarious joy! Let me quote from the story of blind Unity -Pike, “the wanton”: -</p> - -<div class="excerpt narrow"> -<p class="noindent"> -“I imagine poor old Unity -at this period of her life as -having been a little, fresh, -dark-haired maiden of -Quaker habit. I know she -must have been beautiful -because <span class="smallcaps">ALL</span> young things -are beautiful. I imagine -this poor bound soul in the -dark with its toil and its -thoughts—half-formed -thoughts, half-formed -memories, half-formed -wishes. Nothing real about -her or within her save the -darkness. And I can imagine -how it was, therefore, -that—— -</p> - -<p> -“Yes! They found Jack -Munsey in her cottage. -They found him in the -night. And so, in the -name of Christ, whose -name they give to all their -<a id="page-35" class="pagenum" title="35"></a> -wickedness—that Christ, -who forgave a woman that -was not blind for sins -beside which this sin of -Unity’s was pure and white—in -the name of this God, -I say, they seized her -sightless, wondering soul -and threw it, a sacrifice, to -those bloody wolves they -call their virtue.” -</p> - -</div> - -<p class="noindent"> -I would fain go on quoting, showing you the wit of this man, gentle, -and on occasion barbed and stinging: his humor, kindly, of the soil; his -great jollity and high good spirits. I would indeed like to introduce you -to “Clara,” the hussy, who is fat and motherly and with a heart and mind -unbounded. I would like to take you to “Arthur’s,” the midnight coffee-stall -where you would meet with street-walkers and soldiers, scavengers -and tramps and hear from the lips of a gutter snipe one of the most perfect -and touching love tales ever told. -</p> - -<p> -Oh, but you must read them all yourself. Will you, if I give you the -names of the various volumes? Here they are, then: <em>Arthur’s</em>, <em>Sixpenny -Pieces</em>, <em>Cottage Pie</em>, <em>Clara</em>, <em>Simple Simon</em>, <em>Moby Lane</em>. -</p> - -<p> -John Lane, he of the Bodley Head Publishing Company, who gave -the world <em>The Yellow Book</em>, the works of Anatole France and Stephen -Leacock, is the publisher. -</p> - -<p> -I wait expectantly your showers of gratitude! -</p> - -<p class="sign"> -—<em>Allan Ross Macdougall.</em> -</p> - -<div class="chapter"> - -<h2 class="article" id="THEREADERCRITIC"> -<a id="page-36" class="pagenum" title="36"></a> -The Reader Critic -</h2> - -</div> - -<div class="letters"> -<h3 class="section" id="ANARCHY"> -<em>ANARCHY</em> -</h3> - -<p class="from"> -<em>Alice Groff, Philadelphia</em>: -</p> - -<p> -Anarchy is scientifically a reductio ad absurdum and those who claim to be -anarchists are self-deceivers,—minds that cannot complete a circuit of reason. There -is no place in reason for anarchy, hence there is not and cannot be an anarchist on a -basis of reason. All who call themselves so are either <em>archists</em> of the most rabid sort -or helpless flies in the sticky syrup of laissez faire. The only professed anarchists -that make any impression upon the world are of three kinds: either they are spirits -of revolt of the most bitterly, materialistically tyrannical sort; or they are those who -suffer with the oppressed and strive individually to set them free, even to the point -of <em>self</em>-martyrdom; or they are sentimentalists who maunder maudlinly on about love -and justice and yet do absolutely nothing to bring about the love of justice or the -justice of love, either in their preaching or their practice. But none of these are -really anarchists, they are only varieties of <em>archists</em> who wish to impose their <em>own</em> -social ideals upon the social order in place of those that already prevail. -</p> - -<p> -The whole story of social evolution in a nutshell is as follows: every phase of -the social order at any stage of social evolution is maintained by a social ego or group -sufficiently powerful to dominate the rest of the surrounding social body,—and this -phase can be changed only by revolution—bloodless or otherwise,—on the part of a -new social ego desiring this change and developing power to establish and maintain it. -</p> - -<p> -Now