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F(rancis) Scott (Key) Fitzgerald—novelist, short-story writer.
Born in 1896.
BIBLIOGRAPHY
This Side of Paradise. 1920. Flappers and Philosophers. 1920. (Short stories.) The Beautiful and Damned. 1922.
STUDIES AND REVIEWS
Lond. Times, June 23, 1921: 402. See also Book Review Digest, 1920.
John Gould Fletcher—poet, critic.
Born at Little Rock, Arkansas, 1886. Studied at Phillips Academy, Andover, Massachusetts, and at Harvard, 1903-7. Has lived much in England.
SUGGESTIONS FOR READING
1. Read the prefaces to Irradiations and Goblins and Pagodas for Mr. Fletcher's theory of poetry before you read the poems themselves. Has he succeeded in making the arts of painting and music do service to poetry?
2. After reading the poems, consider the justice or injustice of Mr. Aiken's criticism: "It is a sort of absolute poetry, a poetry of detached waver and brilliance, a beautiful flowering of language alone—a parthenogenesis, as if language were fertilized by itself rather than by thought or feeling. Remove the magic of phrase and sound and there is nothing left: no thread of continuity, no thought, no story, no emotion. But the magic of phrase and sound is powerful, and it takes one into a fantastic world."
3. Do you find any poems to which the quotation given above does not apply? Are these of more or of less value than the others?
BIBLIOGRAPHY
Irradiations—Sand and Spray. 1915. Goblins and Pagodas. 1916. Japanese Prints. 1917. The Tree of Life. 1918. Breakers and Granite. 1921. Paul Gauguin; His Life and Art. 1921.
For bibliography of editions out of print, see A Miscellany of American Poetry. 1920.
STUDIES AND REVIEWS
Lowell. Untermeyer.
Bookm. 41 ('15): 236 (portrait). Dial, 66 ('19): 189. Egoist, 2 ('15): 73, 79, 177 (portrait); 3 ('16): 173. New Repub. 3 ('15): 75, 154, 204; 5 ('15): 280; 9 ('16): supp. p. 11. Poetry, 7 ('15): 44, 88; 9 ('16): 43; 13 ('19); 340; 19 ('21): 155. Sat. Rev. 126 ('18): 1039. See also Book Review Digest, 1915, 1918, 1919, 1921.
Sewell Ford (Maine, 1868)—short-story writer.
The creator of Shorty McCabe and Torchy. For bibliography, see Who's Who in America.
John (William) Fox, Jr.—novelist.
Born in Kentucky, 1862, of a pioneer family. Pupil of James Lane Allen (q.v.), whose influence on his work should be noted. Also associated in friendship with Roosevelt and with Thomas Nelson Page. War correspondent during the Spanish and Japanese wars. Died in 1919.
BIBLIOGRAPHY
*The Little Shepherd of Kingdom Come. 1903. Following the Sun Flag. 1905. A Knight of the Cumberland. 1906. *The Trail of the Lonesome Pine. 1908. The Heart of the Hills. 1913. In Happy Valley, 1917. Erskine Dale; Pioneer. 1920.
STUDIES AND REVIEWS
Bookm. 32 ('10): 363. Nation, 109 ('19): 72. Outlook, 90 ('08): 700; 126 ('20): 333. (Portraits.) Scrib. M. 66 ('19): 674. (Thomas Nelson Page.)
Waldo David Frank—novelist.
Born in 1889. His criticism of America (1919) roused much discussion.
BIBLIOGRAPHY
The Unwelcome Man. A Novel. 1917. Our America. 1919. Dark Mother. 1920. Rahab. 1922.
STUDIES AND REVIEWS
Cur. Op. 68 ('20): 80 (portrait). Dial, 62 ('17): 244 (Van Wyck Brooks); 70 ('21): 95. See also Book Review Digest, 1917, 1919.
Mary E(leanor) Wilkins Freeman (Mrs. Charles M. Freeman)—short-story writer, novelist, dramatist.
Born at Randolph, Massachusetts, 1862. Educated there and at Mount Holyoke Seminary, 1874.
BIBLIOGRAPHY
*A Humble Romance and Other Stories. 1887. *A New England Nun and Other Stories. 1891. A Pot of Gold and Other Stories. [1892.] Young Lucretia. 1892. Giles Corey, Yeoman. A Play. 1893. Jane Field. A Novel. 1893. Pembroke. A Novel. 1894. Comfort Pease and Her Gold Ring. 1895. Madelon. A Novel. 1896. Jerome, a Poor Man. 1897. Silence and Other Stories. 1898. People of Our Neighborhood. 1898. In Colonial Times. 1899. Evelina's Garden. 1899. The Jamesons. 1899. The Love of Parson Lord and Other Stories. 1900. The Hearts Highway. A Romance of Virginia in the Seventeenth Century. 1900. The Portion of Labor. 1901. The Home-Coming of Jessica. 1901. Understudies. 1901. Six Trees. 1903. The Wind in the Rose Bush and Other Stories of the Supernatural. 1903. The Givers. 1904. The Debtor. A Novel. 1905. "Doc." Gordon. 1906. By the Light of the Soul. 1906. The Fair Lavinia. 1907. The Shoulders of Atlas. A Novel. 1908. The Winning Lady. 1909. The Green Door. 1910. The Butterfly House. 1912. The Yates Pride. 1912. The Copy-Cat and Other Stories. 1914. An Alabaster Box. 1917. (With Florence Morse Kingsley.) Edgewater People. 1918.
STUDIES AND REVIEWS
Halsey. (Women.) Harkins. (Women.) Overton. Pattee.
Atlan. 83 ('99): 665. Bk. Buyer, 8 ('91): 53 (portrait); 23 ('01): 379. Bookm. 24 ('06): 20 (portrait). Bookm. (Lond.) 24 ('06): 20 (portrait). Bk. News, 11 ('93): 227. Citizen, 4 ('98): 27. Critic, 20 ('92): 13; 22 ('93): 256 (portrait); 32 ('98): 155 (portraits). Harp. W. 47 ('03): 1879; 49 ('05): 1940. (Portraits.)
Alice French ("Octave Thanet")—novelist.
Born at Andover, Massachusetts, and educated at Abbott Academy there; Litt. D., University of Iowa, 1911.
Upon going to live in the Middle West, Miss French became interested in the local color of Iowa and Arkansas and in the labor conditions with which she came in contact as a member of a family of manufacturers. The sociological and propagandist elements are strong in her work.
BIBLIOGRAPHY
Knitters in the Sun. 1887. Stories of a Western Town. 1893. The Man of the Hour. 1905. The Lion's Share. 1907. By Inheritance. 1910. Stories That End Well. 1911. A Step on the Stair. 1913. And the Captain Answered. 1917.
STUDIES AND REVIEWS
Harkins. (Women.) Patee.
Arena, 38 ('07): 683 (portrait), 691. Cur. Lit. 28 ('00): 143.
Robert Lee Frost—poet.
Born at San Francisco, 1875. At the age of ten, he was taken to New England where eight generations of his forefathers had lived. In 1892, he spent a few months at Dartmouth College but disliking college routine, decided to earn his living, and became a millhand in Lawrence, Massachusetts. In 1897, two years after he had married, he entered Harvard and studied there for two years; but he finally gave up the idea of a degree and turned to various kinds of work, teaching, shoe-making, and newspaper work. From 1900-11, he was farming at Derry, New Hampshire, but with little success. At the same time, he was writing and offering for publication poems which were invariably refused. He likewise taught English at Derry, 1906-11, and psychology at Plymouth, 1911-2.
In 1912, he sold his farm and with his wife and four children went to England. He offered a collection of poems to an English publisher and went to live in the little country town of Beaconsfield. The poems were published and their merits were quickly recognized. In 1914, Mr. Frost rented a small place at Ledbury, Gloucestershire, near the English poets, Lascelles Abercrombie, and W.W. Gibson. With the publication of North of Boston his reputation as a poet was established.
In 1915, Mr. Frost returned to America and went to live near Franconia, New Hampshire. From 1916 to 1919 he taught English at Amherst College. But he found that college life was disturbing to his creative energy, and in 1920 he bought land in Vermont and again became a farmer. In 1921, the University of Michigan, in recognition of his talents, offered him a salary to live in Ann Arbor without teaching. This position he accepted, but it is reported that he intends to return to farming to secure the leisure necessary for his work.
SUGGESTIONS FOR READING
1. Make a list of subjects that you have not found treated elsewhere in poetry. Test the truth of the treatment by your own experience and decide whether Mr. Frost has converted these commonplace experiences into a new field of poetry.
2. Read in succession the poems concerning New England life and decide whether they seem more authentic and more valuable than the others. If so, why?
3. Is Mr. Frost's realism photographic? Consider in this connection his own statement: "There are two types of realist—the one who offers a good deal of dirt with his potato to show that it is a real one; and the one who is satisfied with the potato brushed clean.... To me the thing that art does for life is to strip it to form."
In view of the last sentence it is interesting to consider the kinds of details that Mr. Frost chooses for presentation and those that he omits.
4. Read several of the long poems to discover his relative strength in narrative and in dramatic presentation.
5. Examine the vocabulary for naturalness, colloquialism, and extraordinary occasional fitness of words.
6. Try to sum up briefly Mr. Frost's philosophy of life and his attitude toward nature and people.
7. What do you observe about the metrical forms, the beauty or lack of beauty in the rhythm? Do many of the poems sing?
8. What do you prophesy as to Mr. Frost's future?
BIBLIOGRAPHY
A Boy's Will. 1913. North of Boston. 1914. Mountain Interval. 1916.
STUDIES AND REVIEWS
Boynton Lowell. Untermeyer.
Atlan. 116 ('15): 214. Bookm. 45 ('17): 430 (portrait); 47 ('18): 135. Chapbook, 1-2, May, 1920: 5. Cur. Op. 58 ('15): 427 (portrait). Dial, 61 ('16): 528. Ind. 86 ('16): 283; 88 ('16): 533. (Portraits.) Lit. Digest, 66 ('20): June 17, p. 32 (portrait). Nation, 109 ('19): 713. New Repub. 9 ('16): 219; 12 ('17): 109. Poetry, 2 ('13): 72; 5 ('14): 127; 9 ('17): 202. R. of Rs. 51 ('15): 432 (portrait). School and Soc. 7 ('18): 117. Spec. 126 ('21): 114. Survey, 45 ('20): 318. Touchstone, 3 ('18): 70 (portrait).
Henry Blake Fuller—novelist, short-story writer.
Born in Chicago, 1857. Educated in Chicago public schools, graded and high; and at a "classical academy" in Wisconsin. In Europe, '79-'80, '83, '92, '94, '96-7. Literary editor Chicago Post, 1902. Editorials Chicago Record Herald, 1910-11 and 1914; at present, Literary Review of the New York Evening Post, for the Freeman, New Republic, Nation, etc.
SUGGESTIONS FOR READING
1. Compare Mr. Fuller's stories of Europe with his studies of life in Chicago. What is their relative success? What inferences do you draw?
2. Considering dates, materials, and methods, where do you place Mr. Fuller's work in the development of the American novel?
3. Before reading On the Stairs, cf. Dial, 64 ('18): 405.
BIBLIOGRAPHY
*The Chevalier of Pensieri-Vani. 1891. The Chatelaine of La Trinite. 1892. The Cliff-Dwellers. 1893. With the Procession. A Novel. 1895. The Puppet-Booth. Twelve Plays. 1896. From the Other Side. Stories of Transatlantic Travel. 1898. The Last Refuge. A Sicilian Romance. 1900. Under the Skylights. 1901. Waldo Trench and Others. Stories of Americans in Italy. 1908. Lines Long and Short. Biographical Sketches in Various Rhythms. 1917. On the Stairs. 1918. Bertram Cope's Year. 1919.
STUDIES AND REVIEWS
Bk. Buyer, 24 ('02): 185 (portrait). Bookm. 38 ('13): 275; 47 ('18): 340. Dial, 64 ('18): 405. Poetry, 10 ('17): 155. See also Book Review Digest, 1918, 1920.
Zona Gale—novelist, short-story writer, dramatist.
Born at Portage, Wisconsin, 1874. B.L., University of Wisconsin, 1895; M.L., 1899. On Milwaukee papers until 1901. Later on staff of the New York World.
BIBLIOGRAPHY
The Loves of Pelleas and Etarre. 1907. Friendship Village. 1908. Friendship Village Love Stories. 1909. Mothers to Men. 1911. When I Was a Little Girl. 1913. Neighborhood Stories. 1914. The Neighbors. 1914. (One-act play.) A Daughter of the Morning. 1917. Birth. 1918. *Miss Lulu Bett. 1920. (Play, 1921.) The Secret Way. 1921. (Poems.)
STUDIES AND REVIEWS
Acad. 75 ('08): 595. Bookm. 13 ('01): 520 (portrait); 25 ('07): 567 (portrait); 53 ('21): 123. See also Book Review Digest, 1915, 1917-19, 1920.
