Chapter II: Part 2

Of the men who rhyme, so large a number are cursed with suburban
comforts. A villa and books never made a poet; they do but tend
to the building up of the respectable virtues; and for the
respectable virtues poetry has but the slightest use. To roam in
the sun and air with vagabonds, to haunt the strange corners of
cities, to know all the useless and improper, and amusing people
who are alone very much worth knowing; to live, as well as to
observe life; or, to be shut up in hospital, drawn out of the
rapid current of life into a sordid and exasperating inaction; to
wait, for a time, in the ante-room of death; it is such things as
these that make for poetry.

—_Arthur Symons._

Poems

RICHARD ALDINGTON

Bloomsbury Square

I walk round Bloomsbury Square.

Bright sky over Bloomsbury Square;
Bright fluttering leaves
Between the sober houses.

I carry my morning letters,
Some telling of lives spoiled and cramped,
Some telling of lives hopeful and gay,
Some full of yearning for London
And our wider life.

In Bloomsbury Square
The worms of a little moth
Are spinning their Cocoons,
Weaving them out of bright yellow silk
And bits of plane bark
Into strong, comfortable houses.
But hundreds of them
Have wandered on to the iron fence
And go wearily wandering,
Spending a little silk here
And a little silk there,
And at last dropping dead from weariness....

“Our wider life”—
That is our wider life:
To wander like blind worms
Spending our fine useless golden silk
And at last dropping dead from weariness.

Blue sky over Bloomsbury Square;
Bright fluttering leaves
Between the sober houses.

Epigram

Rain rings break on the pool
And white rain drips from the reeds
Which shake and murmur and bend;
The wind-tossed wistaria falls.

The red-beaked water fowl
Cower beneath the lily leaves;
And a grey bee, stunned by the storm,
Clings to my sleeve.

Lollipop Venders

LUPO DE BRAILA

“Misfit clothing”—I saw these words this morning on a small shop sign and they kept dancing before my eyes. Misfit clothing. In vain all my attempts to concentrate on the object of my visit to the Art Institute.

I sat down to search my brain for the cause of this phenomenon, and I soon recalled another such visit I once made under similar difficulties.

It was at the San Francisco Exposition. I discovered by chance the so-called Annex of the Fine Arts Building, a stable-like structure in comparison to the main building. It housed the Norwegian, Hungarian, and Spanish exhibits—by the way, almost the only ones worth seeing. At that time another vision kept me from seeing the exhibit for some moments. It seemed as if some short bald men danced along green velvet walls, each one plucking his heart beats with gusto and, after arranging them in a queer design on a crystal glass plate, offering them to the stars and children.

This recollection cleared the air and I realized that surroundings have a strong effect on me. I have come to enjoy the result of the finest faculty we possess, our imagination. I have come to admire the result of a year’s work of our Chicago Artists.

Three hundred and twenty-one paintings, says my catalog; and in order to simplify matters I decide to look at some of the most popular names first—names usually found on the juries.

Artists, according to Rodin, are different from other mortals because they love their work. Let us see: Adam Emory Albright, Alfred Juergens, Lucie Hartrath, John F. Stacey, and Dahlgreen. Each one of them has between three and seven paintings. With all that canvas they must have sailed on the most enchanting seas, and surely have brought back a holiday for our eyes and hearts.

The first one I encounter is _An October Afternoon_ by Mr. Alfred Juergens; visions of little coral trees with hanging heads against a faint green dream sky, embroidered brown leaves in the foreground and cool blue hills like thoughtless sighs in the background, appear on the catalog page. But see what Mr. Juergens has done with this subject. I can scarcely believe my eyes. A mushroom dog in front of some formless and lifeless trees; amateur composition, thoughtless technique, and dirty color. And Mr. Juergens has a steady job on the jury. I wonder what is his reason for painting: he certainly does not love his work. Something suddenly interferes with my thoughts on this subject: it is the jingling of coin in a visitor’s pocket. I look around and find number 174 by the same gentleman, and it reminds me of a cat walking on the keyboard of a stringless piano.

