Chapter XXX: Part 3: , the biographical section, is a study of Miss Austen’s (4)

“A few episodes in the life of a little boy of eight years old,
vividly realized and described with great charm.”

+ =Spec= 125:784 D 11 ’20 120w

=GALSWORTHY, JOHN.= In chancery. *$2 (2c) Scribner

20–18929

The story is a sequel to the author’s earlier novel, “The man of
property,” and relates the further fortunes of the Forsyte family.
With one exception the possessive instinct is still strong in the male
generation, who include their wives and progeny in their property.
Soames Forsyte, after his wife, Irene, had run away with another man
lives on into middle life nursing his injuries until he poignantly
realizes that he is still without a son to inherit his fortune and his
name. Meeting Irene again, after a separation of fifteen years,
awakens the old desire to possess her, and failing of her consent,
nothing in law is too sordid for him for the attainment of a divorce.
Even the family tradition for respectability must go by the board as
he forces his cousin Jolyon—the one Forsyte that has not run true to
type—into the rôle of correspondent. At the end he marries the pretty
French girl, whom he does not love, and smothers his disappointment at
having a girl child, and no hope of another, in his sense of
proprietorship. At least—“that thing was his.”

* * * * *

“When we have said that ‘In chancery’ is not a great novel, we would
assure our readers that it is a fascinating, brilliant book.” K. M.

+ − =Ath= p810 D 10 ’20 870w

=Booklist= 17:116 D ’20

“As a story of human persons, ‘In chancery’ should rank among his
best.” H. W. Boynton

+ =Bookm= 52:251 N ’20 630w

“As we have already said, these Forsytes are extremely boresome, and
we fear Mr Galsworthy exaggerates not only their importance and the
extent of the world’s interest in them, but also the value of his own
contribution to modern imaginative literature.” E. F. Edgett

− =Boston Transcript= p4 N 6 ’20 1100w

“With grace and clearness and with a skill that holds the reader’s
attention unfailingly, the tale is told. Its accomplishment is fine
and delicate, though its convincingness is not complete.”

+ − =Boston Transcript= p7 N 10 ’20 480w (Reprinted from London
Observer)

“Here we have again in careful acrimony mingled with a warm
consciousness of physical beauty which is so characteristic of Mr
Galsworthy.” E. W. N.

+ =Freeman= 2:454 Ja 19 ’21 200w

“Mr Galsworthy never lets his utmost penetration make him ruthless. He
knows that ruthlessness is simply a failure to perceive the dark and
pathetic humanity that lies just beyond the immediate horizon of one’s
vision.” L. L.

+ =Nation= 112:88 Ja 19 ’21 750w

“The book is in many ways one of the biggest Mr Galsworthy has ever
written; perhaps the very biggest. A better balanced, more logical and
saner novel than ‘The saint’s progress,’ one accepts its reasonings
and analyses, which satisfy at once one’s brain and one’s instinct. It
is notable among the notable, a novel to read—and to read again.”

+ =N Y Times= p24 O 24 ’20 1500w

“It is a serious drawback that the first dozen pages or so of this
book are a regular barbedwire obstruction because of their intricate
tangle of genealogy and relationships. The reader who perseveres,
however, will be rewarded by as fine and penetrating a study of
temperament and heredity as is often written—not ‘highbrow’ or
philosophical, but dramatic, tense and vivid.” R. D. Townsend

+ − =Outlook= 126:653 D 8 ’20 430w

Reviewed by H. W. Boynton

=Review= 3:382 O 27 ’20 210w

“Most of the characters of ‘In chancery’ are the brooding victims of
Mr Galsworthy’s remote wrath—Soames’s father, James, is the most free
from literary victimisation. Here is an old man drawn with skill,
without prejudice, and with that untiring care which is this author’s
chief asset as a craftsman. It seems to us that for him our little
world is a sick man tossing feverishly upon his bed; Mr Galsworthy,
finger on pulse and clinical thermometer in hand, sits patiently by
his side, recording the slow sinking towards dissolution.”

− + =Sat R= 130:458 D 4 ’20 630w

“One may add that here, as always, Mr Galsworthy is remarkably just to
the characters with whom he is not in perfect sympathy. He writes of
the old régime with respect and even regret.”