Hamlin Garland—short-story writer, novelist.
Born on a farm near West Salem, Wisconsin, 1860, of Scotch and New England ancestry. During his boyhood, his father moved first to Iowa, then to Dakota. As a boy, Mr. Garland helped his father with all the hard work of making farmland out of prairie. While still in his teens, he was able to do a man's work. His schooling was desultory, but he finished the course at Cedar Valley Seminary, Osage, Iowa, then taught, 1882-3. In 1883 he took up a claim in Dakota, but the next year went to Boston and began his career as teacher and writer.
SUGGESTIONS FOR READING
1. Read the autobiographical books, A Son of the Middle Border and A Daughter of the Middle Border, to get the background of Mr. Garland's work. Then read his essays called Crumbling Idols, for the literary theory on which his work was created.
2. Two literary landmarks in Mr. Garland's history are: Edward Eggleston's The Hoosier Schoolmaster (1871), and Joseph Kirkland's Zury: the Meanest Man in Spring County (1887). Read these and decide how much they influenced Main-Traveled Roads and similar volumes of Mr. Garland's.
3. Mr. Garland says that he presents farm life "not as the summer boarder or the young lady novelist sees it—but as the working farmer endures it." Find evidence of this.
4. Consider how far Mr. Garland's success depends upon the richness of his material, how far upon his philosophy of life and his honesty to his own experience, and how far upon his technical skill as a writer.
5. What are his most obvious limitations? What is the relative importance of his novels and of his short stories?
6. Consider separately: (1) his power of visualization; (2) his choice of significant detail; (3) his originality or lack of it; (4) his range in characterization; (5) his power of suggestion as over against his vividness of delineation; (6) his economy—or lack of it—in expression. Where does his main strength lie?
BIBLIOGRAPHY
Under the Wheel. A Modern Play in Six Scenes. 1890. *Main-Traveled Roads. 1890. Jason Edwards. 1891. A Little Norsk. 1891. *Prairie Folks. 1892. A Spoil of Office. A Story of the Modern West. 1892. A Member of the Third House. 1892. Crumbling Idols. 1893. (Essays.) Prairie Songs. 1894. *Rose of Dutcher's Coolly. 1895. Wayside Courtships. 1897. The Spirit of Sweetwater. 1898. Boy Life on the Prairie. 1899. (Autobiographical.) The Eagle's Heart. 1900. Her Mountain Lover. 1901. The Captain of the Gray Horse Troop. A Novel. 1902. Hesper. A Novel. 1903. The Light of the Star. A Novel. 1904. The Tyranny of the Dark. 1905. (Novel.) The Long Trail. A Story of the Northwest Wilderness. 1907. Money Magic. A Novel. 1907. The Shadow World. 1908. (Novel.) The Moccasin Ranch. A Story of Dakota. 1909. Cavanagh, Forest Ranger. A Romance of the Mountain West. 1909. *Other Main-Traveled Roads. 1910. Victor Ollnee's Discipline, 1911. (Novel.) The Forester's Daughter. A Romance of the Bear-Tooth Range. 1914. They of the High Trails. 1916. A Son of the Middle Border. 1917. (Autobiographical.) A Daughter of the Middle Border. 1921. (Autobiographical.)
STUDIES AND REVIEWS
Boynton. Harkins. Pattee.
Arena, 34 ('05): 112 (portrait), 206. Bookm. 31 ('10): 226 (portrait), 309. Chaut. 64 ('11): 322 (portrait). Cur. Lit. 53 ('12): 589. Cur. Op. 63 ('17): 412. Lit. Digest, 55 ('17): Sept. 15, p. 28 (portrait). No. Am. 196 ('12): 523. R. of Rs. 25 ('02): 701 (portrait). Sewanee R. 27 ('19): 411. Touchstone, 2 ('17): 322. World's Work, 6 ('03): 3695.
Katharine Fullerton Gerould (Mrs. Gordon Hall Gerould)—short-story writer, novelist, essayist.
Born at Brockton, Massachusetts, 1879. A.B., Radcliffe College, 1900; A.M., 1901. Reader in English at Bryn Mawr College, 1901-10, except 1908-9 which she spent in England and France.
SUGGESTIONS FOR READING
1. Mrs. Gerould belongs to the school of Henry James, but shows marked individuality in her themes and in her dramatic power. A comparison of some of her short stories with stories by Mr. James (q.v.) and by Mrs. Wharton (q.v.) is illuminating for the powers and limitations of all three.
2. Another interesting comparison is between Mrs. Gerould's stories and the collection entitled Bliss by the English writer, Katherine Mansfield (Mrs. J. Middleton Murry); cf. Manly and Rickert, Contemporary British Literature.
BIBLIOGRAPHY
*Vain Oblations. 1914. *The Great Tradition. 1915. Hawaii, Scenes and Impressions. 1916. A Change of Air. 1917. Modes and Morals. 1919. (Essays.) Lost Valley. 1921. (Novel.)
STUDIES AND REVIEWS
Bookm. 44 ('16): 31. Cur. Lit. 58 ('15):353. New Repub. 22 ('20): 97. No. Am. 211 ('20): 564. (Lawrence Gilman.) See also Book Review Digest, 1914-17, 1920.
Fannie Stearns Davis Gifford (Mrs. Augustus McKinstry Gifford)—poet.
Born at Cleveland, Ohio, 1884. A.B., Smith College, 1904. Taught English at Kemper Hall, Kenosha, Wisconsin, 1906-7.
BIBLIOGRAPHY
Myself and I. 1913. Crack o' Dawn. 1915.
STUDIES AND REVIEWS
Bookm. 47 ('18): 388. Poetry, 2 ('13): 225; 6 ('15): 45.
Arturo Giovannitti—poet.
Born in the Abruzzi, Italy, 1884, of a family of good social standing, his father and one of his brothers being doctors, and another brother a lawyer. Educated in a local Italian college. Came to America in 1900, full of enthusiasm for democracy. Worked in a coal mine. Later, studied at Union Theological Seminary. Conducted Presbyterian missions in several places.
In 1906, he became a socialist and one of the leaders of the I.W.W. During the Lawrence strikes he preached the doctrine of Syndicalism and was arrested on the charge of inciting to riot. He also organized relief work for the strikers.
On an Italian newspaper; editor of Il Proletario, a socialist paper. His first speech in English was made at the time of his trial and produced a powerful effect upon his audience. During his imprisonment, he studied English literature and wrote poems, of which the most famous is "The Walker." His chief concern is with the submerged, and he writes from actual experience of having been "one of those who sleep in the park."
SUGGESTIONS FOR READING
1. What are the main features of the social creed at the root of Giovannitti's poetry?
2. Is he a poet or a propagandist? Test his sincerity; his passion; his truth to experience.
3. What are his limitations as thinker and as poet?
4. Compare and contrast his work with Whitman's in ideas and in form.
5. Do you find marks of greatness in him?
BIBLIOGRAPHY
Arrows in the Gale. 1914. (With introduction by Helen Keller.) Also in: Others. 1919.
STUDIES AND REVIEWS
Untermeyer.
Atlan, 111 ('13): 853. Cur. Op. 54 ('13): 24 (portrait). Forum, 52 ('14): 609. Lit. Digest, 45 ('12): 441. Outlook, 104 ('13): 504. Poetry, 6 ('15): 36. Survey, 29 ('12): 163 (portrait).
Ellen (Anderson Gholson) Glasgow—novelist.
Born at Richmond, Virginia, 1874. Privately educated. Her best work deals with life in Virginia.
BIBLIOGRAPHY
The Descendant. 1897. Phases of an Inferior Planet. 1898. The Voice of the People. 1900. The Battle-ground. 1902. The Deliverance. 1904. The Ancient Law. 1908. *The Romance of a Plain Man. 1909. *The Miller of Old Church. 1911. Virginia. 1913. Life and Gabriella. 1916. The Builders. 1919. Stranger Things Have Happened. 1922.
STUDIES AND REVIEWS
Cooper. Harkins. (Women). Overton.
Bookm. 19 ('04): 14 (portrait), 43; 29 ('09): 613 (portrait), 619. Critic, 44 ('04): 200 (portrait). Cur. Lit. 32 ('02): 623. Cur. Op. 55 ('13): 50 (portrait). Outlook, 71 ('02): 213 (portrait). World's Work, 5 ('02): 2793 (portrait); 39 ('20): 492 (portrait).
Susan Glaspell (Mrs. George Cram Cook)—dramatist, novelist.
Born at Davenport, Iowa, 1882. Ph.B., Drake University and post-graduate work at the University of Chicago. Statehouse and legislative reporter for the News and the Capitol, Des Moines. Connected with the Little Theatre movement through the Provincetown Players.
BIBLIOGRAPHY
The Glory of the Conquered; the Story of a Great Love. 1909. The Visioning. 1911. (Novel.) Lifted Masks. 1912. (Short stories.) Fidelity. 1915. (Novel.) Suppressed Desires. 1915. (With George Cram Cook, q.v.) Trifles. 1916. People; and Close the Book. 1918. Plays. 1920. (Trifles, The People, Close the Book, The Outside, Woman's Honor, Suppressed Desires, with George Cram Cook, Tickless Time, with same; and Bernice, a three act play.) Inheritors. 1921.
STUDIES AND REVIEWS
Bookm. 33 ('11): 350 (portrait), 419; 46 ('18): 700 (portrait). Cur. Op. 59 ('15): 48 (portrait). Freeman, 1 ('20): 518. Nation, 111 ('20): 509; 113 ('21): 708. R. of Rs. 39 ('09): 760 (portrait). See also Book Review Digest, 1915, 1920.
Montague (Marsden) Glass (England, 1877)—short-story writer. The creator of Potash and Perlmutter.
For bibliography, see Who's Who in America.
Kenneth Sawyer Goodman—dramatist.
Born in 1883. Lieutenant in the Navy, chief aide at Great Lakes Naval Station. Cooeperated with B. Iden Payne at Fine Arts Theatre, 1913. Died in 1918.
BIBLIOGRAPHY
Dust of the Road, a Play in One Act. 1912. Holbein in Blackfriars; an Improbable Comedy. 1913. (With Thomas Wood Stevens.) Back of the Yards, a Play in One Act. 1914. Barbara, a Play in One Act. 1914. The Game of Chess; a Play in One Act. 1914. Ephraim and the Winged Bear; a Christmas-Eve Nightmare in One Act. 1914. Dancing Dolls, a Fantastic Comedy in One Act. 1915. A Man Can Only Do His Best; a Fantastic Comedy in One Act. 1915. *Quick Curtains. 1915. (Includes all the preceding plays.) The Green Scarf; an Artificial Comedy in One Act. 1920. The Hero of Santa Maria; a Ridiculous Tragedy in One Act, 1920. (With Ben Hecht, q.v.) The Wonder Hat; a Harlequinade in One Act. 1920. (With Ben Hecht, q.v.)
Robert Grant—novelist.
Born at Boston, 1852. A.B., Harvard, 1873; Ph.D., 1876; LL.B., 1879. Judge since 1893. Overseer of Harvard, 1895—.
BIBLIOGRAPHY
The Little Tin Gods on Wheels. 1879. An Average Man. 1883. The Reflections of a Married Man. 1892. The Opinions of a Philosopher. 1893. The Art of Living. 1895. Unleavened Bread. 1900. The Orchid. 1905. The Chippendales. 1909. The Convictions of a Grandfather. 1912. Their Spirit. 1916.
STUDIES AND REVIEWS
Harkins.
Bookm. 11 ('00): 463. Critic, 37 ('00): 3 (portrait); 46 ('05): 209 (portrait), 368. Cur. Lit. 29 ('00): 418. Ind. 58 ('05): 1006 (portrait), 1008; 60 ('06): 1047. Outlook, 78 ('04): 867 (portrait); 92 ('09): 42. R. of Rs. 31 ('05): 118 (portrait.)
"Grayson, David." See Ray Stannard Baker.
Zane Grey (Ohio, 1875)—novelist.
Writes of the West, from Idaho to Texas. For bibliography, see Who's Who in America.
Arthur Guiterman—poet.
Born of American parents in Vienna, Austria, 1871. B.A., College of the City of New York, 1891. Editorial work on the Woman's Home Companion, Literary Digest, and other magazines, 1891-1906. Lecturer on magazine and newspaper verse, New York School of Journalism, 1912-15.
BIBLIOGRAPHY
The Laughing Muse. 1915. The Mirthful Lyre. 1918. Ballads of Old New York. 1919. Chips of Jade, or What They Say in China. 1920. (Includes Betel Nuts, or What They Say in Hindustan.) The Ballad-Maker's Pack. 1921.
STUDIES AND REVIEWS
Bookm. 42 ('15): 461. Ind. 88 ('16): 312 (portrait). Lit. Digest, 52 ('16): 241. See also Book Review Digest, 1920.
Francis (O'Byrne) Hackett—critic.