They say this is the best exhibition of the Chicago Artists. If it is, Mr. Juergens has done nothing to make it good. He has six such things on the walls.

Mr. Albright, a painter of children playing in the open, has seven pictures in the exhibit, five of them on one wall. One is called _The Barn Yard_. The name reminds me of the reproduction of a painting by Malchevski I saw in a Polish library a few days ago. It was called _Art in the Back Yard_ and showed a little satyr playing a flute for a little girl and a few turkeys. There was romance in the fence boards, and marvelously clean colors; it shouted life and joy. Mr. Albright’s old-maid’s conception of childhood made me feel sad. His shapeless hens, his flattened children on the wall, weak composition, dirty colors, and no sign of life in the whole thing, or feeling of out-of-door air. Almost disgusted, I look further:—_A Summer Dream_. I look for the dream and find it in the fact that the biggest of the boys has borrowed his older brother’s head, and the painting is full of some dirty yellow color. A horrible dream. I wish Mr. Albright as well as Mr. Juergens would at least clean their pallets if they can not change their conception of things.

Next I visit _Sunshine Alley_, by Lucie Hartrath. It is the alley of poverty of ideas and bad color. Miss Hartrath evidently wants to paint what she sees, but she does not happen to see anything startling. She, too, has six such things on the walls.

The mediocre work of John F. Stacey and Anna L. Stacey really deserves no attention. Especially bad is the portrait of John by Anna (there is little love expressed in it) and _The Beach Road, Belvedere, California_, by John, takes the prize for being the poorest painting in the exhibition. John F. has only one painting that looks as if it were made by a man who loves his work—_The Golden Hills of California_.

Next comes a man I dislike to place among the lollipop venders—he being a very nice quiet and honest man; but why does Mr. Dahlgreen paint?

Now, when I come to Messrs. Griffith and Irvine, I find their anaemic work quite good in comparison to the work I have seen until now. Of course, I did not expect paintings with as wide a scope as the work of the Zubiaure Brothers, Zuologa, Edward Munch, Hodler, Welti, Malchevski, Franz, Stuck, Fritz Erler, Putz, Elie Reppin, etc., to say nothing of the latest developments of modern art and ideals—I mean the disciples of Cezane, Matisse, Van Gogh, Gauguin, etc.—because Chicago is still a frontier town. All the latest improvements plus the Art Institute cannot change its real character: a frontier town with frontier town ideals. In this case, all criticism being comparative, I did not look for the highest standard. Had I done so, three words might have been my comprehensive criticism. As it is, all I expected was clear feeling, clean color, good design, and a certain amount of delicacy in handling. This has been fulfilled only in a measure by Mr. Bartlett, whose strength and individuality places him at the head of the landscape painters exhibiting. He reminds me very much of Trubner, especially his _Autumn Afternoon_. I also like his daring composition in _Under Chinese Tower, Munich_. Pauline Palmer’s work is full of broadly-painted sunshine, though the foliage in some of her trees seems too heavy and shapeless.

Next in merit I think comes Marie Lokke, whose yellow sail in _The Old Pier_ takes the wind out of many a neighbor. Hermann More’s _A Summer Afternoon_, is a good example of clear feeling and clean color. I also like Mr. Kraft’s delicate _Silver Mist_ and _An Autumn Afternoon_, and Mr. Ingerles’s, _The Fascinating Ozarks_.

There is also a class of painters who can best be described as able and honest. At the head of these artists stands Mr. Peyraud and Edward B. Butler. There are also Frank V. Dudley, H. Leon Roecker, Edgar S. Cameron, J. H. Carlsen, Lawton Parker, Charles Francis Brown, A. H. Schmidt, William Wendt, Alfred Jansson, Alson Clark, Karl A. Buehr, Grace Ravlin, Edgar Payne and the following portrait painters: our own Franz Hals, Mr. Christian Abrahamsen, Oscar Gross, Gordon Stevensen, Cecil Clark Davis and Arvid Nieholm.

Mr. Werner’s mannerism is too monotonous.