the only way in which such a social ego can develop such power is by obtaining -control of <em>the means of living</em>,—food, clothing, shelter, and the natural and financial -resources back of these means; and this control can be obtained only by <em>archists</em>,—<em>dominationists</em>,—organized -into a social ego or group that is a unit on any special -social ideal. Rebellions come and rebellions go, but the only rebellion that ever -reaches successful revolution is made by a social ego powerful enough to get control -of the necessities of life <em>by force</em>,—force material, intellectual, or psychic. This disposes -forever of the professed repudiation of force by the philosophical anarchists, -so-called. As for the poetic anarchists, who draw moving pictures of the beautiful -time to come, when humanity will voluntarily organize to abolish all man-made law -(which <em>they</em> consider the only social evil, not realizing that the evil is not in law, -per se, but in the <em>kind</em> of law), and who look to “Mother Nature” for social guidance,—these -will wait and look till the crack of doom, in vain. For “Mother Nature” is an -old-wife of incredible stupidity, socially considered, and must needs be pulled up by -the hair of her head at every whip-stitch, by her ever-evolving offspring, in order that -they may transform her social stupidity into scientific truth. Social evolution depends -entirely upon the discovery of such scientific truth and its application to the social -order, and such application can be made only step by step through a social ego powerful -enough to compel such application. -</p> - -<p> -From this it may be seen that by whatever name we may call ourselves,—monarchists, -democrats, anarchists,—we are really <em>archists</em> striving to impose our ideals -as social egos upon the social order, and succeeding—only when we can get control -of the means of living—in dominating the rest of the social body with them,—until a -new social ego gets the power to cry “The king is dead! Long live the king!” -</p> - -<p> -It, of course, goes without saying that no social dominance has ever been entirely -wise or beneficent, and that until very recently in social history there has been no -knowledge of sociological scientific truth to speak of upon which to base social domination. -But the hope of the world lies in the ever-progressing discovery of such -truth, and in its application to the social order by ever-evolving social egos that will -more and more base their social ideals upon such truth, gradually dominating the -whole social order with ideals so based. -</p> - -<p class="from"> -<a id="page-37" class="pagenum" title="37"></a> -<em>Anonymous</em>: -</p> - -<p> -After having read your “A Deeper Music” in the February issue I wondered -whether you had ever heard Mr. de Pachmann play the piano. There is nothing in -the world like it—nothing more wonderful. I am not speaking of an ebony Mason -and Hamlin alone on a stage, but of any piano at all, with that madman bending his -head over the keys of it. -</p> - -<p> -I feel sure that had you heard him you would have included him in your article -and would not have put words into Bauer’s mouth. You would have known that it is -possible to play the piano very badly and play it more beautifully than any one else; -both of these in one afternoon. The design of sound! But he, too, is becoming passé -like Paderewski. But there is little likelihood of a type arising from these two. -</p> - -<p> -Do you know of any one who plays the piano as Casals plays the ’cello? -</p> - -<p> -Have you looked at any of Scriabine’s later piano pieces? I wonder if he expresses -any of the moods which you prophesy will be caught by some new composer. -I knew a boy in Petrograd who went to the conservatory every day with a volume -of Scriabine and one of Bach under his arm. We called him the “Scriabine chap.” -He probably has had thirty-second quavers punched into him by a German machine -gun, for I am sure he couldn’t or didn’t dare be as loyal to both Nicholas and Wilhelm -as he was to Scriabine and Johann S. B. -</p> - - <div class="note"> -<p> -<em>Yes, I have heard Pachmann many times, and he was always wonderful. I meant, of -course, to put him in the article, but at the last minute he slipped my mind ... perhaps -because I was trying to write of a “deeper” music, and since Pachmann is “master -of the small essential thing and master of absolutely nothing else” he doesn’t quite -come into the realm of the new vision of the piano.