Born in Kilkenny, Ireland, 1883. Son of a physician. Educated at Clongowes Wood College, Kildare. Came to America in 1900. Began as office boy and gradually worked his way up as critic and editorial writer. Connected with the Chicago Evening Post, 1906-11. Associate editor of the New Republic, 1914-22.
BIBLIOGRAPHY
Ireland, A Study in Nationalism. 1918. Horizons. 1918. The Invisible Censor. 1921.
STUDIES AND REVIEWS
Bookm. 47 ('18): 312. New Repub. 16 ('18): 308; 19 ('19): 88. See also Book Review Digest, 1918, 1921.
Hermann Hagedorn, Jr.—man of letters.
Born in New York City, 1882. A.B., Harvard, 1907. Studied at University of Berlin, 1907-8, and at Columbia, 1908-9. Instructor in English at Harvard, 1909-11.
BIBLIOGRAPHY
Poems and Ballads. 1912. Faces in the Dawn. 1914. (Novel.) Makers of Madness. 1914. (Play.) The Great Maze—The Heart of Youth. 1916. (Poem and play.) Barbara Picks a Husband. 1918. (Novel.) Hymn of Free Peoples Triumphant. 1918.
STUDIES AND REVIEWS
Bookm. 47 ('18): 394. Ind. 74 ('13): 53. New Repub. 7 ('16): 234. Outlook, 102 ('12): 207 (portrait); 103 ('13): 262. Poetry, 9 ('16): 90. See also Book Review Digest, 1913-4, 1916-21.
Clayton (Meeker) Hamilton—critic, dramatist.
Born at Brooklyn, New York, 1881. A.B., Polytechnic Institute of Brooklyn, 1900; A.M., Columbia, 1901. Teacher of English and lecturer in various schools and colleges, 1901-17. Dramatic critic and associate editor of the Forum, 1907-09. Dramatic editor of The Bookman, 1910-18, and of other magazines. Has traveled widely.
BIBLIOGRAPHY
Studies in Stage Craft. 1914. The Big Idea. 1917. (With A.E. Thomas, q.v.) Problems of the Playwright. 1917. Seen on the Stage. 1920.
STUDIES AND REVIEWS
Bookm. 27 ('08): 340 (portrait); 42 ('16): 523 (portrait); 46 ('17): 257 (portrait). See also Book Review Digest, 1915, 1917.
Arthur Sherburne Hardy—novelist.
Born at Andover, Massachusetts, 1847. Graduate of U.S. Military Academy, 1869. Honorary higher degrees. Studied and taught civil engineering, 1874-78, and mathematics, 1878-93, at Dartmouth. Represented the United States in Persia and in various countries of Europe as minister, 1897-1905.
BIBLIOGRAPHY
But Yet a Woman. 1883. *Passe Rose. 1889. Aurelie. 1912. Diane and Her Friends. 1914. Helen. 1916. No. 13, Rue du Bon Diable. 1917. Peter. 1920.
STUDIES AND REVIEWS
Bk. Buyer, 21 ('00): 96. Nation, 99 ('14): 582. R. of Rs. 27 ('03): 628 (portrait).
Frank Harris—man of letters.
Born in Galway, Ireland, 1854, but came to the United States in 1870. Naturalized. Educated at the universities of Kansas, Paris, Heidelberg, Strassburg, Goettingen, Berlin, Vienna, and Athens (no degrees). Admitted to the Kansas bar, 1875. Later, returned to Europe and became editor of the Evening News and Fortnightly Review and secured control of the Saturday Review.
Mr. Harris's work belongs in a class by itself. It is valuable partly for its content, as in the case of his intimate portraits of famous men whom he has known, and partly for the force and brilliancy of the style.
BIBLIOGRAPHY
Elder Conklin. 1892. (Novel.) The Bomb—A Story of the Chicago Anarchists of 1886. 1909. The Man Shakespeare. 1909. Montes, the Matador. 1910. (Short stories.) Shakespeare and his Love. 1910. The Women of Shakespeare. 1911. Gravitation. 1912. Unpathed Waters. 1913. The Veils of Isis and Other Stories. 1914. *Contemporary Portraits. 1914. Great Days. 1914. (Novel.) Love in Youth. 1914. England or Germany? 1915. Oscar Wilde; His Life and Confessions. 1916. *Contemporary Portraits. Second Series. 1919. A Mad Love. 1920. *Contemporary Portraits. Third Series. 1921.
STUDIES AND REVIEWS
Bookm. 36 ('13): 498; 37 ('13): 592. Bookm. (Lond.) 45 ('14): 226; 47 ('15): 160. Cur. Op. 59 ('15): 196. Eng. Rev. 9 ('11): 599. Forum, 55 ('16): 189. Lit. Digest, 46 ('13): 134 (portrait). Lond. Times, Oct. 7, 1915: 341. Nation, 101 ('10): 361. New Repub. 29 ('21): 21. (Hackett.) No. Am. 202 ('15): 915. Sat. Rev. 90 ('00): 551.
Henry Sydnor Harrison—novelist.
Born at Sewanee, Tennessee, 1880. A.B., Columbia, 1900; A.M., 1913.
SUGGESTIONS FOR READING
Read the article by Robert Herrick listed below, and compare Harrison's work with that of Dickens, Sterne, and Meredith. Deal with each novelist separately according to the influences noted by Mr. Herrick.
BIBLIOGRAPHY
Captivating Mary Carstairs. 1911. (Under the pseudonym, "Henry Second.") Queed. 1911. V.V.'s Eyes. 1913. Angela's Business. 1915. When I Come Back. 1919. Saint Teresa. 1922.
STUDIES AND REVIEWS
Bookm. 39 ('14): 420 (portrait). Columbia Univ. Quar. 15 ('13): 341 (portrait). Cur. Op. 58 ('15): 352 (portrait). Ind. 71 ('11): 533 (portrait). Lit. Digest, 48 ('14): 905 (portrait). New Repub. 2 ('15): 199. (Herrick.) World's Work, 26 ('13): 221.
Ben Hecht—novelist, dramatist.
Born in New York City, 1893. Traveled much until he was eight years old, then lived in Racine, Wisconsin, and was educated in the Racine high school. Went to Chicago, intending to join the Thomas Orchestra as violinist, but instead, joined the staff of the Chicago Journal and later that of the Daily News. War correspondent in Germany.
BIBLIOGRAPHY
The Hero of Santa Maria; a Ridiculous Tragedy in One Act. 1920. (With Kenneth Sawyer Goodman, q.v.) The Wonder Hat; a Harlequinade in One Act. 1920. (With Kenneth Sawyer Goodman, q.v.) Erik Dorn. 1921. (Novel.) Also in: The Little Review. (Passim.)
STUDIES AND REVIEWS
Cur. Op. 71 ('21): 644. Dial, 71 ('21): 597. Freeman, 4 ('21): 282. See also Book Review Digest, 1921.
Joseph Hergesheimer—novelist.
Born at Philadelphia, 1880. Educated for a short time at a Quaker school in Philadelphia and at the Pennsylvania Academy of Fine Arts.
SUGGESTIONS FOR READING
1. Note Mr. Hergesheimer's use of setting and atmosphere. What is the relative importance of these to plot and character? Is the author's main interest in developing a story, in creating characters that live, or in suggesting particular phases of life, each with its own physical and emotional atmosphere?
2. What evidences of originality do you find in his books?
3. Is the author a realist or a romanticist? Is it true, as has been said, that he stands midway between the "unrelieved realism" of the new school of writers and the "genteel moralism" of the old?
4. Consider these two criticisms of Mr. Hergesheimer's work: (1) He aims to set down "relative truth ... the colors and scents and emotions of existence"; and (2) he is at times as much concerned "with the stuffs as with the stuff of life."
5. Make a special study of his style: (1) of his use of suggestion; (2) of his choice of words; (3) of his feeling for rhythm. It is true that there is both art and artifice in his methods?
6. In what ways, if any, has he made actual contribution to American literature? Can you prophesy as to his future?
BIBLIOGRAPHY
The Lay Anthony. 1914. Mountain Blood. 1915. The Three Black Pennys. 1917. Gold and Iron. 1918. (Wild Oranges, Tubal Cain, The Dark Fleece.) *Java Head. 1919. The Happy End. 1919. (Play.) *Linda Condon. 1919. Hugh Walpole, an Appreciation. 1919. San Cristobal de la Habana. 1920. Cytherea. 1922. The Bright Shawl. 1922.
STUDIES AND REVIEWS
Ath. 1919, 2: 1339. (Conrad Aiken.) Bookm. 50 ('19): 267. (James Branch Cabell.) Bookm. (Lond.) 56 ('19): 65; 58 ('20): 193. (Portraits.) Cur. Op. 66 ('19): 184; 68 ('20): 229; 71 ('21): 237. (Portraits.) Dial, 66 ('19): 449. Lond. Mercury, 1 ('20): 342. Nation, 109 ('19): 404; 112 ('21): 741. (Carl Van Doren.) Sat. Rev. 128 ('19): 343. Spec. 125 ('20): 371. See also Book Review Digest, 1919.
Robert Herrick—novelist.
Born at Cambridge, Massachusetts, 1868. A.B., Harvard, 1890. Taught English at the Massachusetts Institute of Technology, 1890-3, and at the University of Chicago since then, becoming professor, 1905. More important for interpretation of his work is the fact that he has carefully studied modern English and Continental literatures and is deeply interested in philosophy and the social sciences.
SUGGESTIONS FOR READING
1. Much of Mr. Herrick's work must be regarded as primarily social criticism of American life. Does the interest tend to centre rather upon the problems of the characters, growing out of their circumstances, or upon the characters themselves?
2. Is Mr. Herrick's work more notable for scope and breadth or for intensity?
3. Note, especially in the novels previous to 1905, the conscientious artistry, the compactness of structure, and the unity of tone commonly associated with poetry. What other qualities characteristic of poetry appear in Mr. Herrick's work?
4. With the structure of his earlier work compare that of the Memoirs of an American Citizen as showing an attempt at greater breadth of canvas and greater variety of tone. Trace this attempt further in his later work.
5. What evidences do you find in Mr. Herrick's novels of a carefully wrought theory of the art of the novelist?
6. Someone has called Mr. Herrick "a discouraged idealist." Is this just?
BIBLIOGRAPHY
The Man Who Wins. 1895. Literary Love Letters and Other Stories. 1896. The Gospel of Freedom. 1898. Love's Dilemmas. 1898. The Web of Life. 1900. The Real World. 1901. Their Child. 1903. *The Common Lot. 1904. The Memoirs of an American Citizen. 1905. *The Master of the Inn. 1908. *Together. 1908. A Life for a Life. 1910. The Healer. 1911. One Woman's Life. 1913. His Great Adventure. 1913. Clark's Field. 1914. The World Decision. 1916. The Conscript Mother. 1916.
STUDIES AND REVIEWS
Bjorkman, E. Voices of Tomorrow. 1913. Cooper.
Acad. 75 ('08): 331. Bookm. 20 ('04): 192 (portrait), 220; 28 ('08): 350 (portrait); 38 ('13): 274. Critic, 44 ('04): 112 (portrait). Cur. Op. 54 ('13): 317 (portrait). Dial, 56 ('14): 5. Lit. Digest, 44 ('12): 426 (portrait). Nation, 113 ('21): 230. No. Am. 189 ('09): 812. (Howells.) Outlook, 78 ('04): 862, 864 (portrait). Poet Lore, 19 ('08): 337. R. of Rs. 42 ('10): 123 (portrait); 43 ('11): 380 (portrait); 49 ('14): 621.
Robert Cortes Holliday ("Murray Hill")—essayist, critic.
Born at Indianapolis, 1880. Studied at the Art Students' League, New York, 1899-1902, and at the University of; Kansas, 1903-4. Illustrator for magazines, 1904-5. Bookseller with Scribner's, 1906-11. Librarian, 1912-3. Held various editorial positions with New York publishers, 1913-8. Associate editor of The Bookman, 1918, and editor, 1919—.
BIBLIOGRAPHY
Booth Tarkington. 1918. The Walking Stick Papers. 1918. Joyce Kilmer, A Memoir. 1918. Peeps at People. 1919. Broome Street Straws. 1919. Men and Books and Cities. 1920. Turns about Town. 1921.
STUDIES AND REVIEWS
Bookm. 47 ('18): 149 (portrait); 48 ('18): 478. Dial, 64 ('18): 297; 65 ('18): 419. See also Book Review Digest, 1918-21.
William Dean Howells—novelist, dramatist, critic, poet.
Born at Martins Ferry, Ohio, 1837. Of Welsh, English, Pennsylvania Dutch, and Irish ancestry. His father was a country editor, and Mr. Howells, living as he did under pioneer conditions, had very little formal education, but educated himself in working on newspapers as printer, correspondent, and editor. He read continually in boyhood, and taught himself to read six languages. As the result of a campaign life of Lincoln, he was appointed U.S. consul at Venice and lived there, 1861-5. After a year on the staff of the Nation, he became assistant editor of the Atlantic Monthly, 1866-72, and editor, 1872-81. Later, he became an editorial writer for Harper's Magazine, 1886-91, and finally writer of the "Editor's Easy Chair," for the same magazine.