Mr. Ufers and Mr. Higgins have taken yellow ochre into the open and made good use of it. I have taken these two men separately because both have done good work and I expect much improvement in the near future. Their work at present looks too much like illustrations. Miss Dorothy Loeb is the only one who has a real sense of rhythm in line.

The Chicago Society of Artists, which runs this exhibition every year, seems to be controlled at present by a number of men who have inherited a long-discarded weak imitation of a technique once used by Segantini. They have excluded almost everything that showed some originality and feeling, but have accepted and hung a few very poor and meaningless things, so that they may shine by contrast. However, it seems to me they are at the end of the rope. The public refuses to buy the dope and their best men have sent in nothing to this show. I refer to Clarkson, Reynolds, Betts, Oliver Dennet Grover, Henderson, Rittman; and Lawton Parker has only one little canvas.

A Vers Libre Prize Contest

Through the generosity of a friend, THE LITTLE REVIEW is enabled to offer an unusual prize for poetry—possibly the first prize extended to free verse. The giver is “interested in all experiments, and has followed the poetry published in THE LITTLE REVIEW with keen appreciation and a growing admiration for the poetic form known as _vers libre_.”

The conditions are as follows:

Contributions must be received by April 15th.

They must not be longer than twenty-five lines.

They must be sent anonymously with stamps for return.

The name and address of the author must be fixed to the manuscript in a sealed envelope.

It should be borne in mind that free verse is wanted—verse having beauty of rhythm, not merely prose separated into lines.

There will be three judges, the appointing of whom has been left to the editor of THE LITTLE REVIEW. (Their names will be given in the next issue, as we are hurrying this announcement to press without having had time to consult anyone.)

There will be two prizes of $25 each. They are offered not as a first and second prize, but for “the two best short poems in free verse form.”

As there will probably be a large number of poems to read, we suggest that contributors adhere closely to the conditions of the contest.

A. Neil Lyons

(_John Lane Company, New York_)

A roomy garret with a wee dirty window in the sloping roof. Some trunks with old fine clothes and older musty books—books of hymns and sermons, most of them were. Broken limp chairs. A fire that would not “draw.” Bits of worn carpets on the floor. A smelly oil lamp on one of the trunks. Such was the place of my solitary confinement, for rebellion, at least once a week. I admit to having even deliberately whistled and danced a highland fling on dreary Sundays in order to provoke my God-fearing, Sabbath-respecting elders to send me to the garret! How could they, unsuspecting, unimaginative Olympians, know that it was one of the places where I had real joy?

In the smallest trunk there were back numbers of _Punch_. Pencils and paper were there also. When the steps sounded no more on the stairs, and I had stopped my stage crying, I would take out my drawing materials and an issue of _Punch_ and start to copy the easiest drawings I could find.

Among the artists there was none that I liked better than Phil May. His sense of the comic and his economy of line appealed to me and my lack of ability to draw. His Cockney folk gave me more pleasure than any of the staid humans I knew. He....

But I forget myself. I started out to write of Neil Lyons.... All the words I have spun for the prelude are merely to say that during my re-reading of the work of Neil Lyons in the past few months I have been struck again and again by its likeness to the drawings of Phil May: the same joy, the same delight was there in the reading as there was in the contemplation of the drawings.

Now, this likeness not only existed in the handling of the subject, but also in the choice thereof. The Cockney men, women and children that Phil May has drawn Neil Lyons has written about. The pictures of the peasantry that May has left are alike in line and spirit to those Lyons has drawn verbally in _Cottage Pie_ and _Moby Lane_.

If you know Phil May’s work think of one of his drawings of a fat middle-aged woman, and then listen to this drawing of another, by Neil Lyons:

“She was forty years old at a venture. She had lots of mouth and
a salmon-coloured face and a pretence of a nose and small watery
eyes. All these amenities were built up on a triple foundation of
chin, which was matched by an exceeding amplitude of bosom and
waist.”

Don’t you recognize the same swift, sure lines?