+ =Spec= 125:820 D 18 ’20 600w

“It is a most absorbing story viewed merely as a personal narrative.
But apart from that it is a section from the history of English
society. The book must be classed with Mr Galsworthy’s most
characteristic and finest work.”

+ =Springf’d Republican= p7a N 21 ’20 620w

“Once more Mr Galsworthy shows his quiet mastery, now and then a
little pontifical perhaps, but always suggesting the good rider on the
spirited horse. And once more he lights up his sober fabric with the
golden thread of beauty.”

+ =The Times [London] Lit Sup= p698 O 28 ’20 1050w

=Wis Lib Bul= 16:238 D ’20 60w

=GALSWORTHY, JOHN.= Plays; 4th ser. *$2.50 Scribner 822

20–9081

The book contains three plays: A bit o’ love; The foundations; The
skin game. In the first play a young clergyman, Michael Strangway, is
deserted by his wife, who returns during the first act to plead with
her husband not to divorce her out of consideration for the career of
her lover. He consents and thereby makes himself impossible with his
narrow-minded parishioners. His struggle is between his love as a
cosmic manifestation and the essence of Christianity, and his love for
the woman, his wrongs and his worldly prospects. When, at the moment
of the most hopeless desolation, he has prepared a suicide’s noose for
himself, the cry of a little child for “a bit o’ love,” and the brave
fight with his sorrow of a brother in affliction, recall him to the
world and his stronger self.

* * * * *

“This fourth volume of Mr Galsworthy’s plays is hardly up to the best
of his earlier dramatic work. Of the three plays which it contains,
‘The skin game’ is the most skilfully and convincingly written; but
even ‘The skin game’ leaves us comparatively cold.”

+ − =Ath= p733 Je 4 ’20 560w

“Written with the usual sincerity and dramatic intensity.”

+ =Booklist= 16:337 Jl ’20

“It is sufficient of the first two, ‘A bit o’ love’ and ‘The
foundations,’ to say that they are ‘good Galsworthy,’ which means that
they are more than readable and that they are beautifully constructed
and phrased. More must be said of ‘The skin game,’ the third play. It
is Galsworthy at his best.”

+ =Drama= 10:355 Jl ’20 280w

“Mr Galsworthy has written better plays than these, but if you care
for his plays at all you will find them worth reading.”

+ =Ind= 104:70 O 9 ’20 180w

“Of the new plays the first, A bit of love, is undeniably the
weakest.... The skin-game has a more timeless touch. It takes the
tragicomedy of all human conflict, localizes it narrowly, embodies it
with the utmost concreteness, and yet exhausts its whole significance.
Galsworthy has never derived a dramatic action from deeper sources in
the nature of man; he has never put forth a more far-reaching idea nor
shown it more adequately in terms of flesh and blood.” Ludwig Lewisohn

+ =Nation= 110:732 My 29 ’20 1100w

“To the reader who revolts against the rather sickly sentiment of the
first of them and who has smiled half-heartedly at the forced comedy,
in which the same sentiment still appears, in the second, the virility
and grasp of the third comes as a tonic.” S. C. C.

− + =New Repub= 24:172 O 13 ’20 760w

“These three plays will hardly add much to the fame of John
Galsworthy, although, on the other hand, enough skill and command of
character is evidenced to render them interesting additions to his
work.”

+ − =N Y Times= p15 S 19 ’20 700w

“‘A bit o’ love,’ ‘The foundations,’ and ‘The skin game’ display
ability of a high order. That fact is presumed in their authorship and
is verified in their perusal. But all three have an effect of
interlude or byplay; they are corollaries to earlier and weightier
dicta.” O. W. Firkins

+ − =Review= 3:396 O 27 ’20 1100w

“He has many gifts, many qualities—technical ability, imaginativeness,
sympathy, experience of life, ideas, ideals; but the one supreme,
essential gift—the ability to create living men and women working out
their destinies in the grip of fate—is not his. Mr Galsworthy, in
fact, remains the second-rate artist he always was.”

− + =Sat R= 129:590 Je 26 ’20 1050w

+ − =Springf’d Republican= p11a Jl 11 ’20 800w

“‘A bit o’ love’ is in Mr Galsworthy’s weaker vein. ‘The skin game’
possesses a greater number of powerful scenes of dramatic conflict
than Mr Galsworthy has ever put into a single play. ‘The foundations’
is an utter departure for Mr Galsworthy or any other English
playwright. Our stage is almost unfitted at present to handle such a
play, but the existence of the manuscript ought to do something
towards stimulating the development of a new producing method.”