Although Mr. Howells did not go to college, he received many honorary higher degrees, and was offered professorships by three Universities (including that which had been held by Longfellow and Lowell at Harvard); but he refused these, not considering himself fitted for such work. In his editorial capacity he gave much advice and help to authors who afterward became famous. He died in 1920.
SUGGESTIONS FOR READING
1. For just appraisement of Mr. Howells, it is necessary to be familiar with the facts of his life, and with his theories of fiction. For his life the two autobiographical books Years of My Youth and My Literary Passions are most valuable. After reading these, it is possible to see the large use of autobiographical material in the novels.
2. It is interesting to group the books of Howells according to the sources of the material: (1) those growing out of his early life in Ohio; (2) those growing out of his life abroad; (3) those growing out of his life in Boston and New York. This last class might well be subdivided into those written before he came under the influence of Tolstoi and those written after. The turning-point is in A Hazard of New Fortunes. Does Mr. Howells's interest in sociological problems add to or lessen the final value of his work?
3. The realism of Howells set a standard for American literature, the effect of which has not yet passed. Study his theories of fiction (Criticism and Fiction, and Literature and Life) and consider the good and bad effects of his work upon the development of the novel.
4. Use the following quotation from Van Wyck Brooks, on Howells's "panoramic theory" of the novel as a test of his work:
To make a work of art, it is necessary to take a piece out of life and round it off; and, so long as the piece is perfectly rounded off and complete in itself, so long as the chosen group of characters are perfectly proportioned in relation to one another, there is no need to introduce an artificial chain of action.
5. Howells's style has often been admired. Try to analyze it into its elements. Consider Mark Twain's judgment:
For forty years his English has been to me a continual delight and astonishment. In the sustained exhibition of certain great qualities—clearness, compression, verbal exactness and unforced and seemingly unconscious felicity of phrasing—he is, in my belief, without his peer in the English-writing world.
6. Can you make any judgment now as to Howells's future place in American literature?
BIBLIOGRAPHY
Poems by Two Friends. 1860. (With John J. Piatt.) Life of Abraham Lincoln. 1860. Venetian Life. 1866. Italian Journeys. 1867. No Love Lost: A Romance of Travel. 1869. (Poems.) Suburban Sketches. 1871. Their Wedding Journey. 1871. Poems. 1873. A Chance Acquaintance. 1873. A Foregone Conclusion. 1875. The Parlor Car. 1876. (Farce.) A Day's Pleasure. 1876. Out of the Question. 1877. (Comedy.) A Counterfeit Presentment. 1877. (Comedy.) *The Lady of the Aroostook. 1879. The Undiscovered Country. 1880. A Fearful Responsibility, and Other Stories. 1881. A Day's Pleasure, and Other Sketches. 1881. Dr. Breen's Practice. 1881. *A Modern Instance. 1882. The Sleeping-Car. 1883. (Farce.) A Woman's Reason. 1883. Three Villages. 1884. The Register. 1884. (Farce.) *The Rise of Silas Lapham. 1884. The Elevator. 1885. (Farce.) Five O'Clock Tea. 1885. (Farce.) Indian Summer. 1885. The Garroters. 1886. (Farce.) Tuscan Cities. 1886. Poems. 1886. The Minister's Charge. 1887. (=The Apprenticeship of Lemuel Barker.) Modern Italian Poets. 1887. *April Hopes. 1888. A Sea-Change or Love's Stowaway. 1888. (Farce.) Annie Kilburn. 1889. *A Hazard of New Fortunes. 1889. The Mouse Trap, and Other Farces. 1889. The Shadow of a Dream. 1890. A Boy's Town. 1890. (Autobiographical.) The Albany Depot. 1891. (Play.) Criticism and Fiction. 1891. An Imperative Duty. 1892. *The Quality of Mercy. 1892. A Letter of Introduction. 1892. (Farce.) A Little Swiss Sojourn. 1892. Christmas Every Day, and Other Stories for Children. 1893. My Year in a Log Cabin. 1893. (Autobiographical.) The Unexpected Guests. 1893. (Farce.) The World of Chance. 1890. Evening Dress. 1893. (Farce.) The Coast of Bohemia. 1893. A Likely Story, 1894. (Farce.) A Traveler from Altruria. 1894. (Romance.) My Literary Passions. 1895. (Autobiographical.) Stops of Various Quills. 1895. (Poems.) The Day of Their Wedding. 1896. A Parting and a Meeting. 1896. Impressions and Experiences. 1896. Idyls in Drab. 1896. The Landlord at Lion's Head. 1897. A Previous Engagement. 1897. (Comedy.) An Open-Eyed Conspiracy. 1897. Stories of Ohio. 1897. The Story of a Play. 1898. The Ragged Lady. 1899. Their Silver Wedding Journey. 1899. An Indian Giver. 1900. (Comedy.) Room Forty-five. 1900. (Farce.) The Smoking Car. 1900. (Farce.) Bride Roses. A Scene. 1900. Literary Friends and Acquaintances. 1900. A Personal Retrospect of American Authorship. 1900. Doorstep Acquaintance and Other Sketches. 1900. A Pair of Patient Lovers. 1901. (5 stories.) Poems. 1901. Heroines of Fiction. 1901. The Kentons. 1902. Literature and Life. 1902. The Flight of Pony Baker. A Boy's Town Story. 1902. Minor Dramas. 1902. (19 Farces.) Letters Home. 1903. Questionable Shapes. 1903. (3 stories.) The Son of Royal Langbrith. 1904. Miss Bellard's Inspiration. 1905. London Films. 1905. Certain Delightful English Towns. 1906. Between the Dark and the Daylight. 1907. (7 stories.) Through the Eye of the Needle. 1907. (Romance.) Mulberries in Pay's Garden. 1907. Roman Holidays and Others. 1908. Fennel and Rue. 1908. The Mother and the Father. Dramatic Passages. 1909. Seven English Cities. 1909. Imaginary Interviews. 1910. My Mark Twain. 1910. Parting Friends. 1911. (Farce.) New Leaf Mills. 1913. Familiar Spanish Travels. 1913. The Seen and the Unseen at Stratford-on-Avon. A Fantasy. 1914. Years of my Youth. 1916. (Autobiographical.) Buying a Horse. 1916. The Leatherwood God. 1916. The Daughter of the Storage and Other Things in Prose and Verse. 1916. The Vacation of the Kelwyns. 1920. Mrs. Farrell. 1921.
For complete bibliography, see Cambridge, III (IV), 663.
STUDIES AND REVIEWS
Boynton. Cambridge, III, 77. Clemens, S.L. What is Man? and Other Essays. 1917. Follett. Halsey. Harkins. Harvey, A. William Dean Howells. 1917. Macy. Phelps. (Modern Novelists.) Robertson, J.M. Essays toward a Critical Method. 1889. Underwood. Van Doren, Carl.
Ath. 1920, 1: 634. Atlan. 91 ('03): 77; 119 ('17): 362. Bookm. 21 ('05): 566; 25 ('07): 2 (portrait), 67; 45 ('17): 1 (Hamlin Garland); 49 ('19): 549; 51 ('20): 385. Bookm. (Lond.) 23 ('03): 214; 52 ('17): 88 (portrait). Cath. World, 111 ('20): 445. Cent. 100 ('20): 674 (portrait). Critic, 38 ('01): 165. Cur. Lit. 52 ('12): 461. Cur. Op. 54 ('13): 411; 60 ('16): 352 (portrait); 62 ('17): 278, 357 (portrait); 63 ('17): 270; 69 ('20): 93 (portrait). Fortn. 115 ('21): 154. Forum, 32 ('02): 629; 49 ('13): 217. Harp. 113 ('06): 221 (Mark Twain)=Cur. Lit. 41 ('06): 48 (condensed); 134 ('17): 903; 141 ('20): 265 (portrait), 346. Harp. W. 46 ('02): 929 (portrait), 947; 56 ('12): Mar. 9, pp. 5, 27 (portrait). Ind. 72 ('12): 533 (portrait). J. Educ. 65 ('07): 311. Lit. Digest, 44 ('12): 485; 65 ('20): My. 29, p. 34, Je. 12, p. 53 (portrait), Je. 19, pp. 37, 56. Liv. Age, 294 ('17): 173; 306 ('20): 98; 308 ('21): 304; 312 ('21): 304. Lond. Mer., 2 ('20): 133. Lond. Times, Dec. 7, 1916: 585. Nation, 31 ('80): 49 (W.C. Brownell); 104 ('17): 261; 110 ('20): 673. New Repub. 10 ('17): supp. p. 3; 22 ('20): 393; 26 ('21): 192. New Statesman, 15 ('20): 195. No. Am. 176 ('03): 336; 195 ('12): 432 (portrait), 550; 196 ('12): 339; 212 ('20): 1 (portrait), 17. Outlook, 69 ('01): 712 (portrait); 111 ('15): 786, 798 (portrait); 129 ('21): 187 (portrait). R. of Rs. 61 ('20): 562 (portrait), 644. Sat. Rev. 91 ('01): 806. Spec. 98 ('07): 450; 117 ('16): 834. Westm. R. 178 ('12): 597. World's Work, 18 ('09): 11547. (Van Wyck Brooks.) Yale Rev. n.s. 10 ('20): 99. Cf. also Cambridge, III (IV), 665.
James Gibbons Huneker—critic.
Born at Philadelphia, 1860. Graduate of Roth's Military Academy, Philadelphia, 1873. Studied law five years at the Law Academy, Philadelphia. Studied piano in Paris and was for ten years associated with Rafael Joseffy, as teacher of piano at the National Conservatory, New York. Musical and dramatic critic of the New York Recorder, 1891-5; of the Morning Advertiser, 1895-7; also musical, dramatic, and art critic of the New York Sun. Died in 1921.
For an understanding of Mr. Huneker's criticisms, it is well to begin with his autobiography (Steeplejack).
BIBLIOGRAPHY
Mezzotints in Modern Music. 1899. Melomaniacs. 1902. Overtones. 1904. Iconoclasts—A Book of Dramatists. 1905. Visionaries. 1905. Egoists—A Book of Supermen. 1909. Promenades of an Impressionist. 1910. The Pathos of Distance. 1913. Ivory Apes and Peacocks. 1915. New Cosmopolis. 1915. Unicorns. 1917. Steeplejack. 1919. Painted Veils. 1920. Bedouins. 1920. Variations. 1921.
STUDIES AND REVIEWS
Mencken, H.L. Prefaces.
Bookm. 11 ('00): 501 (portrait); 21 ('05): 79 (portrait), 564, 565 (portrait); 29 ('09): 236 (portrait); 31 ('14): 241 (portrait); 37 ('13): 598 (portrait); 41 ('15): 246 (portrait); 53 ('21): 124. Cent. 102 ('21): 191. Critic, 36 ('00): 487 (portrait). Cur. Lit. 39 ('05): 75 (portrait); 42 ('07): 167; 47 ('09): 57 (portrait). Cur. Op. 65 ('18): 392; 70 ('21): 534. (Portraits.) Forum, 41 ('09): 600. Lit. Digest, 68 ('21): Mar. 5, p. 28 (portrait). Liv. Age, 309 ('21): 426. New Repub. 25 ('21): 357. No. Am. 213 ('21): 556. Outlook, 126 ('20): 469 (portrait); 127 ('21): 286. Sat. Rev. 97 ('04): 551. Spec. 115 ('15): 879.
Fannie Hurst (Missouri, 1889)—short-story writer, novelist.
Has studied especially the lives of working girls. For bibliography, see Who's Who in America.
Wallace Irwin (New York, 1875)—short-story writer.
Most characteristic material life in California and the Japanese there. For bibliography, see Who's Who in America.
Henry James—novelist.
Born in New York City, 1843. Younger brother of William James, the psychologist. Educated largely in France and Switzerland. Studied at the Harvard Law School. After 1869, lived for the most part abroad, chiefly in England. Spent much time at Lamb House, Rye, a beautiful eighteenth century English house which he purchased in order to live in retirement. Just before his death, to show his sympathy for the part played by England in the War and his criticism of what he considered our backwardness, he became naturalized as a British citizen. In 1916, received the Order of Merit (O.M.), the highest honor for literary men conferred in England. His death in 1916 was attributed to overstrain caused by the War and his efforts to help the sufferers.
SUGGESTIONS FOR READING
1. A good approach to the work of Henry James is through the three articles from the Quarterly Review listed below. Mr. Fullerton sums up the material scattered through the prefaces to the definitive edition of 1909. Mr. Percy Lubbock writes as the editor of the Letters. Mrs. Wharton adds to criticism of the Letters illuminating personal reminiscences.
