"In its general outlines and in many of its details there is little in Mr. Daniels's story that has not been told before in volumes devoted to single phases of the United States Navy's war operations. For example, his chapter on the extraordinary task of laying the great mine fields, known as the North Sea barrage, from Norway to the Orkneys, is much more fully described in the account written by Captain Reginald R. Belknap; the story of 'Sending Sims to Europe' is also more extensively presented in that officer's book, The Victory at Sea, and the same qualification can be applied to the chapter on the fighting of the marines in Belleau Wood and elsewhere, and the work of our destroyers and submarines in European waters.

"But Mr. Daniels's history has one great merit that these other books lack. This is that it tells in its 374 pages the complete story of the work of the navy in the world war, giving so many details and so much precise information about officers and their commands, ships of all classes and just what they did, the valuable contributions made to the winning of the war by civilians, that it makes a special place for itself, a very special place, in any library or shelf devoted to war books."

iii

Leslie Haden Guest, a surgeon of wide experience and secretary of the British Labour Delegation to Soviet Russia, is the author of The Struggle for Power in Europe (1917-21), "an outline economic and political survey of the Central States and Russia," of which E. J. C. said in the Boston Evening Transcript (4 March 1922):

"The author writes from personal observation in Russia and discloses much of the life of the day in that country which heretofore has remained undisclosed to the world. He has met and interviewed Lenine and Trotsky themselves, shows us the individuality of these great Bolshevist leaders and tells us much of the life of the people and of the social conditions and tendencies in that distressful country.

"Next he crosses to Poland, another undiscovered country, and shows us the new Poland, its aims and its struggles to emerge from a state almost of anarchy into one of a rational democracy. Very little do we of this country know of the new nation of Tcheko-Slovakia, but Dr. Guest has travelled through it also and shows us the two sections, one cultured, the other more backward, but both working together to form a modern democratic nation.

"The distressful condition of Austria and the Austrians now suffering for the sins of the Hapsburgs, is next shown forth. Vienna, once the capital of a vast empire and the seat of a great imperial court, was suddenly reduced to the level of the capital of a small agricultural, inland state, a condition productive of great suffering. The conditions here are shown to differ much from those in other countries, for the dismemberment of Austria was not brought about by the act of the Allies, but of their own people. The causes of the suffering are fully explained, as are also the causes of similar conditions in Hungary, in Roumania, in Bulgaria and in other countries affected by the economic and political upheavals following the war. That democracy in Europe will finally triumph Dr. Guest feels certain and he gives lucid reasons for the faith that is in him. He gives a broadly intelligent analysis of the entire situation and finds that the essential conditions of success of a democracy are peace, education and adequate nutrition. But he shows that a great problem exists which must be worked out; and he shows how it must be worked out. Dr. Guest is not alone a thinker, but an observer; not a theorist, but a man of practical understanding, who has studied a problem at first hand and shows it forth simply but comprehensively and with an eye single to the needs of humanity."

iv

Of Herman Melville: Mariner and Mystic, by Raymond M. Weaver, Carl Van Vechten, writing in the Literary Review of the New York Evening Post (31 December 1921), said:

"No biography of Melville, no important personal memorandum of the man, was published during his lifetime. It is only now, thirty years after his death and one hundred and two years after his birth, that Raymond M. Weaver's Herman Melville: Mariner and Mystic has appeared.

"Under the circumstances, Mr. Weaver may be said to have done his work well. The weakness of the book is due to the conditions controlling its creation. Personal records in any great number do not exist. There are, to be sure, Melville's letters to Hawthorne, published by Julian Hawthorne, in his Nathaniel Hawthorne and His Wife. There are a few references to Melville in the diary of Mrs. Hawthorne and in her letters to her mother. There remain the short account given by J. E. A. Smith, a man with no kind of mental approach to his hero, a few casual memories of Richard Henry Stoddard, whose further testimony would have been invaluable had he been inclined to be more loquacious, and a few more by Dr. Titus Munson Coan and Arthur Stedman; but both these men, perhaps the nearest to Melville in his later years, were agreed that he ceased to be an artist when he deserted the prescribed field of Typee and Omoo, and they harassed his last days in their efforts to make him perceive this, much as if an admirer of Verdi's early manner had attempted to persuade the composer that work on 'Aida' and 'Otello' was a waste of time that might much better be occupied in creating another 'Trovatore.' In desperation, Melville refused to be lured into conversation about the South Seas, and whenever the subject was broached he took refuge in quoting Plato. No very competent witnesses, therefore, these. Aside from these sources, long open to an investigator, Mr. Weaver has had the assistance of Mr. Melville's granddaughter, who was not quite ten years old when Melville died, but who has in her possession Mrs. Melville's commonplace book, Melville's diary of two European excursions, and a few letters.

"Generally, however, especially for the most important periods and the most thrilling events in Melville's life, Mr. Weaver has been compelled to depend upon the books the man wrote.

"The book, on the whole, is worthy of its subject. It is written with warmth, subtlety, and considerable humour. Smiles and thoughts lie hidden within many of its pregnant lines. One of the biographer's very strangest suggestions is never made concrete at all, so far as I can discern. The figure of the literary discoverer of the South Seas emerges perhaps a bit vaguely, his head in the clouds, but there is no reason to believe that Melville's head was anywhere else when he was alive. Hawthorne is at last described pretty accurately and not too flatteringly. The Scarlet Letter was published in 1850; Moby Dick in 1851. It is one of the eternal ironies that the one should be world-famous while the other is still struggling for even national recognition. There are long passages, well-studied and well-written, dealing with the whaling industry and the early missionaries, which will be extremely helpful to any one who wants a bibliographical background for the ocean and South Sea books. Melville's London notebook is published for the first time and there is a nearly complete reprint of his first known published paper 'Fragments From a Writing Desk,' which appeared in two numbers of The Democratic Press and Lansingburgh Advertiser in 1839 (not 1849, as the bibliography erroneously gives it). Mr. Weaver is probably right in ascribing Melville's retirement from literature to poverty (it was a fortunate year that brought him as much as $100 in royalties and his account at Harper's was usually overdrawn), to complete disillusionment, which made it impossible for him to say more than he had already said, even on the subject of disillusionment, and to ill-health.

"It is a pleasure, moreover, to find that Mr. Weaver has a warm appreciation of Mardi and Pierre, books which have either been neglected or fiercely condemned since they first appeared, books which are no longer available save in early editions. They are not equal to Moby Dick, but they are infinitely more important and more interesting than Typee and Omoo, on which the chief fame of the man rests. It is to his credit that Mr. Weaver has perceived this, but a great deal more remains to be said on the subject. Mardi, Moby Dick, and Pierre, as a matter of fact, form a kind of tragic trinity: Mardi is a tragedy of the intellect; Moby Dick a tragedy of the spirit, and Pierre a tragedy of the flesh. Mardi is a tragedy of heaven, Moby Dick a tragedy of hell, and Pierre a tragedy of the world we live in.

"Considering the difficulties in his path, it may be said that Mr. Weaver has solved his problem successfully. The faults of the book, to a large extent, as I have already pointed out, are not the faults of the author, but the faults of conditions circumscribing his work. At any rate, it can no longer be said that no biography exists of the most brilliant figure in the history of our letters, the author of a book which far surpasses every other work created by an American from The Scarlet Letter to The Golden Bowl. For Moby Dick stands with the great classics of all times, with the tragedies of the Greeks, with Don Quixote, with Dante's Inferno and with Shakespeare's Hamlet."

v

A man who is certainly an authority on naval subjects tells me that The Grand Fleet by Viscount Jellicoe of Scapa is the masterpiece of the great war. He does not mean, of course, in a literary sense; but he does most emphatically mean in every other sense. I quote from the review by P. L. J., of Admiral Jellicoe's second book, The Crisis of the Naval War. The review appeared in that valuable Annapolis publication, the Proceedings of the United States Naval Institute for April, 1921:

"This interesting book is the complement of his first volume, The Grand Fleet,1914-16. Admiral Jellicoe, the one man who was best situated to know, now draws aside the curtains and reveals to us the efforts made by the Admiralty to overcome the threat made by the German submarine campaign. The account not only deals with the origin ashore of the defence and offence against submarines, but follows to sea the measures adopted where their application and results are shown.

"The first chapter deals at length with the changes made in the admiralty that the organisation might be logical and smooth working to avoid conflict of authority, to have no necessary service neglected, to provide the necessary corps of investigators of new devices, and above all to free the first Sea Lord and his assistants of a mass of detail that their efforts might be concentrated on the larger questions.

"The appendices are of value and interesting because they show the organisation at different periods and emphasise the fact that the Naval Staff at the end of the war was the result of trial and error, natural growth, and at least one radical change adopted during the war.

"Chapters II and III deal with the Submarine Campaign in 1917 and the measures adopted to win success. The gradual naval control of all merchant shipping with its attendant difficulties is clearly shown. The tremendous labour involved in putting into operation new measures; the unremitting search for and development of new antisubmarine devices is revealed, and above all the length of time necessary to put into operation any new device, and this when time is the most precious element, is pointed out.

"That a campaign against the enemy must be waged with every means at hand; that new weapons must be continually sought; that no 'cure-all' by which the enemy may be defeated without fighting can be expected; that during war is the poorest time to provide the material which should be provided during peace, the Admiral shows in a manner not to be gainsaid.

"Chapters IV and V deal with the testing, introduction, and gradual growth of the convoy system. It is shown how the introduction of this system was delayed by lack of vessels to perform escort duty and why when finally adopted it was so successful because it was not only defensive but offensive in that it meant a fight for a submarine to attack a vessel under convoy.