+ =Theatre Arts Magazine= 4:348 O ’20 300w

=GALSWORTHY, JOHN.= Tatterdemalion. *$1.90 (3c) Scribner

20–5770

A collection of stories and sketches, some of them reprinted from
Scribner’s Magazine, the New Republic and the Atlantic Monthly. Among
the sketches that compose Part 1, Of war-time, are a number presenting
unfamiliar aspects of the war period. Two of these, The bright side
and “The dog it was that died,” are stories of Germans interned in
England. The other titles are: The grey angel; Defeat; Flotsam and
jetsam; “Cafard”; Recorded; The recruit; The peace meeting; In heaven
and earth; The mother stone; Poirot and Bidan; The muffled ship;
Heritage; ‘A green hill far away.’ Part 2, Of peace-time, contains
eight stories: Spindleberries; Expectations; Manna; A strange thing;
Two looks; Fairyland; The nightmare child; Buttercup-night.

* * * * *

+ =Booklist= 16:347 Jl ’20

+ =Ind= 104:70 O 9 ’20 180w

“On the side of art ‘Tatterdemalion’ illustrates the Galsworthian
qualities which are quite familiar by this time: a mellowness that
never degenerates into softness; a virile tenderness of tone; an
unobtrusive ease in the progression of the narrative; a diction which
is always adequate, often beautiful, but which will not or cannot
exploit all its own full resources of either beauty or strength
through some inflexibility of inner modulation. Some of the short
stories here are, with these definite qualities and their defects,
among the best of our time.”

+ =Nation= 110:522 Ap 17 ’20 750w

“In his earlier novels and tales there was a marked predominance of
the emotional quality over the intellectual. The two are here more
nearly in accord. With possibly one exception none of the impressions
is overwrought, or marred by sentimentality, or blurred by loud-voiced
passion. Mr Galsworthy’s restrained, softly modulated style, as of an
instrument with few overtones, wins its effect without recourse to
obvious eloquence or special pleading.” S. C. C.

+ =New Repub= 22:427 My 23 ’20 850w

“Unalike as these tales and sketches are in many ways, they resemble
one another in this—that always there is the intense feeling for
beauty. Among the artists in literature of the present day—and they
are not so few as some would like to imagine—those are rare who can
safely challenge comparison with the John Galsworthy of
‘Tatterdemalion.’” L. M. Field

+ =N Y Times= 25:139 Mr 28 ’20 1200w

“The contents of the volume are diverse in the extreme; yet the
keynote of the whole can be expressed in one word—beauty.”

+ =N Y Times= 25:191 Ap 18 ’20 100w

“The volume is an interesting and notable example of Mr Galsworthy’s
workmanship, typical of his clearness of vision and of his
fearlessness in telling the truth, notwithstanding the fact that the
winds of popular passion and taste blow in the opposite direction.”

+ =Springf’d Republican= p13a Ap 25 ’20 500w

“There are pieces in this book which will probably drop out of his
collected works some decades hence. Yet we would willingly miss none
of them from the book before us. If circumstance has deprived some of
these tales and studies of the finest touch of craftsmanship which Mr
Galsworthy can give, the book as a whole is clear revelation of one of
the best and bravest minds of our time.”

+ − =The Times [London] Lit Sup= p186 Mr 18 ’20 480w

=GALWAY, CONOR.= Towards the dawn. *$2.50 Stokes

“The novel is, quite simply and frankly, propaganda for the cause of
Sinn Fein. Its heroine is a vigorous, eager, impulsive, large-hearted
young woman whom the reader first sees as a gawky, somewhat impish
slip of a girl in her first teens. She gets caught in a street fight
between Orangemen and Hibernians, brought on because some drummers of
the former refuse to give way to the band heading a procession of the
others; she is knocked down, trampled and has a narrow escape from
being killed. The first thing she says when she comes back to
consciousness is to declare solemnly that she hates both factions and
thereafter will be a Fenian. To this determination she holds with
enthusiasm, becoming a Sinn Feiner when that organization comes into
activity. At one time, moved by the desire to make a sacrifice, she
enters a convent with the intention of becoming a nun, but her desire
to take part in the active measures Sinn Fein is planning brings her
out again and into the ranks of that organization’s most ardent
protagonists.”—N Y Times

* * * * *

“Pleasantly written and containing some excellent character drawings,
‘Towards the dawn’ is likely to prove a distinct success.”