But I must get away from this parallel. Never at his best is the artist as great as the writer. There is no line or collection of lines in May’s work to match this in Lyons’:

“Mrs. Godge, who was lately the mother of twin babies, is now the
mother of memories.”

That sentence is only a shadow of the quiet poignancy of the tale that follows it. Oh, the wonder of the man who can see every side of the common people and set them down with such verve, such relish, such keen poignancy and hilarious joy! Let me quote from the story of blind Unity Pike, “the wanton”:

“I imagine poor old Unity at this period of her life as having
been a little, fresh, dark-haired maiden of Quaker habit. I know
she must have been beautiful because ALL young things are
beautiful. I imagine this poor bound soul in the dark with its
toil and its thoughts—half-formed thoughts, half-formed memories,
half-formed wishes. Nothing real about her or within her save the
darkness. And I can imagine how it was, therefore, that——

“Yes! They found Jack Munsey in her cottage. They found him in
the night. And so, in the name of Christ, whose name they give to
all their wickedness—that Christ, who forgave a woman that was
not blind for sins beside which this sin of Unity’s was pure and
white—in the name of this God, I say, they seized her sightless,
wondering soul and threw it, a sacrifice, to those bloody wolves
they call their virtue.”

I would fain go on quoting, showing you the wit of this man, gentle, and on occasion barbed and stinging: his humor, kindly, of the soil; his great jollity and high good spirits. I would indeed like to introduce you to “Clara,” the hussy, who is fat and motherly and with a heart and mind unbounded. I would like to take you to “Arthur’s,” the midnight coffee-stall where you would meet with street-walkers and soldiers, scavengers and tramps and hear from the lips of a gutter snipe one of the most perfect and touching love tales ever told.

Oh, but you must read them all yourself. Will you, if I give you the names of the various volumes? Here they are, then: _Arthur’s_, _Sixpenny Pieces_, _Cottage Pie_, _Clara_, _Simple Simon_, _Moby Lane_.

John Lane, he of the Bodley Head Publishing Company, who gave the world _The Yellow Book_, the works of Anatole France and Stephen Leacock, is the publisher.

I wait expectantly your showers of gratitude!

—_Allan Ross Macdougall._

The Reader Critic

_ANARCHY_

_Alice Groff, Philadelphia_:

Anarchy is scientifically a reductio ad absurdum and those who claim to be anarchists are self-deceivers,—minds that cannot complete a circuit of reason. There is no place in reason for anarchy, hence there is not and cannot be an anarchist on a basis of reason. All who call themselves so are either _archists_ of the most rabid sort or helpless flies in the sticky syrup of laissez faire. The only professed anarchists that make any impression upon the world are of three kinds: either they are spirits of revolt of the most bitterly, materialistically tyrannical sort; or they are those who suffer with the oppressed and strive individually to set them free, even to the point of _self_-martyrdom; or they are sentimentalists who maunder maudlinly on about love and justice and yet do absolutely nothing to bring about the love of justice or the justice of love, either in their preaching or their practice. But none of these are really anarchists, they are only varieties of _archists_ who wish to impose their _own_ social ideals upon the social order in place of those that already prevail.

The whole story of social evolution in a nutshell is as follows: every phase of the social order at any stage of social evolution is maintained by a social ego or group sufficiently powerful to dominate the rest of the surrounding social body,—and this phase can be changed only by revolution—bloodless or otherwise,—on the part of a new social ego desiring this change and developing power to establish and maintain it.

Now the only way in which such a social ego can develop such power is by obtaining control of _the means of living_,—food, clothing, shelter, and the natural and financial resources back of these means; and this control can be obtained only by _archists_,—_dominationists_,—organized into a social ego or group that is a unit on any special social ideal. Rebellions come and rebellions go, but the only rebellion that ever reaches successful revolution is made by a social ego powerful enough to get control of the necessities of life _by force_,—force material, intellectual, or psychic. This disposes forever of the professed repudiation of force by the philosophical anarchists, so-called. As for the poetic anarchists, who draw moving pictures of the beautiful time to come, when humanity will voluntarily organize to abolish all man-made law (which _they_ consider the only social evil, not realizing that the evil is not in law, per se, but in the _kind_ of law), and who look to “Mother Nature” for social guidance,—these will wait and look till the crack of doom, in vain. For “Mother Nature” is an old-wife of incredible stupidity, socially considered, and must needs be pulled up by the hair of her head at every whip-stitch, by her ever-evolving offspring, in order that they may transform her social stupidity into scientific truth. Social evolution depends entirely upon the discovery of such scientific truth and its application to the social order, and such application can be made only step by step through a social ego powerful enough to compel such application.