"Chapter VI is devoted to the entry of the United States. The accurate estimate of our naval strength by both the enemy and the allies, and our inability upon the declaration of war to lend any great assistance are shown—and this at the most critical period for the Allies—a period when the German submarine campaign was at its height, when the tonnage lost monthly by the Allies was far in excess of what can be replaced—when the destruction of merchant shipping if continued at the then present rate would in a few months mean the defeat of the Allies."

vi

I will give you what Admiral Caspar F. Goodrich said in the Weekly Review (30 April 1921; The Weekly Review has since been combined with The Independent) regarding A History of Sea Power, by William O. Stevens and Allan Westcott:

"Two professors at the Naval Academy, the one a historian, the other a close student of Mahan, have written a noteworthy volume in their History of Sea Power, published in excellent form, generously supplied with maps, illustrations, and index. The title suggests Mahan's classic which is largely followed in plan and treatment. It will be remembered that his writings covered in detail only the years from 1660 to 1815. While not neglecting this period, this book is particularly valuable for events not within its self-assigned limits. Practically it is a history of naval warfare from ancient times to the present day. Each chapter deals briefly, but ably, with one epoch and closes with an appropriate bibliography for those who care to go more fully into the question; a commendable feature. The last chapter, 'Conclusions,' deserves especial attention. Naturally, considerable space is devoted to the story and analysis of Jellicoe's fight. Few will disagree with the verdict of the authors:

"'It is no reflection on the personal courage of the Commander-in-Chief that he should be moved by the consideration of saving his ships. The existence of the Grand Fleet was, of course, essential to the Allied cause, and there was a heavy weight of responsibility hanging on its use. But again it is a matter of naval doctrine. Did the British fleet exist merely to maintain a numerical preponderance over its enemy or to crush that enemy—whatever the cost? If the Battle of Jutland receives the stamp of approval as the best that could have been done, then the British or the American officer of the future will know that he is expected primarily to "play safe." But he will never tread the path of Blake, Hawke, or Nelson, the men who made the traditions of the Service and forged the anchors of the British Empire.'

"One factor in the success of the antisubmarine campaign is not mentioned, important as it proved to be. This was the policy adopted by the Allies of not giving out the news that any U-boat was captured or otherwise accounted for. Confronted with this appalling veil of mystery the morale of the German submarine crews became seriously affected; volunteering for this service gradually ceased; arbitrary detail grew necessary; greatly lessened efficiency resulted.

"The authors are to be congratulated on producing a volume which should be in the hands of all naval officers of the coming generation; on the shelves of all who take interest in the development of history; and of statesmen upon whom may eventually rest the responsibility of heeding or not heeding the teachings of Mahan as here sympathetically and cleverly brought up to date."



CHAPTER XXI

THE CONFESSIONS OF A WELL-MEANING YOUNG MAN, STEPHEN MCKENNA

i

In a sense, all of Stephen McKenna's writing has been a confession. More than any other novelist now actively at work, this young man bases fiction on biographical and autobiographical material; and when he sits down deliberately to write reminiscences, such as While I Remember, the result is merely that, in addition to confessing himself, he confesses others.

He has probably had more opportunity of knowing the social and political life of London from the inside than most novelists of his time. In While I Remember he gives his recollections, while his memory is still fresh enough to be vivid, of a generation that closed, for literary if not for political purposes, with the Peace Conference. There is a power of wit and mordant humour and a sufficiency of descriptive power and insight into human character in all his work.



While I Remember is actually a gallery of pictures taken from the life and executed with the technique of youth by a man still young—pictures of public school and university life, of social London from the death of King Edward to the Armistice, of domestic and foreign politics of the period, of the public services of Great Britain at home and abroad. Though all these are within the circle of Mr. McKenna's narrative, literary London—the London that is more talked about than seen—is the core of his story.

ii

Mr. McKenna's latest novel, The Confessions of a Well-Meaning Woman, is a series of monologues addressed by one Lady Ann Spenworth to "a friend of proved discretion." I quote from the London Times of April 6, 1922: "In the course of them Lady Ann Spenworth reveals to us the difficulties besetting a lady of rank. She is compelled to live in a house in Mount street—for how could she ask 'The Princess' to visit her in Bayswater?—and her income of a few thousands, hardly supplemented by her husband's directorships, is depleted by the disbursements needed to keep the name of her only son out of the newspapers while she is obtaining for him the wife and the salary suited to his requirements and capacities. Mr. Stephen McKenna provides us with the same kind of exasperating entertainment that we get at games from watching a skilful and unscrupulous veteran. Her deftness in taking a step or two forward in the centre and so putting the fast wing off side; her air of sporting acquiescence touched with astonishment when a penalty is given against her for obstruction; her resolution in jumping in to hit a young bowler off his length; the trouble she has with her shoe-lace when her opponent is nervous; the suddenness with which every now and again her usually deliberate second service will follow her first; the slight pucker in her eyebrows when she picks up a hand full of spades; the pluck with which she throws herself on the ball when there is nothing else for it; her dignified bonhomie in the dressing room! We all know Lady Ann and her tricks, but nothing can be proved against her and she continues to play for the best clubs.

"In this story Lady Ann is playing the social game, and it is a tribute to the skill of Mr. McKenna that at the end we hope that the Princess will be sufficiently curious about her new 'frame and setting' to continue her visits.... We have used the word 'story' because Lady Ann reports her machinations while they are in progress and we are a little nervous about the issue. Her main service, however, lies in the pictures she draws of her own highly placed relatives and of a number of people who at house parties and elsewhere may help ladies of title to make both ends meet. Chief among them is her son Will, who even as seen through her partial eyes, appears a very dishonest, paltry boy. Her blind devotion to him humanises both her shrewdness and her selfishness. It is for his sake that she separates her niece from the fine young soldier she is in love with and that she almost succeeds in providing the King's Proctor with the materials for an intervention that would secure to him the estates and title of his fox-hunting uncle. There is always a plain tale to put her down and always the friend of proved discretion is left with the impression that the tale is the invention of malice; at least we suppose she must be, for Lady Ann is allowed by people to whom she has done one injury to remain in a position to do them another. The difficult medium employed by Mr. McKenna entitles him, however, to count on the co-operation of the reader; and it is to be accorded the more readily that to it we owe the felicity of having her own account of the steps she took to prevent an attractive but expensive widow from running away with her husband, and of the party which she gave, according to plan, to the Princess and, not according to plan, to other guests let loose on her by her scapegrace brother-in-law."

iii

Stephen McKenna, the author of Sonia, not to be confused with Stephen McKenna, the translator of Poltinus, belongs to the Protestant branch of that royal Catholic sept which has had its home in the County Monagham since the dawn of Irish history. Some members, even, of this branch have reverted to the old faith since the date of Stephen McKenna's birth in the year 1888 in London.

He was a scholar of Westminster and an exhibitioner of Christ Church, Oxford. After he had taken his degree, his father, Leopold McKenna, an elder brother of the Right Honourable Reginald McKenna, K. C., the last Liberal Chancellor of the British Exchequer, made it possible for him to travel desultorily and to try his luck in the great literary adventure.

On the outbreak of the war, as his health, which is delicate to the point of frailness, debarred him from entering the army, Stephen McKenna first volunteered for service at his old school, and, after a year, joined the staff of the War Trade Intelligence Department, where he did valuable war work for three and a half years. He represented his department on the Right Honourable A. J. Balfour's mission in 1917, to the United States, where he enjoyed himself thoroughly and made himself very popular; and he did not sever his connection with the government service until February, 1919, four months after the conclusion of the armistice.

Stephen McKenna's first three novels—The Reluctant Lover, Sheila Intervenes and The Sixth Sense—were written and published before their author was 27 years of age! But Sonia, the story that made him widely known, was written entirely during the period of his activities on the staff of Westminster School and at the War Trade Intelligence Department. The book won the public favour more quickly than perhaps any other novel that has appeared in our time.

The success of Sonia was largely due to its description in a facile, popular and yet eminently chaste and polished style, of the social and political situation in England for a half generation before and during the early stages of the war. This description Stephen McKenna was peculiarly well-equipped to produce, not only as the near relative of a prominent cabinet minister, but also as an assiduous frequenter of the leading Liberal centre, the Reform Club, on the committee of which he had sat, despite his youthful years, since 1915. The political interest, indeed, is revealed in the subtitle, Between Two Worlds, which was originally intended for the actual title.

McKenna's next book, Ninety-Six Hours' Leave, appealed to the reader's gayer moods and Midas and Son, with its tragic history of an Anglo-American multimillionaire, to the reader in serious temper.

In spite of certain blemishes due to Mr. McKenna's unfamiliarity with American life, I should say that Midas and Son is probably his ablest work so far. I think it surpasses even Sonia. Mr. McKenna returned to Sonia in his novel, Sonia Married. His work after that was a trilogy called The Sensationalists, three brilliant studies of modern London in the form of successive novels called Lady Lilith, The Education of Eric Lane and The Secret Victory.

iv

Writing from 11, Stone Buildings, Lincoln's Inn, London, in 1920, Mr. McKenna had this to say about his trilogy:

"Lady Lilith is the first volume of a trilogy called The Sensationalists, three books giving the history for a few years before the war, during and immediately after the war, of a group of sensation-mongers, emotion-hunters or whatever you like to call them, whose principle and practice it was to startle the world by the extravagance of their behaviour, speech, dress and thought and, in the other sense of the word, sensationalism, to live on the excitement of new experiences. Such people have always existed and always will exist, receiving perhaps undue attention from the world that they set out to astonish. You, I am sure, have them in America, as we have them here, and in the luxurious and idle years before the war they had incomparable scope for their search for novelty and their quest for emotion. Some of the characters in Lady Lilith have already been seen hovering in the background of Sonia, Midas and Son and Sonia Married, though the principal characters in Lady Lilith have not before been painted at full length or in great detail; and these principal characters will be found in all three books of the trilogy.

"Lady Lilith, of course, takes its title from the Talmud, according to which Lilith was Adam's first wife; and as mankind did not taste of the Tree of Knowledge or of death until Eve came to trouble the Garden of Eden, Lilith belongs to a time in which there was neither death nor knowledge of good or evil in the world. She is immortal, unaging and non-moral; her name is given by Valentine Arden, the young novelist who appears in Sonia and elsewhere, to Lady Barbara Neave, the principal character in Lady Lilith and one of the principal characters in the two succeeding books."

v

In person, Stephen McKenna is tall, with a slender figure, Irish blue eyes, fair hair, regular features and a Dante profile. He has an engaging and very courteous address, a sympathetic manner, a ready but always urbane wit and great conversational charm. He possesses the rare accomplishment of "talking like a book." His intimates are legion; and, apart from these, he knows everyone who "counts" in London society. He is known never to lose his temper; and it is doubtful whether he has ever had cause to lose it.