</em> -</p> - -<p> -<em>Isn’t there a good deal of similarity between Casals’ playing of the ’cello and -Bauer’s playing of the piano?</em> -</p> - -<p> -<em>Scriabine’s later piano things have something of what I meant, and do you remember -the piano parts of “Prometheus?” Stravinsky, too—you know how he uses the -piano in “Pétrouchka.” But the new vision is beyond these—something more rich and -shattering.... I can’t say it. Let’s just wait and see.—The Editor.</em> -</p> - - </div> -<p class="from"> -<em>Alice Groff, Philadelphia</em>: -</p> - -<p> -“Spirit can do” absolutely <em>nothing</em>, without body. Social spirit can do absolutely -nothing without the means of life for the body. The social ego that would -“start the revolution” must aim first to get control of the means of living—food, -clothing, shelter, and the resources, natural and economic, back of these. Revolutions -succeed only when they get such control; if they do not get it they are soap bubbles -blown by a little child. -</p> - -<p> -Why waste time pelting with idle words the social egos that have such control, -instead of going to work to <em>wrench</em> it from them, <em>even with war</em>? -</p> - -<p> -The social ego that has such control “can do anything.” It can stop war with -a turn of its hand and establish in its stead world-wide service, kindness, brotherhood, -peace, joy and beauty. And there is nothing else in the universe that can -do this. -</p> - -<p> -It is for lack of a social ego having such control and that unity in establishing -the above-mentioned principles in the social order, alone, that “men continue to -support institutions they no longer believe in, that women continue to live with men -they no longer love, that youth continues to submit to age it no longer respects,” and -it is the only agency that can help one to be free when one wants to be free or -make one a personality instead of a nonentity. -</p> - -<p> -All that you say about a “deeper music” is true, though I would say a more -winged music—(I would not dare use to you the word spiritual)—or a subtler music, -or something of that sort; but all that you deprecate in music, by critical suggestion, -is also true and necessary, scientifically and fundamentally, without which your -deeper or higher or subtler or more winged or more spiritual music would be nothing -but soap bubbles without plenty of soapy water to make them out of. I am -one of those who can appreciate this deeper music—but I know also that it cannot -be created ex-nihilo. -</p> - -<p> -As to Ben Hecht, his power of expression is wonderful. His writing is literature -par excellence, but it lacks a <em>soul</em>. If in his meticulous analyses of life he -could suggest the vision of the swallowing up of the macrocosm in the macrocosm—could -suggest what humanity as a whole could do to wipe out the evils that feed -upon the individual—he might be god-like. But like all of the rest of you he is a dead -<a id="page-38" class="pagenum" title="38"></a> -fly in the sickening syrup of <em>laissez faire</em>, at the mercy of Mother Nature. Now -it isn’t worth while for you to resent this. Go to work and read what I have been -able to get out of <em>The Egoist</em>, showing up anarchy for all that it is worth. -</p> - -<p class="from"> -<em>Edgcumb Pinchon, Los Angeles</em>: -</p> - -<p> -Glad to see you get into trouble—you have the Flame! May it flash on our -universal dullness and faithlessness as the sun on sword blades—— -</p> - -<p> -Do you remember Maupassant’s story: An exhausted French regiment—ten -miles to go—the men mutinous, disgruntled; a broken-down carriage by the road-side—horses -and driver gone—a mother and her daughter forlorn in the carriage, -needing assistance to the next town. The