+ =Cath World= 112:264 N ’20 320w

“Would be interesting if the author’s viewpoint could be trusted to be
accurate and impartial. But it is quite evident that it is never
impartial and therefore only actual knowledge of conditions can say
whether or not it is accurate.”

+ − =N Y Times= p25 S 5 ’20 350w

Reviewed by H. W. Boynton

=Review= 3:422 N 3 ’20 160w

=GAMBIER, KENYON.= Girl on the hilltop. *$1.75 (2½c) Doran

20–10304

When Roger Lingard comes to England in 1914, it is to look up his
ancestry, for he is the descendant of the Lingard of St Dyfrigs’ Park,
who years before had eloped with Charity Turle, his cowman’s daughter,
and emigrated to America. The modern Roger finds Dorothy Lingard and
another Charity Turle interesting representatives of the family in the
present generation. Before he has revealed himself to them, the war
breaks out and he enlists. At the end of four years, he returns to his
ancestral acres, to find himself, by the death of the male line, their
owner. Then follows the interesting question, what shall become of the
female line. Roger offers himself to Dorothy, that thus she may not be
deprived of her birthright. But he finds himself superseded in her
affections by another and when he turns to the humbler Charity, he
finds a similar situation to exist. But the telegram which he sends to
the mysterious “girl on the hilltop” reads “The third time’s lucky!”
and so it proves to be.

* * * * *

+ =Booklist= 17:32 O ’20

“Mr Gambier has built up a very alluring story.”

+ =Boston Transcript= p6 Ag 18 ’20 260w

“An interesting picture of rural England in wartime and unusually
entertaining.”

+ =Cleveland= p83 S ’20 50w

“‘The girl on the hilltop’ has the virtue of being uncommon, but it is
not very satisfactory. The author’s method of story-telling may be
described as spasmodic; there is no ease in the course of his recital.
He jumps along in a fashion quite disconcerting to the reader and
insists on creating about certain of his characters an air of mystery
that is annoying rather than interesting.”

− + =N Y Times= 25:28 Jl 25 ’20 330w

“Incidentally the novel gives a realistic picture of the war
privations and provocations in remote English villages. The story is
built on unusual lines and its originality makes it decidedly
readable.”

+ =Outlook= 125:467 Jl 7 ’20 160w

=GAMBLE, WILLIAM.= Photography and its applications. il $1 Pitman 770

20–16270

The book is one of the Pitman’s common commodities and industries
series. It is not intended as a guide or text-book for those desiring
to practice the art of photography, but as a popular outline of the
subject for general information on “How it’s done.” Contents: The
discovery of photography; The camera and lens; Dark room and its
equipment; The sensitive plates: wet collodion process, and collodion
emulsion and dry plates; Making the exposure; Development and
after-treatment of the plate; Printing processes: carbon and other
methods; Enlarging, copying, and lantern-slide making; Colour
processes; Scientific applications of photography; Cinema-photography;
Photomechanical processes; Industrial applications of photography;
Photography in warfare; Illustrations and index.

=GANACHILLY, ALFRED.= Whispering dead. (Borzoi mystery stories) *$1.90 (3c) Knopf

20–8519

Some years before the war, according to this story, there was a fire
at the German embassy at Santiago, Chile, which completely destroyed
the building. In the ruins were found the charred remains of a human
body, and the mystery of the story is the identity of the man who so
perished. Beckert, the German chancellor, was thought to be the
unfortunate victim, but Rojas, the Chilean detective, has another
theory which takes him on a wild chase in the Andes, resulting in the
capture of the man who was responsible for the fire, and the murderer
of the unknown person who perished in it. Stress is laid on the
ruthlessness characteristic of the German nature even before the war.

* * * * *

“A well-told and well-constructed story.”