His one recreation is the Opera; and during the London season his delightful chambers in Lincoln's Inn are the almost nightly scene of parties collected then and there from the opera house.

vi

A sample of The Confessions of a Well-Meaning Woman:

"Lady Ann (to a friend of proved discretion): You have toiled all the way here again? Do you know, I feel I am only beginning to find out who my true friends are? I am much, much better.... On Friday I am to be allowed on to the sofa and by the end of next week Dr. Richardson promises to let me go back to Mount Street. Of course I should have liked the operation to take place there—it is one's frame and setting, but, truly honestly, Arthur and I have not been in a position to have any painting or papering done for so long.... The surgeon insisted on a nursing home. Apparatus and so on and so forth.... Quite between ourselves I fancy that they make a very good thing out of these homes; but I am so thankful to be well again that I would put up with almost any imposition....

"Everything went off too wonderfully. Perhaps you have seen my brother Brackenbury? Or Ruth? Ah, I am sorry; I should have been vastly entertained to hear what they were saying, what they dared say. Ruth did indeed offer to pay the expenses of the operation—the belated prick of conscience!—and it was on the tip of my tongue to say we are not yet dependent on her spasmodic charity. Also, that I can keep my lips closed about Brackenbury without expecting a—tip? But they know I can't afford to refuse L500.... If they, if everybody would only leave one alone! Spied on, whispered about....

"The papers made such an absurd stir! If you are known by name as occupying any little niche, the world waits gaping below. I suppose I ought to be flattered, but for days there were callers, letters, telephone-messages. Like Royalty in extremis.... And I never pretended that the operation was in any sense critical....

"Do you know, beyond saying that, I would much rather not talk about it? This very modern frankness.... Not you, of course! But when a man like my brother-in-law Spenworth strides in here a few hours before the anaesthetic is administered and says 'What is the matter with you? Much ado about nothing, I call it.' ... That from Arthur's brother to Arthur's wife, when, for all he knew, he might never see her alive again.... I prefer just to say that everything went off most satisfactorily and that I hope now to be better than I have been for years...."

BOOKS BY STEPHEN MCKENNA

THE RELUCTANT LOVER SHEILA INTERVENES THE SIXTH SENSE SONIA: BETWEEN TWO WORLDS NINETY-SIX HOURS' LEAVE MIDAS AND SON SONIA MARRIED LADY LILITH THE EDUCATION OF ERIC LANE THE SECRET VICTORY WHILE I REMEMBER THE CONFESSIONS OF A WELL-MEANING WOMAN

SOURCES ON STEPHEN MCKENNA

Who's Who [In England].

Private Information.



CHAPTER XXII

POETS AND PLAYWRIGHTS

i

I have to tell about a number of poets and, regarding poets, I agree with a very clever woman I know who declares that poetry is the most personal of the arts and who further says that it is manifestly inadequate to talk about a poet's work without giving a sample of his poetry. So, generally, I shall quote one of the shorter poems or a passage from a longer poem.

John Dos Passos, known for Three Soldiers and for Rosinante to the Road Again, will be still more variously known to those who read his book of verse, A Pushcart at the Curb. This book bears a relation to Rosinante, the contents grouping themselves under these general headings:

Winter in Castile Nights by Bassano Translations from the Spanish of Antonio Machado Vagones de Tercera Quai de la Tournelle Of Foreign Travel Phases of the Moon

I will select for quotation the sixth or final poem dedicated to A. K. McC. from the section entitled "Quai de la Tournelle,"

This is a garden where through the russet mist of clustered trees and strewn November leaves, they crunch with vainglorious heels of ancient vermilion the dry dead of spent summer's greens, and stalk with mincing sceptic steps, and sound of snuffboxes snapping to the capping of an epigram, in fluffy attar-scented wigs ... the exquisite Augustans.

Christopher Morley is too well-known as a poet to require any explicit account in this place. I shall remind you of the pleasure of reading him by quoting the "Song For a Little House" from his book, The Rocking Horse, and also a short verse from his Translations from the Chinese.

I'm glad our house is a little house, Not too tall nor too wide: I'm glad the hovering butterflies Feel free to come inside.

Our little house is a friendly house, It is not shy or vain; It gossips with the talking trees, And makes friends with the rain.

And quick leaves cast a shimmer of green, Against our whited walls, And in the phlox, the courteous bees, Are paying duty calls.

But there is a different temper—or, if you like, tempering—to the verse in Translations from the Chinese. I quote "A National Frailty":

The American people Were put into the world To assist foreign lecturers. When I visited them They filled crowded halls To hear me tell them Great Truths Which they might as well have read In their own prophet Thoreau. They paid me, for this, Three hundred dollars a night, And ten of their mandarins Invited me to visit at Newport. My agent told me If I would wear Chinese costume on the platform It would be five hundred.

In speaking of the late Joyce Kilmer, the temptation is inescapable to quote his "Trees"; after all, it is his best known and best loved poem—in certain moments it is his best poem! But instead, I will desert his volume, Trees and Other Poems, and from his other book, Main Street and Other Poems, I will quote the first two stanzas of Kilmer's "Houses"—a poem written for his wife:

When you shall die and to the sky Serenely, delicately go, Saint Peter, when he sees you there, Will clash his keys and say: "Now talk to her, Sir Christopher! And hurry, Michelangelo! She wants to play at building, And you've got to help her play!"

Every architect will help erect A palace on a lawn of cloud, With rainbow beams and a sunset roof, And a level star-tiled floor; And at your will you may use the skill Of this gay angelic crowd, When a house is made you will throw it down, And they'll build you twenty more.

Mrs. Kilmer is the author of two volumes of verse which have sold rather more than John Masefield usually sells—at least, until the publication of Reynard the Fox. Candles That Burn created her audience and Vigils has been that audience's renewed delight. From Vigils I take the poem "The Touch of Tears." In it "Michael" is, of course, her own son:

Michael walks in autumn leaves, Rustling leaves and fading grasses, And his little music-box Tinkles faintly as he passes. It's a gay and jaunty tune If the hands that play were clever: Michael plays it like a dirge, Moaning on and on forever.

While his happy eyes grow big, Big and innocent and soulful, Wistful, halting little notes Rise, unutterably doleful, Telling of all childish griefs— Baffled babies sob forsaken, Birds fly off and bubbles burst, Kittens sleep and will not waken.

Michael, it's the touch of tears. Though you sing for very gladness, Others will not see your mirth; They will mourn your fancied sadness. Though you laugh at them in scorn, Show your happy heart for token, Michael, you'll protest in vain— They will swear your heart is broken!

I think I have said elsewhere that J. C. Squire prefers his serious poems to those parodies of which he is such an admitted master. It seems only decent to defer, in this place, to the author's own feeling in the matter. Mr. Squire is the author of The Birds and Other Poems and Poems: Second Series. My present choice is the beginning and the close of the poem, "Harlequin"—which is in both books:

Moonlit woodland, veils of green, Caves of empty dark between; Veils of green from rounded arms Drooping, that the moonlight charms: Tranced the trees, grass beneath Silent ... Like a stealthy breath, Mask and wand and silver skin Sudden enters Harlequin.

Hist! Hist! Watch him go, Leaping limb and pointing toe, Slender arms that float and flow, Curving wand above, below; Flying, gliding, changing feet; Onset merging in retreat.

Not a shadow of sound there is But his motion's gentle hiss, Till one fluent arm and hand Suddenly circles, and the wand Taps a bough far overhead, "Crack," and then all noise is dead. For he halts, and for a space Stands erect with upward face, Taut and tense to the white Message of the Moon's light.

He was listening; he was there; Flash! he went. To the air He a waiting ear had bent, Silent; but before he went Something somewhere else to seek, He moved his lips as though to speak.

And we wait, and in vain, For he will not come again. Earth, grass, wood, and air, As we stare, and we stare, Which that fierce life did hold, Tired, dim, void, cold.

Milton Raison is a young writer, known especially to readers of The Bookman, whose verse has appeared in various magazines. A Russian, Milton Raison went to sea as a boy—he is scarcely more than a boy now. His first book of verse, Spindrift, carries a preface by William McFee. I quote:

"There is a Latin sharpness of mentality manifested in these clearly, sardonically etched portraits of a ship's crew. The whimsical humour revealed in final lines is a portent, in the present writer's opinion, of a talent which will probably come to maturity in a very different field. Indeed it may be, though it is too early to dogmatise, that these poems are but the early efflorescence of a gift for vigorous prose narrative.

"Mr. Milton Raison has settled for himself, with engaging promptitude, that a seafaring career provides the inspiration he craves. The influence of Masefield is strong upon him, and some of his verses are plainly derivative. As already hinted, it is too early to say definitely how this plan will succeed. In his diary, kept while on a voyage to South America, a document remarkable for its descriptive power and a certain crude and virginal candour, one may discover an embryo novelist struggling with the inevitable limitations of youth. But in his simple and naive poems, whether they give us some bizarre and catastrophic picture of seamen, or depict the charming emotions of a sensitive adolescence, there is a passion for experiment and humility of intellect which promises well enough for a young man in his teens."

I find it particularly difficult to choose a poem for citation from this book. Perhaps I shall do as well as I can, with only space to quote one poem, if I give you "Vision":

Have I forgotten beauty, and the pang Of sheer delight in perfect visioning? Have I forgotten how the spirit sang When shattered breakers sprayed their ocean-tang To ease the blows with which the great cliffs rang? Have I forgotten how the fond stars fling Their naked children to the faery ring Of some dark pool, and watch them play and sing In silent silver chords I too could hear? Or smile to see a starlet shake with fear Whenever winds disturbed the lake's repose, Or when in mocking mood they form in rows, And stare up at their parents—so sedate— Then break up laughing 'neath a ripple's weight?

It seems as if, The First Person Singular having been published, more people now know William Rose Benet as a novelist than as a poet. I cannot help feeling that to be something of a pity. I am not going to quote one of Mr. Benet's poems—indeed all his best work is in quite long and semi-narrative verse—but I will give you what Don Marquis was inspired to write after reading Benet's Moons of Grandeur. On looking at it again, I see that Mr. Marquis has quoted eight lines, so you shall have your taste of William Rose Benet, the poet, after all!

"Some day, just to please ourself, we intend to make a compilation of poems that we love best; the ones that we turn to again and again. There will be in the volume the six odes of Keats, Shelley's 'Adonais'; Wordsworth's 'Intimations of Immortality'; Milton's 'L'Allegro' and 'Il Penseroso'; William Rose Benet's 'Man Possessed' and very little else.