From this it may be seen that by whatever name we may call ourselves,—monarchists, democrats, anarchists,—we are really _archists_ striving to impose our ideals as social egos upon the social order, and succeeding—only when we can get control of the means of living—in dominating the rest of the social body with them,—until a new social ego gets the power to cry “The king is dead! Long live the king!”

It, of course, goes without saying that no social dominance has ever been entirely wise or beneficent, and that until very recently in social history there has been no knowledge of sociological scientific truth to speak of upon which to base social domination. But the hope of the world lies in the ever-progressing discovery of such truth, and in its application to the social order by ever-evolving social egos that will more and more base their social ideals upon such truth, gradually dominating the whole social order with ideals so based.

_Anonymous_:

After having read your “A Deeper Music” in the February issue I wondered whether you had ever heard Mr. de Pachmann play the piano. There is nothing in the world like it—nothing more wonderful. I am not speaking of an ebony Mason and Hamlin alone on a stage, but of any piano at all, with that madman bending his head over the keys of it.

I feel sure that had you heard him you would have included him in your article and would not have put words into Bauer’s mouth. You would have known that it is possible to play the piano very badly and play it more beautifully than any one else; both of these in one afternoon. The design of sound! But he, too, is becoming passé like Paderewski. But there is little likelihood of a type arising from these two.

Do you know of any one who plays the piano as Casals plays the ’cello?

Have you looked at any of Scriabine’s later piano pieces? I wonder if he expresses any of the moods which you prophesy will be caught by some new composer. I knew a boy in Petrograd who went to the conservatory every day with a volume of Scriabine and one of Bach under his arm. We called him the “Scriabine chap.” He probably has had thirty-second quavers punched into him by a German machine gun, for I am sure he couldn’t or didn’t dare be as loyal to both Nicholas and Wilhelm as he was to Scriabine and Johann S. B.

_Yes, I have heard Pachmann many times, and he was always wonderful. I meant, of course, to put him in the article, but at the last minute he slipped my mind ... perhaps because I was trying to write of a “deeper” music, and since Pachmann is “master of the small essential thing and master of absolutely nothing else” he doesn’t quite come into the realm of the new vision of the piano._

_Isn’t there a good deal of similarity between Casals’ playing of the ’cello and Bauer’s playing of the piano?_

_Scriabine’s later piano things have something of what I meant, and do you remember the piano parts of “Prometheus?” Stravinsky, too—you know how he uses the piano in “Pétrouchka.” But the new vision is beyond these—something more rich and shattering.... I can’t say it. Let’s just wait and see.—The Editor._

_Alice Groff, Philadelphia_:

“Spirit can do” absolutely _nothing_, without body. Social spirit can do absolutely nothing without the means of life for the body. The social ego that would “start the revolution” must aim first to get control of the means of living—food, clothing, shelter, and the resources, natural and economic, back of these. Revolutions succeed only when they get such control; if they do not get it they are soap bubbles blown by a little child.

Why waste time pelting with idle words the social egos that have such control, instead of going to work to _wrench_ it from them, _even with war_?

The social ego that has such control “can do anything.” It can stop war with a turn of its hand and establish in its stead world-wide service, kindness, brotherhood, peace, joy and beauty. And there is nothing else in the universe that can do this.

It is for lack of a social ego having such control and that unity in establishing the above-mentioned principles in the social order, alone, that “men continue to support institutions they no longer believe in, that women continue to live with men they no longer love, that youth continues to submit to age it no longer respects,” and it is the only agency that can help one to be free when one wants to be free or make one a personality instead of a nonentity.