+ =Sat R= 128:422 N 1 ’19 80w

=Springf’d Republican= p11a S 12 ’20 180w

=GANZ, MARIE, and FERBER, NAT. JOSEPH.= Rebels; into anarchy—and out again. il *$2 (3c) Dodd

20–219

Marie Ganz, daughter of a Hester street pushcart peddler, came from
Galicia to America in 1896, when she was five years old. After her
father’s death in 1899, she never knew what it was to have time to
play, tho she did not work the regular twelve-hour day in a sweatshop
until she was thirteen. She made friends among Russian socialists and
anarchists, joining the latter group, and preached war upon the
capitalists. She organized strikes, led mobs, got into prison and out
again, and finally broke her connection with the anarchist group. She
tells us: “I had learned much and changed much since that day when I
led the mob into the capitalist stronghold, and the old rancours were
gone forever.... My work is not over ... but, in the effort to help
the poor and downtrodden, it is to run in other lines hereafter.”

* * * * *

=Boston Transcript= p11 Mr 27 ’20 130w

“Although the apostasy of Marie Ganz furnished the occasion for her
book, it is the period of her rebellion that engages one’s interest
and gives the book its attraction.”

+ =Nation= 111:456 O 20 ’20 200w

“A vigorous and straightforward narrative.” H. W. Boynton

+ =Review= 2:231 Mr 6 ’20 460w

“Quite as authentic and interesting as other autobiographies of women
who have risen from the Ghetto of the New York East side, the book by
Miss Ganz, nevertheless, does not range with them; It is too much
concerned with only one aspect of life to paint either accurately or
convincingly the throbbing vitality and beauty of that most colorful
of American neighborhoods.” B. L.

+ − =Survey= 43:782 Mr 20 ’20 450w

=GARBORG, ARNE.= Lost father. $1.25 Stratford co.

20–13202

This is a prose poem interspersed with verse in the form of prayers by
a lost soul seeking an unknown god. Gunnar Haave had left his native
land in search of life. He has squandered it and at the end returns
home in search of the Father. His brother Paul has also thrown away
his life to become the servant of his Master, Christ. It is Paul who
finally succeeds in bringing the peace of the Father to Gunnar. An
autobiographical sketch precedes the story and the translation from
the Norse is by Mabel Johnson Leland.

=GARDNER, AUGUSTUS PEABODY.= Some letters of Augustus Peabody Gardner. *$2 (8½c) Houghton

20–5738

The letters are preceded by a short sketch of Major Gardner’s career
by Mrs Gardner who has edited the collection. They are grouped under
the headings: The Spanish war; Congress and politics; War-time
activities; The army again. The volume contains four fine portraits of
Major Gardner at various stages of life.

* * * * *

“These letters are glowing with American idealism.”

+ =Cleveland= p77 Ag ’20 50w

=Springf’d Republican= p9a O 3 ’20 210w

=GARDNER, GILSON.= New Robinson Crusoe. *$1.25 (6c) Harcourt 330

20–13989

“A new version of his life and adventures with an explanatory note.”
(Sub-title) In this new version all of Robinson Crusoe’s reflections
are along economic lines. His first musings on “Why does man work?”
are answered by his own efforts to supply himself with shelter, food
and clothing. He soon discovers of how little avail his labors are
without the cooperation of his fellow-men. This is later supplied by a
colony of refugees on a neighboring island and with cooperation come
the needs of specialization and organization. As the story proceeds
all the features of a capitalistic society develop. Robinson becomes a
power, the chief exploiter and ruler of the realm in which there now
are rich and poor, exploiters and exploited. Then some of the younger
blood become wise to the fact that “a man may own what he produces,”
and no more. They lay in wait for him one dark night on the beach and
instead of drowning him outright mercifully ship him off to England.

* * * * *

=Boston Transcript= Jl 28 ’20 180w

=Freeman= 2:94 O 6 ’20 430w

=Nation= 111:456 O 20 ’20 480w

“The ‘New Robinson Crusoe’ is interesting as an economic tract.”

+ =Outlook= 126:202 S 29 ’20 160w

“Mr Gardner has made a distinctly novel contribution to the literature
of economics, but it will be an unhappy day for children when they are
given this primer of economics disguised as a story to read in place
of the good old fashioned tale of Robinson Crusoe.”

+ − =Springf’d Republican= p9a O 31 ’20 350w

=GAREY, ENOCH BARTON, and others.= American guide book to France and its battlefields. il *$3.50 Macmillan 914.4

20–11006

Part I of this guide book is devoted to general considerations with
chapters on: Things to consider and to do before you sail; A special
chapter on passports; A few important points that should be understood
before arrival in France; Conditions that will confront you upon
landing; Paris and its life; Amusements, shopping, side trips, etc.