"We don't 'defend' these poems ... no doubt they are all of them quite indefensible, in the light of certain special poetic revelations of the last few years ... and we have no particular theories about them; we merely yield ourself to them, and they transport us; we are careless of reason in the matter, for they cast a spell upon us. We do not mean to say that we are in the category with the person who says: 'I don't know anything about art, but I know what I like'—On the contrary, we know exactly why we like these things, although we don't intend to take the trouble to tell you now.

"William Rose Benet has published another book of poems, Moons of Grandeur. Here is a stanza picked up at random—it happens to be the opening stanza of 'Gaspara Stampa'—which shows the lyric quality of the verse:

"Like flame, like wine, across the still lagoon, The colours of the sunset stream. Spectral in heaven as climbs the frail veiled moon So climbs my dream. Out of the heart's eternal torture fire No eastern phoenix risen— Only the naked soul, spent with desire, Bursts its prison.

"Was Benet ever in Italy? No matter ... he has Italy in him, in his heart and brain. Italy and Egypt and every other country that was ever warmed by the sun of beauty and shone on by the stars of romance. For the poems in this book are woven of the stuff of sheer romance. There is nothing else in the world as depressing as a romantic poem that doesn't 'get there.' And to us, at least, there is nothing as thrilling as the authentic voice of romance, the genuine utterance of the soul that walks in communion with beauty. Moons of Grandeur is a ringing bell and a glimmering tapestry and a draught of sparkling wine.

"A certain rich intricacy of pattern distinguishes the physical body of Benet's art; when he chooses he can use words as if they were the jewelled particles of a mosaic; familiar words, with his handling, become 'something rich and strange.' Of the spiritual content of his poems, we can say nothing adequate, because there is not much that can be said of spirit; either it is there and you feel it, and it works upon you, or it is not there. There are very few people writing verse today who have the power to charm us and enchant us and carry us away with them as Benet can. He has found the horse with wings."

The Bookman Anthology of Verse (1922), edited by John Farrar, editor of The Bookman, is an altogether extraordinary anthology to be made up from the poets contributing to a single magazine in eighteen consecutive months. Among those who are represented are: Franklin P. Adams, Karle Wilson Baker, Maxwell Bodenheim, Hilda Conkling, John Dos Passos, Zona Gale, D. H. Lawrence, Amy Lowell, David Morton, Edwin Arlington Robinson, Carl Sandburg, Siegfried Sassoon, Sara Teasdale, Louis and Jean Starr Untermeyer, and Elinor Wylie.

Mr. Farrar has written short introductions to the example (or examples) of the work of each poet. In his general preface he says:

"Where most anthologies of poetry are collected for the purpose of giving pleasure by means of the verses themselves, I have tried here to give you something of the joy to be found in securing manuscripts, in attempting to understand current poetry by a broadening of taste to match broadening literary tendencies; and, perhaps most important of all, to present you to the poets themselves as I know them by actual meeting or correspondence."

I will choose what Mr. Farrar says about Hilda Conkling, prefacing her poem "Lonely Song"; and then I will quote the poem:

"A shy, but normal little girl, twelve years old now, nine when her first volume of verses appeared, Hilda Conkling is not so much the infant prodigy as a clear proof that the child mind, before the precious spark is destroyed, possesses both vision and the ability to express it in natural and beautiful rhythm. Grace Hazard Conkling, herself a poet, is Hilda's mother. They live at Northampton, Massachusetts, in the academic atmosphere of Smith College where those who know the little girl say that she enjoys sliding down a cellar stairway quite as much as she does talking of elves and gnomes. She was born in New York State, so that she is distinctly of the East. The rhythms which she uses to express her ideas are the result both of her own moods, which are often crystal-clear in their delicate imagery, and of the fact that from time to time, when she was first able to listen, her mother read aloud to her. In fact, her first poems were made before she, herself, could write them down. The speculation as to what she will do when she grows to womanhood is a common one. Is it important? A childhood filled with beauty is something to have achieved."

Bend low, blue sky, Touch my forehead; You look cool ... bend down ...

Flow about me in your blueness and coolness, Be thistledown, be flowers, Be all the songs I have not yet sung.

Laugh at me, sky! Put a cap of cloud on my head ... Blow it off with your blue winds; Give me a feeling of your laughter Beyond cloud and wind! I need to have you laugh at me As though you liked me a little.

This has been, as I meant it to be, a wholly serious chapter; but at the end I find I cannot stop without speaking of Keith Preston. No one who reads the Chicago Daily News fails to know Keith Preston's delightful humour and "needle-tipped satire." And his book, Splinters, contains all sorts of good things of which I can give you, alas, only some inadequate (because solitary) sample. Yet, anyway, here is his "Ode to Common Sense":

Spirit or demon, Common Sense! Seen seldom by us mortals dense, Come, sprite, inform, inhabit me And teach me art and poetry.

Teach me to chuckle, sly as you, At gods that now I truckle to, To doubt the New Republic's bent, And jeer each bookish Supplement.

Now, like a thief, you come and flit, You call so seldom, Mother Wit! Remember? Once when you stood by I found a Dreiser novel dry.

One day when I was reading hard— What? Amy Lowell, godlike bard! You peeped and then at what you saw Gave one Gargantuan guffaw.

Spirit or demon, coarse or rude, (Sometimes I think you must be stewed) Brute that you are, I love your powers, But,—drop in after office hours!

Yes, Common Sense, be mine, I ask, But still respect my critic's task; Molest me not when I'm employed With psychics, sex, vers libre, or Freud.

ii

The matter of playwrights is much more difficult than that of poets! A play cannot, as a rule, be satisfactorily quoted from. In the case of a play which is to be staged there are terrible objections (on the part of the producer) to any excerpts at all appearing in advance. The publication of the text of a play is hedged about by all manner of difficulties, copyrights, warnings and solemn notifications. As I write, it is expected that A. H. Woods, the producer of plays, will stage at the Times Square Theatre, New York, probably in September, 1922, the new play by W. Somerset Maugham, East of Suez. Pauline Frederick is expected to assume the principal role. Mr. Maugham's play will be published when it has been produced, or, if the theatre plans suffer one of those changes to which all theatres are subject, will be published anyhow! Shall we say that the setting is Chinese, and that the characters are Europeans, and that Mr. Maugham has again shown his peculiar skill in the delineation of the white man in contact with an alien civilisation? We shall say so. And—never mind! A sure production of the play for the Fireside Theatre is hereby guaranteed. The Fireside Theatre, blessed institution, has certain merits. The actors are always ideal and the performance always begins on time, as a letter to the New York Times has pointed out.

Arnold Bennett has written a lot of plays; The Love Match is merely the latest of them. If I cannot very well quote a scene from The Love Match,—on the grounds of length and possible unintelligibility apart from the rest of the drama—I can give you, I think, an idea of the wit of the dialogue:

RUSS (with calm and disdainful resentment). You're angry with me now.

NINA (hurt). Indeed I'm not. Why should I be angry? Do you suppose I mind who sends you flowers?

RUSS. No, I don't. That's not the reason. You're angry with me because you came in here tonight, after saying positively you wouldn't come, and I didn't happen to be waiting for you.

NINA. Hugh, you're ridiculous.

RUSS. Of course I am. That's not the reason. You took me against my will to that footling hospital ball last night, and I only got three hours' sleep instead of six, and you're angry with me because I yawned after you kissed me.

NINA. You're too utterly absurd!

RUSS. Of course I am. That's not the reason, either. The real reason is (firmly) you're angry with me because you clean forgot it was my birthday today. That's why you're angry with me.

NINA. Well, I think you might have reminded me....

NINA. I like sitting on the carpet.

(She reclines at his feet.) I wonder why women nowadays are so fond of the floor.

RUSS. Because they're oriental, of course.

NINA. But I'm not oriental, Hughie! (Looking at him with loving passion.) Am I?

RUSS. That's the Eastern question.

NINA. But you like it, don't you?

RUSS. Every man has a private longing to live in the East.

NINA. But not harems and things?

RUSS. Well—within reason....

NINA. What do you think of me? I'm always dying to know, and I'm never sure.

RUSS. What do you think of me?

NINA. I think you're magnificent and terrible and ruthless.

RUSS (with amicable sincerity). Oh, no, I'm not. But you are.

NINA. How? When? When was I ruthless last?

RUSS. You're always ruthless in your appetite for life. You want to taste everything, enjoy all the sensations there are. This evening you like intensely to sit very quiet on the floor; but last night you were mad about dancing and eating and drinking. You couldn't be still. Tomorrow night it'll be something else. There's no end to what you want, and what you want tremendously, and what you've jolly well got to have. You aren't a woman. You're a hundred women.

NINA. Oh! Hughie. How well you understand!

RUSS. Yes, don't I?

NINA (tenderly). Do I make you very unhappy? Hughie, you mustn't tell me I make you unhappy. I couldn't bear it.

RUSS. Then I won't.

NINA. But do I?

RUSS. Let's say you cause a certain amount of disturbance sometimes.

NINA. But you like me to be as I am, don't you?

RUSS. Yes.

NINA. You wouldn't have me altered?

RUSS. Can't alter a climate.

NINA. You don't know how much I want to be perfect for you.

RUSS. You know my ruthless rule, "The best is good enough; chuck everything else into the street." Have I ever, on any single occasion, chucked you into the street?

NINA. But I want to be more perfect.

RUSS. Why do women always hanker after the impossible?

J. Hartley Manners is the husband of Laurette Taylor and the author of plays in some of which she appears. His drama The Harp of Life has as its theme the love of two women, his mother and a courtesan, for a nineteen-year-old boy, and their willing self-sacrifice that he may go forward unbroken and unsmirched. The interesting thing, aside from the strength of the play and its vivid study of adolescence, is the portrait of the mother. And now his play, The National Anthem, which caused so much discussion, is procurable in book form.