snow is deep, their slippers are thin and -they are fashionably—and uselessly—garbed. The soldiers make a sedan chair of -the carriage poles, and fighting among themselves for the honor of bearing a hand -at the poles they finish the march with spirit and bravado——? -</p> - -<p> -Do you remember Whitman’s “lithe, fierce girls?” Such are the flame-tongues of -Revolution—the priestesses of social passion. -</p> - -<p> -If Woman only knew her power to work white magic with banality and stir up -the hero-poet in man! But we who have dragged her by the hair for ten thousand -years must continue to drag her enfeebled body and spirit with us for penalty—even -as we are praying her to touch us to Fire! -</p> - -<p> -When you say that all we need at this hour is a few great spiritual leaders—you -are tremendously right. And shall not one of those be some “lithe fierce girl” who -knows how to wake the militant social troubadour in man? -</p> - -<p> -The enclosed is because you, like Margaret Sanger, belong to the new revolution—the -thoroughbred thing compact of esprit, audacity, faith, and elan. -</p> - -</div> - -<div class="ads chapter"> - <div class="fl w40"> -<p class="h2 adb"> -<em>Socialism -and War</em> -</p> - -<p class="ada"> -By <span class="smallcaps">Louis B. Boudin</span> -</p> - -<p class="ads"> -Author of -<em>Theoretical System of Karl -Marx</em>, “<em>Government by Judiciary</em>”, -<em>etc.</em> -</p> - -<p class="adp"> -Price, $1.10 Postpaid -</p> - -<p class="u ade"> -NEW REVIEW<br /> -PUBLISHING ASS’N<br /> -256 Broadway<br /> -New York City -</p> - - </div> -<p class="c"> -<em>A STUDY OF THE GREAT WAR -OF IMPERIALISM.</em> -</p> - -<p> -Organized Socialism collapsed -in the European crisis; but Socialist -thought is providing us with an -authentic, realistic interpretation of -the causes and consequences of the -Great War. -</p> - -<p> -The whole world is interested in -the attitude and conclusions of -the Socialists. -</p> - -<p> -Mr. Boudin’s book deals with -the prime cause of the war—Imperialism. -He makes us understand -the underlying forces of this world-drama. -Mr. Boudin indicates that Imperialism -is the political expression of -a change in the economics of Capitalism; -that Imperialism is motivated -upon the export of capital, principally -in the form of iron and steel as -“means of production” in undeveloped -countries. -</p> - -<p> -All phases of the war are covered, -including the “cultural” -and “racial”. The historian, the economist -and the sociologist unite in a -volume of the utmost interest and importance. -</p> - -<p class="cb vspace"> - -</p> - -</div> - -<div class="ads chapter"> -<p class="h1 adh"> -POETRY BOOKSHOP CHAPBOOKS -</p> - -<hr /> - -<p class="c"> -READY DECEMBER 1ST. -</p> - - <div class="hang"> -<p> -<span class="larger"><b>IMAGES.</b> By RICHARD ALDINGTON. 8d net (postage -1d).</span> -</p> - -<p> -<span class="larger"><b>CADENCES.</b> By F. S. FLINT. 8d net (postage 1d).</span> -</p> - -<p> -<b>ANTWERP.</b> By FORD MADOX HUEFFER. Decorated by WYNDHAM -LEWIS. 3d net (postage 1d). -</p> - -<p> -<b>CHILDREN OF LOVE.</b> By HAROLD MONRO. 6d net (postage -1d). Second Impression. -</p> - - </div> -<hr /> - -<p class="ade"> -THE POETRY BOOKSHOP -35 Devonshire St., Theobalds Rd., London, W. C. -</p> - -</div> - -<div class="ads chapter"> -<a id="page-39" class="pagenum" title="39"></a> -<div class="centerpic bent fl"> -<img src="images/bent.jpg" alt="" /></div> - -<p class="h1 adh"> -<span class="smallcaps">Piano Triumphant</span> -</p> - -<p> -The artistic outgrowth -of forty-five years of -constant improvement—a -piano conceived to -better all that has -proven best in others. -</p> - -<p class="h2 adh"> -GEO. P. BENT GRAND -</p> - -<p> -Could you but compare it -with all others, artistically it -must be your choice. Each -day proves this more true. -</p> - -<p> -Geo. P. Bent Grand, Style -“A”—a small Grand, built -for the home—your home. -</p> - -<p class="h2 adh"> -<span class="smallcaps">Geo. P. Bent Company</span> -</p> - -<p class="u c"> -Manufacturers of Artistic Pianos<br /> -Retailers of Victrolas<br /> -<span class="larger">214 South Wabash