2. One of the important Prefaces on James's theory of the novel and his method of work is that to the Portrait of a Lady, from which the extract below is taken. In speaking of Turgenev's attitude toward his characters, James says:
He saw them, in that fashion, as disponible, saw them subject to the chances, the complications of existence, and saw them vividly but then had to find for them the right relations, those that would most bring them out; to imagine, to invent and select and piece together the situations most useful and favourable to the sense of the creatures themselves, the complications they would be most likely to produce and to feel.
"To arrive at these things is to arrive at my 'story,' he said, "and that's the way I look for it. The result is that I'm often accused of not having 'story' enough...."
So this beautiful genius, and I recall with comfort the gratitude I drew from his reference to the intensity of suggestion that may reside in the stray figure, the unattached character, the image en disponible. It gave me higher warrant than I seemed then to have met for just that blest habit of one's own imagination, the trick of investing some conceived or encountered individual, some brace or group of individuals, with the germinal property and authority. I was myself so much more antecedently conscious of my figures than of their setting—a too preliminary, a preferential interest in which struck me as in general such a putting of the cart before the horse. I might envy, though I couldn't emulate, the imaginative writer so constituted as to see his fable first and to make out his agents afterwards: I could think so little of any situation that didn't depend for its interest on the nature of the persons situated, and thereby on their way of taking it....
The question comes back thus, obviously, to the kind and the degree of the artist's prime sensibility, which is the soil out of which his subject springs. The quality and capacity of that soil, its ability to "grow" with due freshness and straightness any vision of life, represents, strongly or weakly, the projected morality. That element is but another name for the more or less close connexion of the subject with some mark made on the intelligence, with some sincere experience.
On one thing I was determined; that, though I should clearly have to pile brick upon brick for the creation of an interest, I would leave no pretext for saying that anything is out of line, scale or perspective. I would build large—in fine embossed vaults and painted arches, as who should say, and yet never let it appear that the chequered pavement, the ground under the reader's feet, fails to stretch at every point to the base of the walls....
The bricks, for the whole counting-over—putting for bricks little touches and inventions and enhancements by the way—affect me in truth as well-nigh innumerable and as ever so scrupulously fitted together and packed-in. It is an effect of detail, of the minutest; though, if one were in this connexion to say all, one would express the hope that the general, the ampler part of the modest monument still survives....
So early was to begin my tendency to overtreat, rather than undertreat (when there was choice or danger) my subject. (Many members of my craft, I gather, are far from agreeing with me, but I have always held overtreating the minor disservice.) ... There was the danger of the noted "thinness"—which was to be averted, tooth and nail, by cultivation of the lively.... And then there was another matter. I had, within the few preceding years, come to live in London, and the "international" light lay, in those days, to my sense, thick and rich upon the scene. It was the light in which so much of the picture hung. But that is another matter. There is really too much to say.
3. Remember the following clues in reading James's, work: "His one preoccupation was the criticism, for his own purpose, of the art of life." The emphasis is on the word art. His purpose is suggested by his own claim to have "that tender appreciation of actuality which makes even the application of a single coat of rose-color seem an act of violence."
4. There is suggestion of Mr. James's limitations in the facts that he was tone deaf and so could not appreciate music, and that he is said not to have written a line of verse, and also in the fact that although his method of presentation in the novels is dramatic throughout and he strongly desired to write plays, the eight plays that he wrote (three of which were presented) were failures.
5. Mr. James's place in the sequence of great European novelists is as a follower of Balzac, Flaubert, De Maupassant, and Turgenev, and as a predecessor of Conrad (whose study of him listed below should be read).
6. Early in the nineties, a great change in method came about in James's work (cf. Cambridge, III, 98, 103). Judge separately typical books written before this change and others written after; then read several books of the period of change and decide what happened and whether or not it enhanced the value of his work.
7. One of the remarkable facts about James's style is its influence upon the critics who write about him. A close analysis of its qualities—sentence length, the order and placing of the parts of the sentence, punctuation, vocabulary, etc., might bring a more definite understanding of the reasons for this influence.
8. A comparison of the work and qualities of Henry and William James might be made a valuable contribution to criticism.
9. For a student familiar with Europe, a study of the reasons for James's affinity with Europe and dislike for American life would make an interesting study.
10. What different types of reasons can you bring to show that Henry James is likely to be a permanent force in American literature?
BIBLIOGRAPHY
A Passionate Pilgrim, and Other Tales. 1875. Transatlantic Sketches. 1875. Roderick Hudson. 1876. *The American. 1877. Watch and Ward. 1878. French Poets and Novelists. 1878. The Europeans. A Sketch. 1878. *Daisy Miller. A Study. 1879. An International Episode. 1879. Daisy Miller: A Study. An International Episode. Four Meetings. 1879. The Madonna of the Future and Other Tales. 1879. Hawthorne. 1879. (English Men of Letters.) The Diary of a Man of Fifty and A Bundle of Letters. 1880. Confidence. 1880. Washington Square. 1881. Washington Square. The Pension Beaurepas. A Bundle of Letters. 1881. *The Portrait of a Lady. 1881. Daisy Miller: A Comedy. 1882. (Privately printed.) The Siege of London, The Pension Beaurepas, and The Point of View. 1883. Portraits of Places. 1883. Tales of Three Cities. 1884. A Little Tour in France. 1885. Stories Revived. 1885. (3 vols. of Short Stories.) The Bostonians. 1886. The Princess Casamassima. 1886. The Reverberator. 1888. The Aspern Papers. Louisa Pallant. The Modern Warning. 1888. Partial Portraits. 1888. A London Life. The Patagonia. The Liar. Mrs. Temperley. 1889. The Tragic Muse. 1892. The Lesson of the Master. The Marriages. The Pupil. Brooksmith. The Solution. Sir Edward Orme. 1892. The Real Thing and Other Tales. 1893. The Private Life. Lord Beaupre. The Visits. 1893. The Wheel of Time. Collaboration. Owen Wingrave. 1893. Picture and Text. 1893. Essays in London and Elsewhere. 1893. Theatricals. Two Comedies: Tenants. Disengaged. 1894. Theatricals. Second Series. The Album. The Reprobate. 1895. *Terminations. The Death of the Lion. The Coxon Fund. The Middle Years. The Altar of the Dead. 1895. Embarrassments. The Figure in the Carpet. Glasses. The Next Time. The Way It Came. 1896. The Other House. 1896. *The Spoils of Poynton. 1897. *What Maisie Knew. 1897. In the Cage. 1898. The Two Magics. The Turn of the Screw. Covering End. 1898. The Awkward Age. 1899. The Soft Side. 1900. The Sacred Fount. 1901. *The Wings of the Dove. 1902. The Better Sort. 1903. (Short stories.) *The Ambassadors. 1903. William Wetmore Story and His Friends. 1903. *The Golden Bowl. 1904. English Hours. 1905. The Question of Our Speech. The Lesson of Balzac: Two Lectures. 1905. The American Scene. 1907. Views and Reviews, Now First Collected. 1908. Italian Hours. 1909. *The Altar of the Dead. The Beast in the Jungle. The Birthplace, and Other Tales. 1909. The Finer Grain. 1910. (Short stories.) The Outcry. 1911. A Small Boy and Others. 1913. (Autobiography.) Notes of a Son and Brother. 1914. (Autobiography.) Notes on Novelists. With Some Other Notes. 1914. The Ivory Tower. 1917. The Sense of the Past. 1917. The Middle Years. 1917. (Autobiography.) Gabrielle de Bergerac. 1918. (Atlantic, 1860.) Travelling Companions. 1919. (7 stories originally published 1868-74.) A Landscape Painter. 1919. (4 stories originally published 1866-68.) Master Eustace. 1920. (5 stories originally published 1869-78.) The Letters of Henry James. 1920. (Selected and edited by Percy Lubbock.)
For further bibliographical references, see Cambridge, III (IV), 671.
STUDIES AND REVIEWS
Beach, J.W. The Method of Henry James. 1918. Brownell. Cambridge. Cary, Elizabeth Luther. The Novels of Henry James. 1905. Elton, Oliver. Modern Studies. 1907. Follett. Freeman, John. The Moderns. 1917. Hacket, Francis. Horizons. 1918. Harkins. Hueffer, Ford Madox. Henry James: a Critical Study. 1913. Macy. Perry, Bliss. The American Spirit in Literature. 1918. Phelps. Sherman, Stuart P. On Contemporary Literature. 1917. Underwood. Van Doren, Carl. West, Rebecca. Henry James. 1916.
Acad. 75 ('08): 609; 86 ('14): 359; 87 ('14): 509; 89 ('15): 67. Ath. 1919, 1: 518. Atlan. 95 ('05): 496; 100 ('07): 458; 117 ('16): 801. Bookm. 15 ('02): 396; 21 ('05): 23 (portrait), 71, 464; 26 ('07): 357; 30 ('09): 138 (portrait); 36 ('12): 176; 37 ('13): 595; 43 ('16): 219; 51 ('20): 364, 389. Bookm. (Lond.) 43 ('13): 299 (portraits); 45 ('14): 302; 53 ('17): 107; 53 ('18): 163. Contemp. 101 ('12): 69=Liv. Age, 272 ('12): 287. Critic, 42 ('03): 31, 107 (portrait), 204, 393 (portrait); 44 ('04): 146; 46 ('05): 98 (portrait), 146. Cur. Lit. 27 ('00): 21; 29 ('00): 148. Cur. Op. 54 ('13): 489 (portrait); 56 ('14): 457; 60 ('16): 280 (portrait); 63 ('17): 118, 247, 407 (portrait). Dial, 44 ('08): 174; 54 ('13): 372; 60 ('16): 259, 313, 316; 63 ('17): 260. Egoist, 5 ('18): 1 (T.S. Eliot), 2 (Ezra Pound), 3, 4. Eng. R. 22 ('16): 317. Fortn. 105 ('16): 620=Liv. Age, 290 ('16): 281; 107 ('17): 995=Liv. Age, 294 ('17): 346=Bookm, 45 ('18): 571; 113 ('20): 864. Forum, 55 ('16): 551. Harp. W. 47 ('03): 273, 532, 552 (portrait); 48 ('04): 1375 (portrait), 1548 (portrait); 57 ('13): May 3, p. 18 (portrait); 62 ('16): March 25: 291. (Canby.) Lamp, 28 ('04): 47. (Herbert Croly.) Little Review, 5 ('18): August number. Liv. Age, 236 ('03): 577; 240 ('04): 1; 262 ('09): 691; 289 ('16): 122, 229, 568; 306 ('20): 55; 310 ('21): 267. Lond. Merc. 1 ('20): 673; 2 ('20): 29. (Edmund Gosse.) Lond. Times, Apr. 10, 1913: 150; Mar. 9, 1916: 109; Oct. 19, 1917: 497; Dec. 27, 1918: 655; Mar. 28, 1919: 163. Nation, 85 ('07): 343; 102 ('16): 244; 104 ('17): 393; 110 ('20): 690; 111 ('20): 441. New Repub. 6 ('16): 152, 191; 7 ('16): 171; 13 ('17): 119, 254; 16 ('18): 172; 20 ('19): 113; 23 ('20): 63. New Statesman, 6 ('16): 518; 9 ('17): 375; 15 ('20): 162. 19th Cent. 80 ('16): 141=Liv. Age, 290 ('16): 505. No. Am. 176 ('03): 125; 180 ('05): 102 (Joseph Conrad); 185 ('07): 214; 203 ('16): 572 (Howells), 585 (Conrad), 592; 207 ('18): 130; 211 ('20): 682; 213 ('21): 211. Outlook, 79 ('05): 838; 125 ('20): 167. (Portraits.) Quar. 212 ('10): 393=Liv. Age, 265 ('10): 643; 226 ('16): 60=Liv. Age, 290 ('16): 733; 234 ('20): 188. Sat. Rev. 95 ('03): 79; 107 ('09): 266; 121 ('16): 226; 123 ('17): 201; 129 ('20): 537. Scrib. M. 36 ('04): 394; 67 ('20): 422, 548; 68 ('20): 89. Sewanee Rev. 27 ('19): 1. Spec. 98 ('07): 334; 116 ('16): 312. Yale R. n.s. 5 ('16): 783; n.s. 10 ('20): 143. Cf. also Cambridge, III (IV), 674.
Orrick Johns—poet.
Born at St. Louis, Missouri, 1887. Trained as an advertising copy writer. Won the prize of the Lyric Year, 1912, for his Second Avenue.
BIBLIOGRAPHY
Asphalt and Other Poems. 1917. Black Branches. 1920. Also in: Others, 1916, 1917, 1919.
STUDIES AND REVIEWS
Untermeyer. Dial, 62 ('17): 476. Poetry, 11 ('17): 44; 16 ('20): 162. Bookm. 46 ('18): 578.
Owen McMahon Johnson (New York City, 1878)—novelist short-story writer.
Best known for studies in college life and in the psychology of the young woman (The Salamander, 1913). For bibliography, see Who's Who in America.
Robert Underwood Johnson—poet.