Here I have been talking about East of Suez and The Love Match and have said nothing about The Circle or Milestones! But I suppose everyone knows that The Circle is by Maugham and was markedly successful when it was produced in New York; and surely everyone must know that Milestones is by Arnold Bennett and Edward Knoblauch—one of the great plays of the last quarter century. I must take a moment to speak of Sidney Howard's four act play, Swords. I think the best thing to do is to give what Kenneth Macgowan, an exceptionally able critic of the drama, said about the play:

"Swords is as remarkable a play as America has ever produced. It is a drama of action on a par with The Jest, fused with the ecstasy of inspiration and the mysticism of the spirit and the body of woman. It sets Ghibelline and Guelph, Pope and Emperor, two nobles and a dog of the gutters fighting for a lady of strange and extraordinary beauty who is the bride of one noble and the hostage of the other. With the passions, the cruelties, and spiritual vision of the middle ages to build upon Swords sweeps upward to a scene of sudden, flashing conflict shot with the mystic and triumphant ecstasy which emanates from this glorious woman."

American lovers of the drama have a special interest in the two volumes of The Plays of Hubert Henry Davies. At the time of his first success Mr. Davies was working in San Francisco, whither he had come from England. It was Frohman who made him an offer that brought him to New York and began the series of productions which ended only with his death in 1917 in Paris. These two volumes, very beautiful examples of fine bookmaking, contain the successes: Cousin Kate, Captain Drew on Leave, and The Mollusc. Among the other plays included are: A Single Man, Doormats, Outcasts, Mrs. Gorringe's Necklace, and Lady Epping's Lawsuit. Hugh Walpole has contributed a very touching introduction.



CHAPTER XXIII

THE BOOKMAN FOUNDATION AND THE BOOKMAN

"Thank you very much for the May Bookman," writes Hugh Walpole (June, 1922). "I have been reading The Bookman during the last year and I congratulate Mr. Farrar most strongly upon it. The paper has now a personality unlike any other that I know and it is the least dull of all literary papers! I like especially the more serious articles, the series of sketches of literary personalities seeming especially excellent to me." Mr. Walpole evidently had in mind the feature of The Bookman called "The Literary Spotlight."

"The Bookman is alive. If there is a better quality in the long run for a general literary magazine to try for, I do not know what it is," writes Carl Van Doren, literary editor of The Nation.

"Mr. Farrar has turned The Bookman into a monthly brimming with his own creative enthusiasm," says Louis Untermeyer. "It has technically as well as figuratively no rival."

And Irvin S. Cobb declares: "By my way of thinking, it is the most informative, the most entertaining, and incidentally the brightest and most amusing publication devoted to literature and its products that I have ever seen."

ii

The idea of The Bookman Foundation first occurred in a discussion of the future of the magazine and the ampler purposes it was desired to have The Bookman serve. The idea had been advanced that more than the future of the magazine should be considered; those to whom the welfare of the magazine was a most important consideration distinctly felt that welfare to depend upon a healthy and thriving condition of American literature and of American interest in American literature. The broadest possible view, as is so often the case, seemed the only ultimately profitable view. In what way could The Bookman serve the interests of American literature in which it was not already serving them? How could public interest in American literature best be stimulated?

The idea gradually took shape as a form of foundation, naturally to be called The Bookman Foundation, with a double purpose. Fundamentally The Bookman Foundation is being established to stimulate the study of American literature and its development; more immediately, and as the direct means to that end, the purpose of the Foundation will be to afford a vehicle for the best constructive criticism, spoken and written, on the beginnings and development of our literature. In association with the faculty of English at one of the larger and older American universities, Yale, the Foundation will establish a lectureship; and annually there will be given at Yale a lecture or a course of lectures on American literature by some distinguished writer or critic. It is hoped that, as the Foundation grows, other universities will be brought into co-operation with Yale so that the lectureship may move from centre to centre, stimulating to intelligent self-expression the varied elements that are contributing to our national growth.

The lectures given on The Bookman Foundation will be published in book form by The Bookman in a handsome and uniform edition. Membership in The Bookman Foundation will be by invitation. All members of the Foundation will be entitled to receive the published lectures without charge and they will also have the privilege of subscribing for certain first and limited editions of notable American books. At the present writing, even so much as I have suggested is largely tentative, and I offer it for its essential idea; an executive committee of The Bookman Foundation, in co-operation with an advisory committee, the members of which committees have yet to be finally determined, will settle all details. By the time of this book's publication or even sooner, I expect a full announcement will have been made; and for the correction of what I have stated I would refer the reader to The Bookman itself.

iii

I am not going to give a historical account of The Bookman here. The magazine is no newcomer among American periodicals. It has a reasonably old and highly honourable history. For long published by the house of Dodd, Mead & Company, it was acquired by George H. Doran Company and placed under the editorial direction of Robert Cortes Holliday. That was the beginning of a new vitality in its pages. Mr. Holliday was succeeded by Mr. Farrar, and now, in its fifty-sixth volume, The Bookman seems to the thousands who read it more interesting than ever before in its history.

The roll call of its past and present contributors includes many of the representative names in contemporary American and English literature. I will give a few:

JOSEPH HERGESHEIMER AMY LOWELL SIEGFRIED SASSOON JAMES BRANCH CABELL MARY ROBERTS RINEHART ZONA GALE FANNIE HURST WILLIAM MCFEE SHERWOOD ANDERSON HUGH WALPOLE FRANK SWINNERTON ROBERT FROST SARA TEASDALE IRVIN S. COBB RICHARD LE GALLIENNE DONN BYRNE CHRISTOPHER MORLEY ROBERT CORTES HOLLIDAY JOHAN BOJER WILLIAM ROSE BENET EDGAR LEE MASTERS KATHLEEN NORRIS FREDERICK O'BRIEN D. H. LAWRENCE JOHN DRINKWATER JOSEPH C. LINCOLN GEORGE JEAN NATHAN WILLIAM ALLEN WHITE CARL SANDBURG SINCLAIR LEWIS F. SCOTT FITZGERALD EUGENE O'NEILL H. L. MENCKEN JOHN DOS PASSOS ELINOR WYLIE GERTRUDE ATHERTON FLOYD DELL

iv

Among the American essayists whose work has appeared in The Bookman before its publication in book form is Robert Cortes Holliday; among strikingly successful books that appeared serially in The Bookman was Donald Ogden Stewart's A Parody Outline of History. Among The Bookman's regular reviewers are Louis Untermeyer, Wilson Follett, Paul Elmer More, H. L. Mencken, Henry Seidel Canby and Maurice Francis Egan. Among writers of distinction whose short stories have first appeared in The Bookman are William McFee, Sherwood Anderson, Mary Austin, and Johan Bojer; while the intimate personal portraits published under the general title "The Literary Spotlight" have Lytton Stracheyized contemporary American literature. Possibly it is in the department of poetry that The Bookman now shines the brightest (see the account of The Bookman Anthology in the previous chapter); if so, that may be because the editor, John Farrar, is himself a poet.

Probably no other literary magazine in the world exhibits such a degree of personal contact between the editor, his readers, his contributors and the magazine's friends. This note of personal contact is constantly reflected in the magazine's pages; but anyone who has called upon the editor of The Bookman once or twice will know explicitly just what I mean.



EPILOGUE

I have been surprised, on looking back over these chapters, by the variety of the books I have talked about. That so diverse a list should be under a single imprint and should represent, with few exceptions, the publications of a single twelvemonth, seems to me very remarkable. I believe a majority of the books are the production of a single publishing season, the autumn of 1922, and the Doran imprint is but thirteen years old.

"Of the making of books, there is no end"; but of the making of any single book, there must come an end. Yet what is the end of a book but the beginning of new friendships?

THE END



INDEX

Agate, James E., 49; Alarums and Excursions, 49; dramatic critic, 50; Responsibility, 50; review by The Londoner, in The Bookman, 50

Alarums and Excursions by James E. Agate, 49

Alone in the Caribbean, by Frederic A. Fenger, 194

Altar Steps, The, by Compton Mackenzie, 265, 266

Amazing Adventures of Letitia Carberry, The, by Mary Roberts Rinehart, 108, 115, 116

Amazing Interlude, The, by Mary Roberts Rinehart, 105, 115, 116

Andrews, C. E., Old Morocco and the Forbidden Atlas, 193

Ann and Her Mother, by O. Douglas, 249

Anna of the Five Towns, by Arnold Bennett, 146, 149

Art of Lawn Tennis, The, by William T. Tilden, 213

Asquith, Elizabeth (Princess Antoine Bibesco), daughter of Margot Asquith, 47

Asquith, Margot, 89; mother of Elizabeth, 47; My Impressions of America, 122; The Autobiography of Margot Asquith, 122

Autobiography of Margot Asquith, The, by Margot Asquith, 122

Bailey, Margaret Emerson, Robin Hood's Barn, 194

Balloons, by Princess Antoine Bibesco, 47

Banning, Margaret Culkin, Half Loaves, 253; Spellbinders, 252; This Marrying, 253

Barton, Olive Roberts, Cloud Boat Stories, 162; Column, 162; review by Candace T. Stevenson, 162-164; sister of Mary Roberts Rinehart, 161; Wonderful Land of Up, 162; work with children, 161

Beauty for Ashes, by Jean Sutherland, 262

Belloc, Hilaire, 23, 77

Benet, William Rose, Moons of Grandeur, 354, 355; review by Don Marquis, 354, 355; Benet, William Rose, The First Person Singular, 262, 263, 354

Bennett, Arnold 133, 134, 144, 145, 147, 148, 149, 150, 151; A Man from the North, 146, 149; Anna of the Five Towns, 146, 149; article on Hugh Walpole, 22, 23; booklet by George H. Doran Co., 150; books by, list of, 149, 150; Clayhanger, 148, 149; comments of Frank Swinnerton's Books, 225; comments on The Casement, by Frank Swinnerton, 236-242; criticism by New York Evening Post, 148; Cupid and Commonsense, 133, 150; description of Hugh Walpole, 22; Friendship and Happiness, 303; How to Live on Twenty-four Hours a Day, 303; Lilian, 133; Love and Life, 146; Married Life, 303; Mental Efficiency, 303; Milestones (with Edward Knoblauch), 364; Mr. Prohack, 133, 141, 149; on Hugh Walpole's courage, 25; Polite Farces, 146; Self and Self-Management, 303; sketch of life by John W. Cunliffe, 144-148, 150; sources on, 150; The Author's Craft, 150; education of, 145; The Gates of Wrath, 146, 149; The Love Match, 361, 364; The Old Wives' Tale, 133, 149; The Truth About an Author, 144, 150