Avenue, Chicago</span> -</p> - -<p class="cb vspace"> - -</p> - -</div> - -<div class="ads chapter"> -<a id="page-40" class="pagenum" title="40"></a> - <div class="box"> -<p class="h1 adh"> -Harold Bauer -</p> - -<p class="c"> -and the Mason & Hamlin Tension Resonator -</p> - -<div class="centerpic mason fl"> -<img src="images/mason.jpg" alt="" /></div> - -<p> -Having achieved in the Mason & Hamlin, the most -beautiful piano tone the world has ever known, its -makers, many years ago, set before themselves the -problem of maintaining for all time, that which they -had created. -</p> - -<p> -A system of highly tempered steel rods, running -from various points of the grand piano rim to a common -center, was evolved and termed the Mason & -Hamlin Tension Resonator. -</p> - -<p> -This construction, which is to be found in no other -piano, because patented, is the only known method of -permanently preventing deterioration of tone quality -through the otherwise inevitable flattening of the sounding-board. -</p> - -<p> -Harold Bauer was the first artist to use a Mason & -Hamlin Tension Resonator Piano in public. In the -fifteen years which have followed that epoch making -event there have been but few really great artists who -have not enthusiastically endorsed this great master’s -final choice. -</p> - -<p class="ade"> -CABLE PIANO COMPANY, -Wabash & Jackson. -</p> - -<p class="cb vscpace"> - -</p> - - </div> - <div class="box"> -<p class="h2 adh"> -A LITTLE EDITORIAL -</p> - -<p class="ada"> -By Jessie Quitman -</p> - -<p> -Books are not articles of merchandise. They are the projected -materialization of the human spirit. -</p> - -<p> -The hands of congenial souls alone must touch them. -</p> - -<p> -The spirits of books shrivel and droop in department stores -and shops. -</p> - -<p> -Miss Cabaniss of the Venetian Library does not sell or loan -books. -</p> - -<p> -She shares them with you. -</p> - -<p> -In her salon in the Venetian Building she may be found most -any hour of the day. -</p> - -<p> -There also will be found the intellectual artistocracy of Chicago. -After converse, any book may be taken home, in assurance -and without fear, for it has been touched by no unholy hands. -</p> - - </div> -</div> - -<div class="ads chapter"> -<a id="page-41" class="pagenum" title="41"></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 (Les Aubes).</b> 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 (“Les Tenailles”).</b> 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-42" class="pagenum" title="42"></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. -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-43" class="pagenum" title="43"></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-44" class="pagenum" title="44"></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-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> -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> -... white teeth. They sat beside a table, spread with <span class="underline">book</span> and magazines. ...<br /> -... white teeth. They sat beside a table, spread with <a href="#corr-3"><span class="underline">books</span></a> and magazines. ...<br /> -</li> - -<li> -... critics of poetry, you are a poet also, take warning. Be <span class="underline">Prepared</span>! ...<br /> -... critics of poetry, you are a poet also, take warning. Be <a href="#corr-4"><span class="underline">prepared</span></a>! ...<br /> -</li> -</ul> -</div> - - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, MARCH 1916 (VOL. 3, NO. 1) ***</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/67467-h/images/bent.jpg b/old/67467-h/images/bent.jpg Binary files differdeleted file mode 100644 index c435c35..0000000 --- a/old/67467-h/images/bent.jpg +++ /dev/null diff --git a/old/67467-h/images/cover.jpg b/old/67467-h/images/cover.jpg Binary files differdeleted file mode 100644 index 23db2dd..0000000 --- a/old/67467-h/images/cover.jpg +++ /dev/null diff --git a/old/67467-h/images/mason.jpg b/old/67467-h/images/mason.jpg Binary files differdeleted file mode 100644 index 7e23eae..0000000 --- a/old/67467-h/images/mason.jpg +++ /dev/null |