Born at Washington, D.C., 1853. B.S., Earlham College, 1871. Has many honorary higher degrees and decorations. Joined the staff of the Century, 1873; associate editor, 1881-1909; editor, 1909-13. Father of Owen McMahon Johnson (q.v.).
Ambassador to Italy, 1920-1.
For Mr. Johnson's many activities outside his work as poet and as editor, see Who's Who in America.
BIBLIOGRAPHY
Collected Poems. 1919.
STUDIES AND REVIEWS
Bookm. 47 ('18): 547. (Phelps.) Critic, 42 ('03): 231 (portrait). Lit. Digest, 64 ('20): Mar. 6, p. 32 (portrait). R. of Rs. 49 ('14): 759 (portrait).
Mary Johnston (Virginia, 1870)—novelist.
Historical material, especially colonial Virginia. For bibliography, see Who's Who in America.
Charles Rann Kennedy—dramatist.
Born at Derby, England, 1871. Largely self-educated. Office boy and clerk, thirteen to sixteen. Lecturer and writer to twenty-six. Actor, press-agent, and miscellaneous writer and theatrical business manager to thirty-four. His play, The Servant in the House, established his reputation.
BIBLIOGRAPHY
*The Servant in the House. 1908. The Winterfeast. 1908. The Terrible Meek. 1911. The Necessary Evil. 1913. The Idol-Breaker. 1914. The Rib of the Man. 1917. The Army With Banners; A Divine Comedy of this Very Day. 1917. The Fool from the Hills. 1919.
STUDIES AND REVIEWS
Boynton. Arena, 40 ('08): 18 (portrait), 20. Atlan. 103 ('09): 73. Dial, 45 ('08): 36. Ind. 72 ('12): 725. R. of Rs. 37 ('08): 757; 45 ('12): 633; 49 ('14): 501. (Portraits.)
(Alfred) Joyce Kilmer—poet, essayist.
Born at New Brunswick, New Jersey, 1886. Of mixed ancestry, Irish, German, English, Scotch. A.B., Rutgers, 1904; Columbia, 1906. Married Miss Aline Murray, step-daughter of Henry Mills Alden, editor of Harper's Magazine (cf. Aline Kilmer). Taught a short time, then held various editorial positions on The Churchman, the Literary Digest, Current Literature, the New York Times Sunday Magazine, among others. In 1913, he and his wife were converted to Catholicism. In 1916, he was called to the faculty of the School of Journalism, New York University, succeeding Arthur Guiterman (q.v.). Enlisted as a private in the War and was killed in action, 1918.
SUGGESTIONS FOR READING
1. Kilmer wished to be judged by poetry written after October, 1913, and to discard all earlier work. Why?
2. The following influences are traceable in his poetry: (1) Francis Thompson, Coventry Patmore, and earlier Catholic poets; (2) his mother's musical talent; (3) his journalistic work; (4) the War.
3. Kilmer's letters illustrate and explain the qualities of his work.
BIBLIOGRAPHY
Trees and Other Poems. 1915. Main Street and Other Poems. 1917. Joyce Kilmer, edited by Robert Cortes Holliday. 1918. (Poems, essays, and letters.) Circus, and Other Essays and Fugitive Pieces. 1921.
STUDIES AND REVIEWS
Holliday, R.C. Memoir in Joyce Kilmer (listed in bibliography). Kilmer, Mrs. Annie Kilburn. Memories of my Son, Sergeant Joyce Kilmer, 1920.
Ath. 1919, 2: 1220. Bookm. 48 ('18): 133 (portrait). Bookm. (Lond.) 56 ('19): 122; 57 ('19): 118. Cath. World, 100 ('14): 301; 108 ('18): 224. Lit. Digest, 58 ('18): Aug. 31, p. 36 (portrait); Sept. 7, pp. 32 (portrait), 42. Outlook, 120 ('18): 12, 16; 122 ('19): 467. Poetry, 11 ('18): 281; 13 ('18): 31. 149. R. of Rs. 58 ('18): 431 (portrait).
Aline Murray Kilmer—poet.
Step-daughter of Henry Mills Alden. Married in 1909 to Joyce Kilmer (q.v.).
BIBLIOGRAPHY
Candles that Burn. 1919. Vigils. 1921.
STUDIES AND REVIEWS
Bookm. 54 ('21): 384. Nation, 109 ('19): 116. New Repub. 29 ('21): 133. See also Book Review Digest, 1919, 1921.
Grace Elizabeth King—novelist.
Born at New Orleans, 1852, and educated there and in France. Her stories and novels furnish material for an interesting comparison with the work of G.W. Cable (q.v.). Her writing grew out of the desire to present from the inside the Creole Society in which she had grown up, to which she felt that Mr. Cable, as an outsider, had not done justice.
BIBLIOGRAPHY
Monsieur Motte. 1888. Balcony Stories. 1893. The Pleasant Ways of St. Medard. 1916.
For reviews, see Pattee; also Book Review Digest, 1916.
Harry Herbert Knibbs (Ontario, Canada, 1874)—poet.
His material is cowboy life. For bibliography see Who's Who in America.
Alfred Kreymborg—poet.
Born in New York City, 1883, of Danish ancestry. Educated at the Morris High School. A chess prodigy at the age of ten, and supported himself from seventeen to twenty-five by teaching chess and playing matches. Had several years of experience as bookkeeper.
In 1914, founded and edited The Glebe, which issued the first anthology of free verse. In 1916, 1917, 1919, published Others—three anthologies of radical poets. In 1921, went to Rome to edit, in association with Harold Loeb, an international magazine of the arts called The Broom (cf. Dial 70 ['21]: 606), but shortly after resigned.
SUGGESTIONS FOR READING
1. Mr. Kreymborg is a rebel against all conventions of form and content in poetry. Consequently, the one thing to be expected in his work is the unexpected. How far his utterances are sincere and how far posed, each reader must judge for himself.
2. The following quotation from Poetry (9 ['16]: 51) may serve as a starting-point in discussing Mr. Kreymborg's qualities: "An insinuating, meddlesome, quizzical, inquiring spirit; sometimes a clown, oftener a wit, now and then a lyric poet ... trips about cheerfully among life's little incongruities; laughs at you and me and progress and prejudice and dreams; says 'I told you so!' with an air, as if after a double somersault in the circus ring; grows wistful, even tender, with emotions always genuine ... always ... as becomes the harlequin-philosopher, entertaining."
3. The new movements in art—Futurist, Cubist, Vorticist—should be remembered in studying Mr. Kreymborg's verse.
4. What is to be said of his economy in words?
BIBLIOGRAPHY
Love and Life and Other Studies. 1908. Apostrophes. 1910. Erna Vitek. 1914. (Novel.) Mushrooms; A Book of Free Forms. 1916. Others, An Anthology of New Verse. 1916, 1917, 1919. Plays for Poem-Mimes. 1918. Blood of Things. 1920. Plays for Merry Andrews. 1920.
STUDIES AND REVIEWS
Untermeyer.
Ath. 1919, 2: 1003. (Conrad Aiken.) Chapbook, 1-2, May, 1920: 30. Dial, 66 ('19): 29. (Lola Ridge.) Poetry, 9 ('16): 51; 11 ('18): 201; 13 ('19): 224; 17 ('20): 153. See also Book Review Digest, 1916, 1920.
Peter Bernard Kyne (San Francisco, 1860)—novelist.
The inventor of Cappy Ricks in stories of business life in California. For bibliography, see Who's Who in America.
Stephen Butler Leacock—humorist.
Born in Hampshire, England, 1869. B.A., Toronto University; Ph.D., University of Chicago. Honorary higher degrees. Head of the department of economics, McGill University.
BIBLIOGRAPHY
Literary Lapses. 1910. Nonsense Novels. 1911. Sunshine Sketches of a Little Town. 1912. Behind the Beyond. 1913. Arcadian Adventures with the Idle Rich. 1914. Moonbeams from the Larger Lunacy. 1915. Essays and Literary Studies. 1916. Further Foolishness. 1916. Frenzied Fiction. 1917. The Hohenzollerns in America. 1919. The Unsolved Riddle of Social Justice. 1920. (Sociological discussion.) Winsome Winnie and Other New Nonsense Novels. 1920.
For study, see Bookm. (Lond.) 51 ('16): 39; also Book Review Digest, 1914-7, 1919, 1920.
Jennette (Barbour Perry) Lee (Mrs. Gerald Stanley Lee)—novelist.
Born at Bristol, Connecticut, 1860. A.B., Smith, 1886. Taught English at Vassar, 1890-3; at Western Reserve, 1893-6; instructor and professor of English at Smith, 1901-13.
BIBLIOGRAPHY
The Son of a Fiddler. 1902. *Uncle William. 1906. Happy Island. 1910. Mr. Achilles. 1912. The Taste of Apples. 1913. Aunt Jane. 1915. The Green Jacket. 1917. The Air-Man and the Tramp. 1918. The Rain-Coat Girl. 1919. The Chinese Coat. 1920. The Other Susan. 1921. Uncle Bijah's Ghost. 1922.
STUDIES AND REVIEWS
Bk. Buyer, 22 ('01): 99 (portrait). Bookm. 36 ('12): 347 (portrait); 38 ('13): 233, 236 (portrait). See also Book Review Digest, 1913, 1915-8.
Edwin Lefevre (Colombia, South America, 1871)—novelist, short-story writer.
Uses Wall Street as material. For bibliography, see Who's Who in America.
Sinclair Lewis—novelist.
Born at Sauk Center, Minnesota, 1885. Son of a physician. A.B., Yale, 1907. During the next ten years was a newspaper man in Connecticut, Iowa, and California, a magazine editor in Washington, D.C., and editor for New York book publishers. During the last five years has been traveling in the United States, living from one day to six months in the most diverse places, and motoring from end to end of twenty-six states. While supporting himself by short stories and experimental novels, he laid the foundation for his unusually successful Main Street. His first book, Our Mr. Wrenn, is said to contain a good deal of autobiography.
SUGGESTIONS FOR READING
1. Do you recognize Gopher Prairie as a type? Is Mr. Lewis's picture photography, caricature, or the kind of portraiture that is art? Or to what degree do you find all these elements?
2. Is the main interest of the book in the story? in the characterization? in the satire? or in an element of propaganda?
3. What is to be said of the constructive theory of living proposed by the heroine? Is it better or worse than the standard that prevailed before she went to Gopher Prairie to live?
4. Explain the success of the book. What, if any, elements of permanent value do you find? What conspicuous defects?
BIBLIOGRAPHY
Our Mr. Wrenn. 1914. The Trail of the Hawk. 1915. The Job. 1917. The Innocents. 1917. Free Air. 1919. *Main Street. 1920. Babbitt. 1922.
STUDIES AND REVIEWS
Am. M. 91 ('21): Apr., p. 16 (portrait). Bookm. 39 ('14): 242, 248 (portrait); 54 ('21): 9. (Archibald Marshall.) Freeman, 2 ('20): 237. Lit. Digest, 68 ('21): Feb. 12, p. 28 (portrait). New Repub. 25 ('20): 20. Sat. Rev. 132 ('21): 230. See also Book Review Digest, 1920.
Ludwig Lewisohn—critic.
Born at Berlin, Germany. 1882. Brought to America, 1890. A.B., and A.M., College of Charleston, 1901 (Litt. D., 1914); A.M., Columbia, 1903. Editorial work and writing for magazines, 1904-10. Translator from the German. College instructor and professor, 1910-19. Dramatic editor of The Nation, 1919—.
BIBLIOGRAPHY
The Modern Drama. 1915. A Modern Book of Criticism. 1919. Up Stream, an American Chronicle. 1922. The Drama and the Stage. 1922.
STUDIES AND REVIEWS
Bookm. 48 ('19): 558. Nation 111 ('20): 219. Sewanee R. 17 ('09): 458. See also Book Review Digest, 1915, 1920.
Joseph Crosby Lincoln (Massachusetts, 1870)—novelist.
Writes of New England types, especially sailors. For bibliography, see Who's Who in America.
(Nicholas) Vachel Lindsay—poet.
Born at Springfield, Illinois, 1879. Educated in the public schools. Studied at Hiram College, Ohio, 1897-1900; at the Art Institute, Chicago, 1900-3, and at the New York School of Art, 1904-5. Member of the Christian (Disciples) Church. Y.M.C.A. lecturer, 1905-09. Lecturer for the Anti-Saloon League throughout central Illinois, 1909-10. Makes long pilgrimages on foot (cf. A Handy Guide for Beggars).
In the summer of 1912, he walked from Illinois to New Mexico, distributing his poems and speaking in behalf of "The Gospel of Beauty."
SUGGESTIONS FOR READING
1. Read for background A Handy Guide for Beggars and Adventures while Preaching the Gospel of Beauty.
2. An important clue to Mr. Lindsay's work is suggested in his own note on reading his poems. Referring to the Greek lyrics as the type which survives in American vaudeville where every line may be two-thirds spoken and one-third sung, he adds: "I respectfully submit these poems as experiments in which I endeavor to carry this vaudeville form back towards the old Greek presentation of the half-chanted lyric. In this case the one-third of music must be added by the instinct of the reader.... Big general contrasts between the main sections should be the rule of the first attempts at improvising. It is the hope of the writer that after two or three readings each line will suggest its own separate touch of melody to the reader who has become accustomed to the cadences. Let him read what he likes read, and sing what he likes sung."