Benson, E. F., Peter, 261

Between Two Thieves, by Richard Dehan (Clotilde Graves), 198, 200, 210

Bibesco, Princess Antoine (Elizabeth Asquith), 47; Balloons, 47; I Have Only Myself to Blame, 47

Birds and Other Poems, The, by J. C. Squire, 351; Quotation from, 351

Black Gang, The, by Cyril McNeile, 70

Black Caesar's Clan, by Albert Payson Terhune, 71

Black Gold, by Albert Payson Terhune, 71; Foreword to, by Albert Payson Terhune, 71-74

Blaker, Richard, The Voice in the Wilderness, 263

Bookman, The; articles by Robert Cortes Holliday, 221; Comment on Richard Dehan, 198, 211; Comments on by Hugh Walpole, Carl Van Doren, Irvin S. Cobb, Louis Untermeyer, 367; List of contributors, 370, 371; List of Reviewers, 371

Book of Humorous Verse, by Carolyn Wells, 99

Bookman Anthology of Verse (1922), 356; Contributors, 356, 357

Bookman Foundation, The, 367, 368; lectures on, 368

Books in General, Third Series, by J. C. Squire, 44

Bottome, Phyllis (Mrs. A. E. Forbes Dennis), 258; Acquaintances, 259; The Kingfisher, 260

Boy Journalist Series, by Francis Rolt-Wheeler, 159, 161

Breaking Point, The, by Mary Roberts Rinehart, 105; resume of, 105-7, 117

Broome Street Straws, by Robert Cortes Holliday, 52

Broun, Heywood, 40; columnist, Pieces of Hate and Other Enthusiasms, 41; Subjects touched, 41, 42, 43

Buchan, John, The Path of the King, 249; The Thirty-nine Steps

Buckrose, J. E. (Mrs. Falconer Jameson), A Knight Among Ladies, 251

Bulldog Drummond, by Cyril McNeile, 70

Burke, Thomas, 187, 189, 190; More Limehouse Nights, 187; Nights in London, 190; Reasons given for his characters, 187, 188, 189; The London Spy, 189

Byron, May, Billy Butt's Adventure, 153; Jack-a-Dandy, 153; Little Jumping Joan, 153; Old Friends in New Frocks, 153

Candles that Burn, by Mrs. Kilmer

Captives, The, by Hugh Walpole, 24, 27, 30, 31; won Tait Black Prize, 1920, 30

Carnival, by Compton Mackenzie, 265

Casement, The, by Frank Swinnerton, 236, 242

Cathedral, The, by Hugh Walpole, 19, 31; at Polchester, 19; review of, 19

Century of Banking in New York, 1822-1922, A, by Henry Wysham Lanier, 193

Chambers, Robert W., article on, by Rupert Hughes, 320; Eris, 311, 317, 320; In the Quarter, 317, 318; Iole, 318, 319; list of books by, 318, 319, 320; Sources On, 320; Story-teller, 308; The Flaming Jewel, 311, 320; The King in Yellow, 317, 318; The Talkers, 317, 320; The Witch of Ellangowan, 318; With the Band (poem), 317

Chaste Wife, The, by Frank Swinnerton, 226, 243

Chinese Metal, by E. G. Kemp, 190; comment by Sao-Ke Alfred Sze, 191

Circle, The, by W. Somerset Maugham, 289, 292, 364

Circuit Rider's Wife, A, by Corra Harris, 257

Circular Staircase, The, by Mary Roberts Rinehart, 110, 114, 116

Claim Jumpers, The, by Stewart Edward White, 55, 63, 66

Clayhanger, by Arnold Bennett, 148, 149

Cloud Boat Stories, by Olive Roberts Barton, 162

Cobb, Irvin S., 89, 241; An Occurrence up a Side Street, 176, 180; as a humorist, 179; at Portsmouth Peace Conference, 177, 178; biography by Robert H. Davis, 172-183, 186; books by, 184; comments on The Bookman, 367; description of self, 182, 183; dimensions of, 166; editorial work, 175, 176; Fishhead, 176, 180; J. Poindexter, Colored, 169, 185; lecture by Gelett Burgess, 179; Plays by, 185; report of Thaw Trial, 178; Sources on, 186; Stickfuls, 169, 185; The Belled Buzzard, 176, 180; The Escape of Mr. Trimm, 178, 180, 184

Collected Parodies, by J. C. Squire, 98; Selections, 98, 99

Coming of the Peoples, The, by Francis Rolt-Wheeler, 161

Confessions of a Well-Meaning Woman, The, by Stephen McKenna, 337, 344, 346;

Quotations from London Times, 337-339; Sample of, 344, 345

Conjurors House, by Stewart Edward White, 66

Conkling, Hilda, 356

Connor, Ralph, 264

Conrad, Joseph, A Critical Study of Walpole, 31; experiences similar, 25; introductory note to Anthology, 28

Cooperative Movement, by Dr. James B. Warbasse, 300

Coquette, by Frank Swinnerton, 226, 243

Creative Spirit in Industry, The, by Robert B. Wolf, 300

Crisis of the Naval War, by Viscount Jellicoe of Scapa, 329; review of, in Proceedings of the United States Naval Institute, 329, 330, 331

Crome Yellow, by Aldous Huxley, 34

Cummins, Col. Stevenson Lyle, in Who's Who, 156, 157; Plays for Children, 157

Cupid and Commonsense, by Arnold Bennett, 133, 150

Dana, H. W. L., 297; Social Forces in Literature, 300

Dancers in the Dark, by Dorothy Speare, 255, 256

Daniels, Josephus, Our Navy at War, 321, 322

Dark Forest, The, by Hugh, Walpole, 16, 28, 31

Davey, Norman, 36, 37; Guinea Girl, 36, 37; The Gas Turbine, 37; The Pilgrim of a Smile, 36

Davies, Hubert Henry, Plays of, A Single Man, 365; Captain Drew on Leave, 365; Cousin Kate, 365; Doormats, 365; Lady Epping's Law Suit, 365; Mrs. Gorringe's Necklace, 365; Outcasts, 365; The Mollusc, 365

Davis, Robert H., 186; biographer of Irvin S. Cobb, 172, 186; Box Score of Writers, 183

Days Before Yesterday, by Lord Frederic Hamilton, 131

de Stael, Madame, 128

"Death of Lully," in Limbo, by Aldous Huxley, 36

Deaves Affair, The, by Hulbert Footner, 75

December Love, by Robert Hichins, 249

Dehan, Richard (Clotilde Graves), 196, 197, 199, 200, 201, 204, 209, 210, 211; Between Two Thieves, 198, 200, 210; books by, 210; Comment by The Bookman, 198; sources on, 211; That Which Hath Wings, 200, 210; The Dop Doctor, 196, 200, 210; The Eve of Pascua, 201, 210; The Just Steward, 201, 202, 203, 205, 206, 207, 208, 210

Denham, Sir James, Memoirs of the Memorable, 119

Dennis, Mrs. A. E. Forbes, see Phyllis Bottome, 258

Dircks, Helen, Passenger, 236

Djemal Pasha, Memoirs of, 122

Doors of the Night, by Frank L. Packard, 68, 69

Dop Doctor, The, by Richard Dehan (Clotilde Graves), 196, 200, 210

Dos Passes, John, 356; A Pushcart at the Curb, 347; de Unamuno, Miguel, 39; Manrique, Jorge, Ode, 39; Rosinante to The Road Again, 38, 347; Three Soldiers, 347

Douglas, O., 249; Ann and Her Mother, 249; Penny Plain, 249; Sister of John Buchan, 249

Doyle, Sir Arthur Conan, 115; Spiritualism and Rationalism, 302; The New Revelation, 302; The Vital Message, 302; The Wanderings of a Spiritualist, 302

Dreiser, Theodore, review of Human Bondage, in New Republic, 273-277

Duchess of Wrexe, The, by Hugh Walpole, 19, 31

Earth's Story, The, by Frederic Arnold Kummer, 155

East of Suez, by W. Somerset Maugham, 284, 292, 360

Education of Eric Law, The, see The Sensationalists, by Stephen McKenna, 342, 346

Ellis, Havelock, Little Essays of Love and Virtue, 302; Emperor Francis Joseph and His Times, The, by Baron Margutti, 130

English Literature During the Last Half Century, by John W. Cunliffe, 144, 150

Eris, by Robert W. Chambers, 311, 317, 320; from extracts, 311-316, 320

Escape of Mr. Trimm, The, by Irvin S. Cobb, 178, 180, 184

Essays on Religion, by T. R. Glover, 305

Eve of Pascua, The, by Richard Dehan (Clotilde Graves), 201, 210

Eyes of Love, The, by Corra Harris, 257; extract from, 257-8

Facing Reality, by Esme Wingfield-Stratford, 300; Chapter titles, 300; introduction, extracts from, 300, 301

Fairies and Chimneys, by Rose Fyleman, 158; Quotation from, 158

Fairy Flute, The, by Rose Fyleman, 158

Farnsworth, Sidney, Illumination and Its Development in the Present Day, 223

Farrar, John, Editor of The Bookman, 94, 357; poet, 371; Editor, see The Bookman, 371

Fenger, Frederic A., Alone in the Caribbean, 194

First Days of Man, The, by Frederic Arnold Kummer, 155, 156

First Person Singular, The, by William Rose Benet, 262, 263, 354

Flaming Jewel, The, by Robert W. Chambers, 311, 320

Follett, Wilson, comparisons, 52; Reviewer The Bookman, 371; Some Modern Novelists, 150

Footner, Hulbert, The Deaves Affair, 75; The Owl Taxi, 74, 75

Forbes, Lady Angela, Memories and Base Details, 130; Memories Discreet and Indiscreet, 130; More Indiscretions, 129

Forbes, Rosita, The Secret of the Sahara: Kufara, 192

Fortitude, by Hugh Walpole, 21, 23, 27, 31; theme of, 21, 31

Forty Years On, by Lord Ernest Hamilton, 132

"Frankincense and Myrrh," from Pieces of Hate, by Heywood Broun, 41, 42, 43

From Now On, by Frank L. Packard, 68, 69

Further Adventures of Jimmie Dale, The, by Frank L. Packard, 68, 69

Further Adventures of Lad, by Albert Payson Terhune, 215; extracts from, 216

Fyleman, Rose, Fairies and Chimneys, 158; The Fairy Flute, 158

Gabriel, Gilbert W., 53; Jiminy, novel by, 53; music critic, N. Y. Sun, 53; Novelist, 53; substitute for Don Marquis, 54

Gates of Wrath, The, by Arnold Bennett, 146, 149

Gavit, John Palmer, account of Stewart Edward White, 65, 66, 67

Geister, Edna, Ice-breakers and the Ice-Breaker Herself, 219; It Is to Laugh, 219

Gist of Golf, The, by Harry Vardon, 213

Giving and Receiving, by E. V. Lucas, 307

Glover, T. R., Essays on Religion, 305; Jesus in the Experience of Man, 305; Poets and Pilgrims, 305; Poets and Puritans, 305; The Jesus of History, 305; The Nature and Purpose of a Christian Society, 305; The Pilgrim, 305

Gods and Mr. Perrin, The, by Hugh Walpole, 22, 27, 31

Gold, by Stewart Edward White, 61, 67

Golden Scarecrow, The, 15, 27, 31

Gold-Killer, by John Prosper, 75

Grand Fleet, The, by Viscount Jellicoe of Scapa, 329

Graves, Clotilde (Richard Dehan), 196, 197, 198, 199, 200, 204, 209, 210, 211; A Mother of Three, 199, 210; Nitocris, 199, 210; Puss in Boots, 199

Green Mirror, The, by Hugh Walpole, 19, 27, 31

"Greenow, Richard," of Limbo, by Aldous Huxley, 36

Guinea Girl, by Norman Davey, 36, 37

Guest, Leslie Haden, The Struggle for Power in Europe (1917-21), 323, 324

Haggard, Andrew C. P., Madame de Stael; Her Trials and Triumphs, 129

Half Loaves, by Margaret Culkin Banning, 253

Hambourg, Mark, How to Play the Piano, 219, 220

Hamilton, Lord Ernest, Forty Years On, 131

Hamilton, Lord Frederic, Days Before Yesterday, 131; Diplomatic Services, 131; Education, 131; Here, There and Everywhere, 131; The Vanished Pomps of Yesterday, 131

"Happy Families," in Limbo, by Aldous Huxley, 36

Happy Family, The, by Frank Swinnerton, 226, 238, 242

Harcourt, Edward Vernon, 118

Harcourt, Sir William, George Granville Venables Vernon, Life of, 118

"Harlequin," from The Birds and Other Poems, by J. C. Squire, 351, 352

Harp of Life, The, by J. Hartley Manners, 363

Harris, Corra, 257, 264; A Circuit Rider's Wife, 257; The Eyes of Love, 257

Harrison, Marguerite E., Marooned in Russia, 192

Hawthorne, Nathaniel, A Wonder Book, 165; The Scarlet Letter, 327, 328

Hayhurst, Dr. Emery, Labour and Health, 209

Henry, Alice, Women and the Labour Movement, 299

Here, There and Everywhere, by Lord Frederic Hamilton, 131

Herford, Oliver, Neither Here Nor There, 95

Hergesheimer, Joseph, Appreciation of Hugh Walpole, 15, 29, 30, 31

Herm, home of Compton Mackenzie, 267

Herman Melville: Mariner and Mystic, by Raymond W. Weaver, 325; review by Carl Van Vechten, 325-328

Hermit of Far End, The, by Margaret Pedler, 256

Heroes of the Ruins, by Francis Rolt-Wheeler, 160

Heterogeneous Magis of Maugham, The, 270

Hichins, Robert, The Garden of Allah, 249; December Love, 249

History of Sea Power, A, by William O. Stevens and Allan Westcott, 331; Admiral Caspar F. Goodrich, review of, in The Weekly Review, 331-333; Extracts from, 332, 333

Holliday, Robert Cortes, 52; business connections, 221; Broome Street Straws, 52; editor of The Bookman, 369; Memoirs in Joyce Kilmer, Poems, Essays and Letters, 53; Men and Books and Cities, 52; Peeps at People, 52; praise by James Hunecker, 52; Study of Booth Tarkington, 53; Turns About Town, 52; Walking Stick Papers, 51; Writing as a Business; A Practical Guide for Authors, 220

Houghton, Mrs. Hadwin, See Wells, Carolyn

House of Dreams Come True, The, by Margaret Pedler, 256

House of Five Swords, The, by Tristram Tupper, 247, 248

"Houses" from Main Street and other Poems, by Joyce Kilmer, 349, 350

How to Live on Twenty-four Hours a Day, by Arnold Bennett, 303

How to Play the Piano, by Mark Hambourg, 219, 220

Howard, Sidney, Swords, 364

Hughes, Rupert, article on Robert W. Chambers, 320; on Robert W. Chambers, 311

Hugh Walpole Anthology, A, by Hugh Walpole, 27, 32; divisions of, 27; Country Places, 27; London, 27; Men and Women, 27; Russia, 27; Some Children, 27; Some Incidents, 27

Hunting Hidden Treasure in the Andes, by Francis Rolt-Wheeler, 159

Huxley, Aldous, 34, 35, 36; Beauty, 36; Comment by Michael Sadlier, 34; Crome Yellow, 34; Disciple of Laforgue, 35; L'Apres-Midi-d'un Faune, translation by, 35; Limbo, 34, 36; Mortal Coils, 34, 35; "Permutation among the Nightingales," play by, 35; poet and writer of prose, 35; Quotations from Mortal Coils, 35; Splendour, by Numbers, 36; the sensualist, 36; Translator of Laforgue, 35; translation of The Walk, 35

I Have Only Myself to Blame, by Princess Bibesco, 47; extract from, 47, 48, 49

Ice-breakers and the Ice-Breaker Herself, by Edna Geister, 219

Illumination and Its Development in the Present Day, by Sidney Farnsworth, 223

Imprudence, by F. E. Mills Young, 263

In the Days Before Columbus, by Francis Rolt-Wheeler, 160

In the Quarter, by Robert W. Chambers, 317, 318

Iole, by Robert W. Chambers, 318, 319

Irish Free State, The, by Albert C. White, 191; Book Value, 192

Isn't That Just Like a Man: Oh, Well, You Know How Women Are! 89

It Is to Laugh, by Edna Geister, 219

Jacks, L. P., editor of Hibbert Journal, 195; The Legends of Smokeover, 194

Jameson, Mrs. Falconer, see J. E. Buckrose

Jellicoe, Viscount, of Scapa, The Crisis of the Naval War, 329; The Grand Fleet, 329

Jimmy Dale and the Phantom Clue, by Frank L. Packard, 69

Joining in Public Discussion, by Alfred Dwight Sheffield, 297; sections of, 299

Judge, The, by Rebecca West, 78; dedication and review, 84, 85, 86; extract from, 81, 82; material employed, 82, 83

Judgment of Charis, The, by Mrs. Baillie Reynolds, 76

Just Steward, The, by Richard Dehan (Clotilde Graves), 201; samples from, 201-203, 205, 206, 207, 208, 210

Jungle Tales, Adventures in India, by Howard Anderson Musser, 156

K, by Mary Roberts Rinehart, 107, 108, 116

Kemp, E. G., Chinese Mettle, 190

Kerr, Sophie, 244; Autobiography, 244-246; editor Woman's Home Companion, 245; One Thing is Certain, 246; Painted Meadows, 246; quotations from letter by, 246, 247

Kilmer, Joyce, Main Street and Other Poems, 349; Poems, Essays and Letters, 53; Memoirs, by Robert Cortes Holliday, 53; Trees and Other Poems, 349

Kilmer, Mrs., Candles That Burn, 350; Vigils, 350

Kingfisher, The, by Phyllis Bottome, 260

King in Yellow, The, by Robert W. Chambers, 317, 318

Knight Among Ladies, A, by J. E. Buckrose, 251

Knight, Captain, C. W. R., Wild Life in the Tree Tops, 214

Kummer, Frederic Arnold, The Earth's Story, 155; The First Days of Man, 155, 156

Labour and Health, by Dr. Emery Hayhurst, 299

Lad: A Dog, by Albert Payson Terhune, 214

Lady Frederick, by W. Somerset Maugham, 289, 291

Lady Lilith, by Stephen McKenna, 342, 343, 346; Comments by author, 342, 343, 346

Lamp of Fate, The, by Margaret Pedler, 256

Land of Footprints, The, by Stewart Edward White, 55, 67

Lanier, Henry Wysham, A Century of Banking in New York: 1822-1922, 193

Lardner, Ring W., appreciation of Charles E. Van Loan, 212; Sport, 212

Laughter, Ltd., by Nina Wilcox Putnam, 90

Legends of Smokeover, The, by L. P. Jacks, 194

Life and Letters, by J. C. Squire, 46

Life of Sir William Vernon Harcourt, The, 118

Lilian, by Arnold Bennett, 133, 137-141, 149; extract from, 137-141, 149

Limbo, by Aldous Huxley, 34, 36; Death of Lully, 36; Happy Families, 36

Literary Spotlight, The; The Bookman, 371

Little Essays of Love and Virtue, by Havelock Ellis, 302

Little Jumping Joan, by May Byron, 153

Liza of Lambeth, by W. Somerset Maugham, 286, 287, 291

Lloyd George, critical sketch, by E. T. Raymond, 121

Lodge, Sir Oliver, 115, 301

London Mercury, edited by J. C. Squire, 44, 46

London Spy, The, by Thomas Burke, 189

Long Live the King, by Mary Roberts Rinehart, 115, 116

Love Match, The, by Arnold Bennett, 361, 364; Extracts from, 361-363

Lowndes, Mrs. Belloc, appreciation of Hugh Walpole, 23, 24; What Timmy Did, 77

Lucas, E. V., Giving and Receiving, 307; Roving East and Roving West, 307

Mackenzie, Compton, Carnival, 265; Plasher's Mead, 265; Poor Relations, 265; Rich Relatives, 265; Sinister Street, 265; The Altar Steps, 265, 266, 269; The Parson's Progress, 266; visit by Simon Pure, 266-269