In carrying out this suggestion, note that Mr. Lindsay often prints aids to expression by means of italics, capitals, spaces, and even side notes and other notes on expression.
3. What different kinds of material appeal especially to Mr. Lindsay's imagination? How do you explain his choice, and his limitations?
4. What effect upon his poetry has the missionary spirit which is so strong in him? Is his poetry more valuable for its singing element or for its ethical appeal? Do you discover any special originality?
5. How does his use of local material compare with that of Masters? of Frost? of Sandburg?
6. Study his rhythmic sense in different poems, the verse forms that he uses, the tendencies in rhyme, his use of refrain, of onomatopoeia, of catalogues, etc.
7. Does Mr. Lindsay offend your poetic taste? If so, can you justify his use of the material you object to?
8. Do you judge that Mr. Lindsay is likely to write much greater poetry than he has hitherto produced?
9. Mr. Lindsay's drawings are worth study for comparison with his poems.
10. Compare Mr. Lindsay's development of the idea of the "poem game" with the "poem dance" of Bliss Carman (q.v.).
11. Consider Mr. Lindsay as the "poet of democracy." What is he likely to do for the people? for poetry?
BIBLIOGRAPHY
General William Booth Enters into Heaven, and Other Poems. 1913. Adventures While Preaching the Gospel of Beauty. 1914. (Prose.) The Congo and Other Poems. 1914. The Art of the Moving Picture. 1913. (Prose.) A Handy Guide for Beggars. 1916. (Prose.) The Chinese Nightingale and Other Poems. 1917. The Daniel Jazz and Other Poems. 1920. The Golden Book of Springfield. 1920. (Prose.) The Golden Whales of California. 1920.
STUDIES AND REVIEWS
Boynton. Untermeyer.
Am. M. 74 ('12): 422 (portrait). Ath. 1919, 2: 1334. Bookm. 46 ('18): 575; 47 ('18): 125 (Phelps); 53 ('21): 525 (Morley). Bookm. (Lond.) 57 ('20): 178. Cent. 102 ('21): 638. Chapbook, 1-2, May, 1920: 19. Collier's, 51 ('13): 7 (portrait). Cur. Lit. 50 ('11): 320. Cur. Op. 68 ('20): 851; 69 ('20): 371 (portrait). Dial, 57 ('14): 281. Ind. 77 ('14): 72. Lit. Digest, 65 ('20): 43. Liv. Age, 307 ('20): 671. Lond. Merc. 2 ('20): 645; 3 ('20): 112. New Repub. 9 ('16): supp. 6, (Hackett); 21 ('20): 321. Poetry, 3 ('14): 182; 5 ('15): 296; 11 ('18): 214; 16 ('20): 101; 17 ('21): 262. R. of Rs. 49 ('14): 245. Spec. 125 ('20): 372, 604; 126 ('21): 645. Touchstone, 2 ('18): 510.
Philip Littell—critic.
Born at Brookline, Massachusetts, 1868. A.B., Harvard, 1890. On staff of Milwaukee Sentinel, 1890-1901, and New York Globe, 1910-13. On The New Republic since 1914. His one volume is Books and Things, 1919.
STUDIES AND REVIEWS
Dial, 68 ('20): 362. No. Am. 210 ('19): 849. See also Book Review Digest, 1919.
Jack London—novelist.
Born at San Francisco, 1876. Studied at the University of California, but left college to go to the Klondyke. In 1892, shipped before the mast. Went to Japan; hunted seal in Behring Sea. Tramped far and wide in the United States and Canada, in 1894, for social and economic study. War correspondent in the Russian-Japanese War. Traveled extensively. Socialist. Died in 1916.
His work is very uneven; but the following books are regarded as among his best:
The Call of the Wild. 1903. The Sea-Wolf. 1904. Martin Eden. 1909. (Autobiographical.) John Barleycorn. 1913. (Autobiographical.)
For an account of his life and work, see The Book of Jack London, by Charmian London, 1921 (cf. Freeman, 4 ['22]: 407). For reviews, cf. the Book Review Digest, especially 1903-7, 1911, 1915.
Robert Morss Lovett—man of letters.
Born at Boston, 1870. A.B., Harvard, 1892. Taught English at Harvard, 1892-3; at Chicago, since 1893; professor since 1909. Editor of The Dial, 1919. On the staff of The New Republic, 1921—.
BIBLIOGRAPHY
Richard Gresham. 1904. (Novel.) A Winged Victory. 1907. (Novel.) Cowards. 1917. (Play, published in Drama, 7.)
STUDIES AND REVIEWS
Drama, 7 ('17): 325.
Amy Lowell—poet, critic.
Born at Brookline, Massachusetts, 1874. Sister of President Lowell of Harvard, and of Percival Lowell, the astronomer. Distantly related to James Russell Lowell. Educated at private schools. Traveled extensively in Europe as a child. Her visits to Egypt, Greece, and Turkey influenced her development. In 1902, she decided to become a poet and spent eight years studying, without publishing a poem. Her first poem appeared in the Atlantic, 1910.
She is a collector of Keats manuscripts and says that the poet who influenced her most profoundly was Keats. She has also made special study of Chinese poetry.
SUGGESTIONS FOR READING
1. As Miss Lowell is the principal exponent of the theories of imagism and free verse in this country, careful reading of some of her critical papers leads to a better understanding of her work. Especially valuable are her studies of Paul Fort in her volume entitled Six French Poets, of "H.D." and John Gould Fletcher in her Tendencies in Modern American Poetry, the prefaces to different volumes of her poems and to the anthologies published under the title Some Imagist Poets (1915, 1916), and her articles in the Dial, 64 ('18): 51 ff., and in Poetry, 3 ('13): 213 ff.
2. In judging her work, consider separately her poems in regular metrical form and those in free verse. Decide which method is better suited to her type of imagination.
3. To what extent does her inspiration come from cultural sources—travel, literature, art, music?
4. Consider especially her presentation of "images." How far do these seem to be derived from direct experience? Test them by your own experience. What principles seem to determine her choice of details? Which sense impressions—sight, sound, taste, smell, touch—does she most frequently and successfully suggest? Note instances where her figures of speech sharpen the imagery and others where they seem to distort it. In what ways is the influence of Keats perceptible in her work?
5. It is worth while to make special study of the historical imagery of the poems in Can Grande's Castle.
6. If you are familiar with the impressionistic method of painting, work out an analogy between it and Miss Lowell's word pictures.
7. Study separately her varieties of free verse and polyphonic prose (cf. her study of Paul Fort and the preface to Can Grande's Castle). Choose several poems in which you think the free verse form is especially adapted to the content and draw conclusions as to the problems of development of this kind of verse or of its possible influence upon regular metrical forms.
8. Use the following poem by Miss Lowell as a basis for judging her work:
FRAGMENT
What is poetry? Is it a mosaic Of colored stones which curiously are wrought Into a pattern? Rather glass that's taught By patient labor any hue to take And glowing with a sumptuous splendor, make Beauty a thing of awe; where sunbeams caught, Transmuted fall in sheafs of rainbows fraught With storied meaning for religion's sake.
9. In summing up Miss Lowell's achievement, consider the different phases of it that appear in her volumes taken in chronological order, noting the successive influences under which she has come. In what qualities does she stand out strikingly from other contemporary poets? Do you expect different and more important work from her in the future?
BIBLIOGRAPHY
A Dome of Many-Colored Glass. 1912. Sword Blades and Poppy Seed. 1914. Six French Poets. 1915. Men, Women and Ghosts. 1916. Tendencies in Modern American Poetry. 1917. Can Grande's Castle. 1918. Pictures of the Floating World. 1919. Legends; Tales of Peoples. 1921. Fir-Flower Tablets. Poems Translated from the Chinese. 1921. (With Florence Ayscough.)
STUDIES AND REVIEWS
Boynton. Hunt, R. and Snow, R.H. Amy Lowell. 1921. Untermeyer.
Bookm. 47 ('18): 255. (Phelps.) Chapbook, 1-2, May, 1920: 8. Dial, 61 ('16): 528; 65 ('18): 346; 67 ('19): 331 Egoist, 1 ('14): 422; 2 ('15): 81, 109; 3 ('16): 9. Freeman, 4 ('21): 18. Ind. 87 ('16): 306 (portrait); 88 ('16):533 (portrait); 93 ('18): 294. Lit. Digest, 52 ('16): 971; 63 ('19): Nov. 29, p. 31 (portraits); 72 ('22): 38. Lond. Mer., 3 ('21): 441. New Repub. 6 ('16): 178. No. Am. 207 ('18): 257, 736. Poetry, 6 ('15): 32; 9 ('17): 207; 10 ('17): 149; 13 ('18): 97; 15 ('20): 332. Sewanee R. 28 ('20): 37. Spec. 125 ('20): 744. Touchstone, 2 ('18): 416; 7 ('20): 219.
George Barr McCutcheon (1866)—novelist.
The creator of Graustark. For bibliography, see Who's Who in America.
Percy (Wallace) Mackaye—dramatist, poet.
Born in New York City, 1875, son of Steele Mackaye, dramatist and manager. A.B., Harvard, 1897. Traveled in Europe, 1898-1900, studying at the University of Leipzig, 1899-1900. Taught in private school in New York, 1900-04. Joined the colony at Cornish, New Hampshire, 1904. Since then has been engaged chiefly in dramatic work.
BIBLIOGRAPHY
Fenris the Wolf. 1905. (Tragedy.) The Scarecrow. 1908. (Also, Dickinson, Chief Contemporary Dramatists. 1915.) The Playhouse and the Play. 1909. (Essays.) A Garland to Sylvia. 1910. (Comedy.) Anti-Matrimony. 1910. (Satirical comedy.) Tomorrow. 1911. (Play.) Yankee Fantasies. 1912. (One act plays.) The Civic Theatre. 1912. Sinbad the Sailor. 1912. (Lyric drama.) A Thousand Years Ago. 1914. (Comedy.) The Immigrants. 1915. (Lyric drama.) A Substitute for War. 1915. (Essay.) *Poems and Plays. 1916. American Conservation Hymn. 1917. The Community Drama. 1917. (Essay.) Washington. 1919. (Ballad-play.) Rip Van Winkle. 1919. (Folk-opera.) Dogtown Common. 1921. (Verse.)
For full bibliography see Cambridge, III (IV), 770.
STUDIES AND REVIEWS
Am. M. 71 ('10): 121 (portrait). Bookm. 25 ('07): 230 (portrait), 231; 32 ('10): 256 (portrait only); 39 ('14): 376 (portrait); 47 ('18): 395. Craftsman, 26 ('14): 139 (portrait)=R. of Rs. 49 ('14): 749 (condensed); 30 ('16): 483. Cur. Op. 60 ('16): 408. Everybody's, 40 ('19): 29. Harv. Grad. M. 17 ('09): 599 (portrait). No. Am. 199 ('14): 290. Survey, 35 ('16): 508. World Today, 17 ('09): 997 (portrait).
(Charles) Edwin Markham—poet.
Born at Oregon City, Oregon, 1852. Went to California, 1857. Worked at farming, blacksmithing, and herding cattle and sheep during boyhood. Educated at San Jose Normal School and at Christian College, Santa Rosa. Principal and superintendent of schools in California until 1899. Made famous by the publication of The Man with the Hoe.
BIBLIOGRAPHY
The Man with the Hoe, and Other Poems. 1899. The Man with the Hoe, with Notes by the Author. 1900. Lincoln, and Other Poems. 1901. California the Wonderful. 1914. The Children in Bondage. 1914. (Study of child labor problem.) The Shoes of Happiness and Other Poems. 1915. The Gates of Paradise. 1920.
STUDIES AND REVIEWS
Arena, 27 ('02): 391; 35 ('06): 143, 146. Bookm. 27 ('08): 267; 37 ('13): 300; 41 ('15): 397. Cur. Lit. 29 ('00): 1 (portrait), 16; 42 ('07): 317 (portrait). Poetry, 6 ('15): 308. R. of Rs. 30 ('04): 622 (portrait).
Jeannette(Augustus) Marks—novelist, dramatist.
Born at Chattanooga, Tennessee, 1875. A.B., Wellesley, 1900; A.M., 1903. Studied in England. Associate professor of English literature at Mt. Holyoke, 1901-10, and lecturer since 1913, where she introduced Poetry Shop Talks by writers to students. Her most interesting work has been based upon Welsh material, which she obtained by walking several summers with a knapsack in Wales. In 1911, two of Miss Marks's one-act Welsh plays (The Merry, Merry Cuckoo, and Welsh Honeymoon) were given first prize in the Welsh National Theatre competition, notwithstanding the fact that the prize was offered for a three-act play.