MacQuarrie, Hector, on W. Somerset Maugham, 277, 284, 290; Tahiti Days, 270

Madame de Stael; Her Trials and Triumphs, by Andrew C. P. Haggard, 124-129

Main Street and Other Poems, by Joyce Kilmer, 349

Man from the North, A, by Arnold Bennett, 146, 149

Man in Lower Ten, The, by Mary Roberts Rinehart, 114, 116

Man in Ratcatcher, The, by Cyril McNeile, 70

Manners, J. Hartley, The Harp of Life, 363

Maradick at Forty, by Hugh Walpole, 26, 31

Margutti, Baron von, The Emperor Francis Joseph and His Times, 130

Marooned in Moscow, by Marguerite E. Harrison, 192

Married Life, by Arnold Bennett, 303

Maugham W. Somerset, article by Hector MacQuarrie, 292; books by, 291, 292; Caroline, 289, 292; East of Suez, 284, 292, 360; education of, 286; father of, 286; wife of, 286; Lady Frederick, 289, 291; Liza of Lambeth, 286, 287, 291; Mrs. Craddock, 287, 288, 291; Mrs. Dot, 289, 291; Of Human Bondage, 270, 273-77, 287, 291; On a Chinese Screen, 284-285, 291; playright, 288; sources on, 292; The Circle, 289, 292; The heterogeneous magic of, 270; The Moon and Sixpence, 270, 277, 278, 279, 284, 287, 291

McCormick, W. B., Army and Navy Journal, Editor of, 321; Comment on Josephus Daniels Our Navy at War, 321, 322, 323

McFee, William, 371; Extracts from preface to Spindrift, by Milton Raison, 352, 353

McKenna, Stephen, 334, 337, 338, 339, 340, 341, 342, 343, 345, 346; Between Two Worlds, 341, 346; Books by, 345, 346; Comments on Lady Lilith, 342, 343; education of, 340; Lady Lilith, 342, 343, 346; Leopold McKenna, father of, 340; Midas and Son, 341, 346; Ninety-Six Hours' Leave, 341, 346; personality, 343; Sheila Intervenes, 340, 345; Sonia, 339, 340, 341, 342, 343, 346; Sonia Married, 341, 342, 346; Sources on, 346; The Confessions of a Well-Meaning Woman, 337, 344, 346; The Education of Eric Lane, 342, 346; The Reluctant Lover, 340, 345; The Secret Victory, 342, 346; The Sensationalists, 341, 342; The Sixth Sense, 340, 345; Translator of Poltinus, 339; war service, 340; While I Remember, 324, 346

McNeile, Cyril, Bulldog Drummond, 70; The Black Gang, 70; The Man in Ratcatcher, 70

Melville, Herman, Mardi, 327; Moby Dick, 327, 328; Omoo, 326; Pierre, 327; Typee, 326

Memoirs of Djemal Pasha, The, 122

Memoirs of the Memorable, by Sir James Denham, 119; Beaconsfield, Lord, 119; Beresford, Lord Marcus, 119; Bishop of London, 119; Bishop of Manchester, 119; Browning, Robert, 119; Byron, Lord, 119; Carroll, Lewis, 119; Dunedin, Lord, 119; Gladstone, 119; Howard, Cardinal, 119

Memories and Base Details, by Lady Angela Forbes, 130

Memories Discreet and Indiscreet, by Lady Angela Forbes, 129

Men and Books and Cities, by Robert Cortes Holliday, 52

Men Who Make Our Novels, The, by George Gordon, 55, 67, 320

Merry Heart, The, by Frank Swinnerton, 236, 242

Midas and Son, by Stephen McKenna, 341, 342, 346

Milestones, by Arnold Bennett and Edward Knoblauch, 364

Milne, A. A., Mr. Pim, 261

Miracle Man, The, by Frank L. Packard, 68

Miscellanies—Literary and Historical, by Lord Rosebery, 123

Moffatt, Dr. James, The Approach of the New Testament, 296; New Translation of the New Testament, 293; New Translation of the Old Testament, 296; The Parallel Testament, 293

Mollusc, The, by Hubert Henry Davies, 365

Monaghan, Elizabeth A., What to Eat and How to Prepare It, 218

Moon and Sixpence, The, by W. Somerset Maugham, 270, 278, 279, 284, 287, 291

Moon Out of Reach, The, by Margaret Pedler, 256

Moons of Grandeur, by William Rose Benet, 354, 355; Don Marquis, review of, 354; Quotation from, 355

Moore, Annie Carroll, Roads to Childhood, 152

More Indiscretions, by Lady Angela Forbes, 129

More Limehouse Nights, by Thomas Burke, 187

Morley, Christopher, A Rocking Horse, 348; Translations from the Chinese, 349

Mortal Coils, by Aldous Huxley, 34, 35

Mr. Lloyd George: A Biographical and Critical Sketch, by E. T. Raymond, 120

Mr. Pim, by A. A. Milne, 261

Mr. Prohock, by Arnold Bennett, 133, 141, 149; extracts from, 141-144, 149

Mrs. Craddock, by W. Somerset Maugham, 287, 288, 291; extract from, 288, 291

Musser, Howard Anderson, Jungle Tales, Adventures in India, 156

My Creed: The Way to Happiness—As I Found It, Mary Roberts Rinehart, 117

My Impressions of America, by Margot Asquith, 122

Myers, A. Wallis, Twenty Years of Lawn Tennis, 213

Neither Here Nor There, by Oliver Herford, 95

Nene, 264; Comment by Walter Prichard Eaton, 265; Goncourt Prize, won by, 264

New Revelation, The, by Sir Arthur Conan Doyle, 302

New Translation of the New Testament, by Dr. James Moffatt, 293; extracts from, 293-296

New Translation of the Old Testament, by Dr. James Moffatt, 296

Nicolette, by Baroness Orczy, 248

Night Operator, The, by Frank L. Packard, 68

Nights in London, by Thomas Burke, 190

Ninety-six Hours' Leave, by Stephen McKenna, 341, 346

Nocturne, by Frank Swinnerton, 225, 233, 235, 239, 243; Comment by H. G. Wells, 233-235

Of Human Bondage, by W. Somerset Maugham, 270; review by Theodore Dreiser, 273-277, 287, 291

Old Morocco and the Forbidden Atlas, by C. E. Andrews, 193

Old Wives' Tales, The, by Arnold Bennett, 133, 149; inspiration of, 147, 149

On a Chinese Screen, by W. Somerset Maugham, 284, 291; extract from, 284-285

On the Staircase, by Frank Swinnerton, 226, 243

On Tiptoe: A Romance of the Redwoods, by Stewart Edward White, 59, 67

One Thing is Certain, by Sophie Kerr, 246

Our Navy at War, by Josephus Daniels, 321; Comment on, by W. B. McCormick, 321, 322, 323

Outcasts, by Hubert Henry Davies, 365

Orczy, Baroness, Nicolette, 248

Owl Taxi, The, by Hulbert Footner, 74, 75

Packard, Frank L., Doors of the Night, 68; education of, 68; From Now On, 68; Pawned, 68; The Adventures of Jimmy Dale, 68, 69; The Further Adventures of Jimmie Dale, 68; The Miracle Man, 68; The Night Operator, 68; The Phantom Clue, 69; The Wire Devils, 68

Painted Meadows, by Sophie Kerr, 246

Parallel New Testament, The, by Dr. James Moffatt, 293

Parody Outline of History, A, by Donald Ogden Stewart, 93, 94, 371; see The Bookman, 371

Parson's Progress, The, by Compton Mackenzie, 266

Passenger, by Helen Dircks, 236

Patricia Brent, Spinster, anonymous, 261

Pawned, by Frank L. Packard, 68

Pedler, Margaret, The Hermit of Far End, 256; The House of Dreams Come True, 256; The Lamp of Fate, 256; The Moon Out of Reach, 256; The Splendid Folly, 256

Peeps at People, by Robert Cortes Holliday, 52

Penny Plain, by O. Douglas, 249

Perfect Behaviour, by Donald Ogden Stewart, 93, 94; motive of, 94

Perin, Dr. George L., founder of Franklin Square House for Girls, 304; on autosuggestion, 304; Self Healing Simplified, 304

"Permutations Among the Nightingales," by Aldous Huxley, 35

Peter, by E. F. Benson, 261

Pieces of Hate, by Heywood Broun, 41

Pilgrim of a Smile, The, by Norman Davey, 36

Plays for Children, by Col. Stevenson Lyle Cummins, 157

Plays of Hubert Henry Davies, The, 365

Plotting in Pirate Seas, by Francis Rolt-Wheeler, 159

Poems: Second Series, by J. C. Squire, 351

Poets and Puritans, by T. R. Glover, 305; preface, 306

Poindexter, J., Colored, by Irvin S. Cobb, 169, 185; extract from, 170-171, 185

Pomp of Power, The, anonymous, 119

Preston, Keith, Splinters, 358, 359

Prosper, John, Gold-Killer, 75

Publishing as a business, 199

Pure, Simon, visit to Compton Mackenzie, 266-269

Pushcart at the Curb, A, by John Dos Passos, 347; General Headings of, 347

Putnam, Nina Wilcox, Laughter, Ltd., 90; story in American Magazine, 91, 92; style of, 90; Tomorrow We Diet, 90; West Broadway, 88, 90

"Quai de la Tournelle," from a Pushcart at the Curb, by John Dos Passos, Quotation from, 348

Quest of the Western World, The, by Francis Rolt-Wheeler, 160

Rackham, Arthur, artist, 165

Raison, Milton, Spindrift, 352, 353

Raymond, Ernest, Tell England, 250

Raymond, E. T., Mr. Lloyd George: A Biographical and Critical Sketch, 120; Uncensored Celebrities, 120

Recollections and Reflections, by A Woman of No Importance, 129

Reeve, Mrs. Winnifred, see Onoto Watanna, 254

Responsibility, by James E. Agate, 49

Return of Alfred, The, anonymous, 261

Reynolds, Mrs. Baillie, The Judgment of Charis, 76

Riddell, Lord, Some Things That Matter, 303

Rinehart, Mrs. Mary R., 89; books by, 116; K., 107, 108, 116; Long Live the King, 115, 116; methods of work, 111; My Creed: The Way to Happiness, 117; My Public, 117; parents of, 108; quotation from, 102-103; Sources on, 117; The Amazing Adventures of Letitia Carberry, 108, 115, 116; The Amazing Interlude, 105, 115, 116; The Bat, a collaboration with Avery Hopwood, 114; The Breaking Point, 105, 117; The Circular Staircase, 110, 114, 116; The Man in Lower Ten, 114, 116; Tish, 108, 115, 116; vitality of, 102