BIBLIOGRAPHY
The Cheerful Cricket and Others. 1907. Through Welsh Doorways. 1909. The End of a Song. 1911. Gallant Little Wales. Sketches of its People, Places, and Customs. 1912. Leviathan: the Record of a Struggle and a Triumph. 1913. *Three Welsh Plays: The Merry, Merry Cuckoo; the Deacon's Hat; Welsh Honeymoon. 1917. Courage. 1919. (Essays.)
STUDIES AND REVIEWS
Bookm. 33 ('11): 116 (portrait); 44 ('17): 569 (portrait). See also Book Review Digest, 1913-4, 1917, 1919.
Donald (Robert Perry) Marquis (Don Marquis)—humorist, "columnist," poet.
Born at Walnut, Illinois, 1878. Newspaper man, conductor of the column called "The Sun Dial" in the New York Evening Sun.
BIBLIOGRAPHY
Danny's Own Story. 1912. Dreams and Dust. 1915. (Poems.) The Cruise of the Jasper B. 1916. *Hermione and her Little Group of Serious Thinkers. (Satire.) 1916. *Prefaces. 1919. Carter and Other People. 1921. Noah an' Jonah an' Cap'n John Smith. 1921. The Old Soak, and Hail and Farewell. 1921. Poems and Portraits. 1922. Sonnets to a Red-Haired Lady and Famous Love Affairs. 1922.
STUDIES AND REVIEWS
Am. M. 84 ('17): Sept., p. 18 (portrait). Bookm. 42 ('15): 365 (portrait), 460. Cur. Op. 67 ('19): 119. Everybody's, 42 ('20): Jan., p. 29 (portrait). Outlook, 124 ('20): 289; 126 ('20): 100. (Portraits.)
Edward Sandford Martin—satirist, man of letters.
Born at Owasco, New York, 1856. A.B., Harvard, 1877. Honorary higher degrees. Admitted to the Rochester bar, 1884. Editorial writer for Life nearly thirty years, for Harper's Weekly about fifteen years, and for other periodicals.
BIBLIOGRAPHY
Sly Ballades in Harvard China. 1882. *A Little Brother of the Rich. 1890. (Verses.) Pirated Poems. 1890. *Windfalls of Observation. 1893. Cousin Anthony and I. 1895. Lucid Intervals. 1900. Poems and Verses. 1902. The Luxury of Children, and Other Luxuries. 1904. The Courtship of a Careful Man. 1905. In a New Century. 1908. Reflections of a Beginning Husband. 1913. The Unrest of Women. 1913. The Diary of a Nation. 1917.
STUDIES AND REVIEWS
Am. M. 71 ('11): 728 (portrait). Bookm. 28 ('08): 301 (portrait), 324. Critic, 42 ('03): 233 (portrait). Harp. W. 48 ('04): 1995 (portrait). Outlook, 90 ('08): 707 (portrait).
George Madden Martin (Mrs. Attwood R. Martin)—story writer.
Born at Louisville, Kentucky, 1866. Educated in the Louisville public schools, finishing at home on account of ill health. Made her reputation by her study of a little Kentucky girl in Emmy Lou—Her Book and Heart, 1902. For complete bibliography, see Who's Who in America.
STUDIES AND REVIEWS
Outlook, 78 ('04): 287 (portrait). See also Book Review Digest, 1916, 1920.
Helen Reimensnyder Martin (Pennsylvania, 1868)—novelist.
Writes about the Pennsylvania Dutch. For bibliography, see Who's Who in America.
Edgar Lee Masters—poet.
Born at Garnett, Kansas, 1868, but brought up in Illinois. His schooling was desultory, but he read widely. Studied one year at Knox College; learned Greek, which influenced him strongly.
Studied law in his father's office at Lewiston, and practiced there for a year. Then went to Chicago where he became a successful attorney and also took an active part in politics.
Mr. Masters' fame was established by the Spoon River Anthology, which was suggested by The Greek Anthology. With this Mr. Masters had become familiar as early as 1909, through Mr. William Marion Reedy. The Spoon River Anthology first appeared in Reedy's Mirror, under the significant pseudonym, "Webster Ford."
SUGGESTIONS FOR READING
1. Begin with The Spoon River Anthology. (Cf. the preface to Toward the Gulf.) How much does it owe to its model? to other literary sources? to the central Illinois environment in which the author grew up? What are its most conspicuous merits and defects? How do you explain each?
2. Test the sketches by your own experience of small town life. Which seem to you truest to individual character and most universal in type?
3. Compare similar sketches of personalities by Edwin Arlington Robinson, which Mr. Masters had not read until after his book was published.
4. Consider how far Mr. Masters has achieved his avowed purpose "to analyze society, to satirise society, to tell a story, to expose the machinery of life, to present a working model of the big world"; to create beauty, and to depict "our sorrows and hopes, our religious failures, successes and visions, our poor little lives, rounded by a sleep, in language and figures emotionally tuned to bring all of us closer together in understanding and affection."
5. How do you explain the sudden popularity of the Anthology? What are its chances of becoming a classic?
6. Read one of Mr. Masters' later volumes and compare it with the Anthology as to merits and defects.
7. Mr. Masters has always been a great reader. Trace, as far as you can, the influence of the following authors: Homer; the Bible; Poe; Keats; Shelley; Swinburne; Browning.
8. Draw parallels between his work and the work of (1) Edwin Arlington Robinson, q.v., (2) of Robert Frost, q.v., (3) of Vachel Lindsay, q.v., and (4) of Carl Sandburg, q.v.
9. An interesting study might be made of the effects of Mr. Masters' legal training upon his poetry.
10. Compare Children of the Market Place with the Anthology or Domesday Book. Is Mr. Masters more successful as poet or as novelist?
BIBLIOGRAPHY
A Book of Verses. 1898. Maximilian. 1902. (Drama in blank verse.) The New Star Chamber and Other Essays. 1904. Blood of the Prophets. 1905. Althea. 1907. (Play.) The Trifler. 1908. (Play.) *The Spoon River Anthology. 1915. Songs and Satires. 1916. The Great Valley. 1916. Toward the Gulf. 1918. Starved Rock. 1919. Domesday Book. 1920. Mitch Miller. 1920. (Boy's story.) The Open Sea. 1921. Children of the Market Place. 1922. (Novel.)
STUDIES AND REVIEWS
Boynton. Lowell. Untermeyer.
Ath. 1916, 2: 323, 520. Bookm. 41 ('15): 355, 432; 44 ('16): 264 (Kilmer); 47 ('18): 262. (Phelps.) Bookm. (Lond.) 49 ('16): 187; 52 ('17): 153. Chapbook, 1-2, May, 1920: 11. Cur. Op. 58 ('15): 356; 60 ('16): 127. Dial, 60 ('16): 415, 498; 61 ('16): 528. Forum, 55 ('16): 109, 118, 121. Ind. 88 ('16): 533 (portrait). Lit. Digest, 52 ('16): 564 (portrait). Lond. Times, Apr. 13, 1917: 173; May 19, 1921: 318. New Repub. 20 ('19): supp. 10. New Statesman, 6 ('16): 332; 7 ('16): 593. Poetry, 6 ('15): 145; 8 ('16): 148; 9 ('17): 202; 12 ('18): 150; 16 ('20): 151. R. of Rs. 51 ('15): 758 (portrait). So. Atlan. Q. 16 ('17): 155. Touchstone, 3 ('18): 172.
(James) Brander Matthews—critic, man of letters.
Born at New Orleans, 1852. A.B., Columbia, 1871, LL.B., 1873, A.M., 1874. Many honorary higher degrees. Admitted to the bar in 1873, but took up writing. Professor at Columbia since 1892.
BIBLIOGRAPHY
The Theatres of Paris. 1880. French Dramatists of the Nineteenth Century. 1881. In Partnership; Studies in Story-Telling. 1884. (With H.C. Bunner.) With My Friends; Tales Told in Partnership. 1891. The Story of a Story and Other Stories. 1893. Studies of the Stage. 1894. Vignettes of Manhattan. 1894. Aspects of Fiction. 1896. Outlines in Local Color. 1898. The Historical Novel. 1901. The Philosophy of the Short Story. 1901. A Study of the Drama. 1910. Vistas of New York. 1912. A Book about the Theatre. 1916. These Many Years. Recollections of a New Yorker. 1917. The Principles of Playmaking. 1919. Essays on English. 1921.
For complete bibliography, cf. Who's Who in America and Cambridge, III (IV), 771.
STUDIES AND REVIEWS
Halsey.
Bk. Buyer, 22 ('21): 15 (portrait). Bookm. 31 ('10): 117. Forum, 39 ('08): 377. Ind. 69 ('10): 1085 (portrait). Internat. Q. 4 ('01): 289. Outlook, 78 ('04): 879 (portrait); 102 ('12): 645 (portrait), 649; 117 ('17): 640. (Lyman Abbott.) Putnam's, 1 ('07): 708 (portrait). Spec. 106 ('11): 969; 114 ('15): 686.
H(enry) L(ouis) Mencken—critic, man of letters.
Born at Baltimore, Maryland, 1880, of German ancestry. Graduate of Baltimore Polytechnic, 1896. On the Baltimore Herald, 1903-5, and Baltimore Sun, 1906-17. Became literary critic for The Smart Set, 1908, and (with George Jean Nathan), editor, 1914—. War correspondent in Germany and Russia, 1917. Much interested in music.
BIBLIOGRAPHY
Ventures Into Verse. 1903. George Bernard Shaw, His Plays. 1905. The Philosophy of Friedrich Nietzsche. 1908. Men vs. the Man. 1910. (With R.R. LaMonte.) The Artist. 1912. Europe After 8:15. 1914. (With George Jean Nathan, q.v., and Willard Huntingdon Wright.) A Book of Burlesques. 1916. A Little Book in C Major. 1916. A Book of Prefaces. 1917. In Defense of Women. 1918. Damn: a Book of Calumny. 1918. The American Language. 1919. (Revised ed., 1922.) Prejudices: First Series. 1919. The American Credo; a Contribution toward the Interpretation of the National Mind. 1920. (With George Jean Nathan, q.v.) Prejudices: Second Series. 1920. Heliogabalus, a Buffoonery in Three Acts. 1920. (With George Jean Nathan, q.v.) Prejudices: Third Series.
STUDIES AND REVIEWS
Hatteras, O.A.J. Pistols for Two. 1917. Rascoe, Burton, and Others (Vincent O'Sullivan, q.v., and F.C. Henderson). H.L. Mencken. Brief Appreciations and a Bibliography. 1920.
Ath. 1920, 1: 10. Bookm. 41 ('15): 46 (portrait), 56; 53 ('21): 79; 54 ('22): 551 (portrait). Cur. Op. 66 ('19): 391 (portrait); 71 ('21): 360. Dial, 68 ('20): 267. Freeman, 1 ('20): 88. Liv. Age, 303 ('19): 798. New Repub. 21 ('20): 239; 26 ('21): 191; 27 ('21): 10. Little Review, 5 ('18): Jan., p. 10. New Statesman, 14 ('20): 748.
George Middleton—dramatist.
Born at Paterson, New Jersey, 1880. A.B., Columbia, 1902. Married Fola La Follette, 1911. Literary editor of La Follette's Weekly, 1912—.
BIBLIOGRAPHY
*Embers; with The Failures, The Gargoyle, In His House, Madonna, The Man Masterful: One-Act Plays of Contemporary Life. 1911. Tradition, with On Bail, Their Wife, Waiting, The Cheat of Pity, and Mothers: One-Act Plays of Contemporary Life, 1913. Nowadays; a Contemporaneous Comedy. 1914. Criminals; a One-Act Play about Marriage. 1915. Back of the Ballot; a Woman Suffrage Farce in One Act. 1915. Possession, with The Groove, The Unborn, Circles, A Good Woman, The Black-Tie: One-Act Plays of Contemporary Life. 1915. The Road Together; a Contemporaneous Drama in Four Acts. 1916. Masks, Jim's Beast, Tides, Among the Lions, The Reason, The House: One-Act Plays of Contemporary Life. 1920. (With Guy Bolton.)
For bibliography of unpublished work, see Who's Who in America.
STUDIES AND REVIEWS
Bookm. 51 ('20): 472. Cur. Op. 56 ('14): 376 (portrait); 68 ('20): 783 (portrait). Freeman, 1 ('20): 449. Nation, 110 ('20): 693. New Repub. 24 ('20): 26. See also Book Review Digest, 1913-6, 1920.
Lloyd Mifflin—poet.
Born at Columbia, Pennsylvania, 1846. Son of an artist. Educated at Washington Classical Institute and by tutors. Studied art with his father and in Germany and Italy. Began as a painter, but later turned to poetry. Is best known for his sonnets, the form in which most of his poetry is written. These may be studied in his Collected Sonnets, 1905 (revised edition, 1907), although several volumes have been published since then. |
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