All that you say about a “deeper music” is true, though I would say a more winged music—(I would not dare use to you the word spiritual)—or a subtler music, or something of that sort; but all that you deprecate in music, by critical suggestion, is also true and necessary, scientifically and fundamentally, without which your deeper or higher or subtler or more winged or more spiritual music would be nothing but soap bubbles without plenty of soapy water to make them out of. I am one of those who can appreciate this deeper music—but I know also that it cannot be created ex-nihilo.

As to Ben Hecht, his power of expression is wonderful. His writing is literature par excellence, but it lacks a _soul_. If in his meticulous analyses of life he could suggest the vision of the swallowing up of the macrocosm in the macrocosm—could suggest what humanity as a whole could do to wipe out the evils that feed upon the individual—he might be god-like. But like all of the rest of you he is a dead fly in the sickening syrup of _laissez faire_, at the mercy of Mother Nature. Now it isn’t worth while for you to resent this. Go to work and read what I have been able to get out of _The Egoist_, showing up anarchy for all that it is worth.

_Edgcumb Pinchon, Los Angeles_:

Glad to see you get into trouble—you have the Flame! May it flash on our universal dullness and faithlessness as the sun on sword blades——

Do you remember Maupassant’s story: An exhausted French regiment—ten miles to go—the men mutinous, disgruntled; a broken-down carriage by the road-side—horses and driver gone—a mother and her daughter forlorn in the carriage, needing assistance to the next town. The snow is deep, their slippers are thin and they are fashionably—and uselessly—garbed. The soldiers make a sedan chair of the carriage poles, and fighting among themselves for the honor of bearing a hand at the poles they finish the march with spirit and bravado——?

Do you remember Whitman’s “lithe, fierce girls?” Such are the flame-tongues of Revolution—the priestesses of social passion.

If Woman only knew her power to work white magic with banality and stir up the hero-poet in man! But we who have dragged her by the hair for ten thousand years must continue to drag her enfeebled body and spirit with us for penalty—even as we are praying her to touch us to Fire!

When you say that all we need at this hour is a few great spiritual leaders—you are tremendously right. And shall not one of those be some “lithe fierce girl” who knows how to wake the militant social troubadour in man?

The enclosed is because you, like Margaret Sanger, belong to the new revolution—the thoroughbred thing compact of esprit, audacity, faith, and elan.

_Socialism and War_

By LOUIS B. BOUDIN

Author of _Theoretical System of Karl Marx_,
“_Government by Judiciary_”, _etc._

Price, $1.10 Postpaid

NEW REVIEW
PUBLISHING ASS’N
256 Broadway
New York City

_A STUDY OF THE GREAT WAR OF IMPERIALISM._

Organized Socialism collapsed in the European crisis; but
Socialist thought is providing us with an authentic, realistic
interpretation of the causes and consequences of the Great War.

The whole world is interested in the attitude and conclusions of
the Socialists.

Mr. Boudin’s book deals with the prime cause of the
war—Imperialism. He makes us understand the underlying forces of
this world-drama. Mr. Boudin indicates that Imperialism is the
political expression of a change in the economics of Capitalism;
that Imperialism is motivated upon the export of capital,
principally in the form of iron and steel as “means of
production” in undeveloped countries.

All phases of the war are covered, including the “cultural” and
“racial”. The historian, the economist and the sociologist unite
in a volume of the utmost interest and importance.

POETRY BOOKSHOP CHAPBOOKS

READY DECEMBER 1ST.

IMAGES. By RICHARD ALDINGTON. 8d net (postage 1d).

CADENCES. By F. S. FLINT. 8d net (postage 1d).

ANTWERP. By FORD MADOX HUEFFER. Decorated by WYNDHAM LEWIS. 3d
net (postage 1d).

CHILDREN OF LOVE. By HAROLD MONRO. 6d net (postage 1d). Second
Impression.

THE POETRY BOOKSHOP
35 Devonshire St., Theobalds Rd., London, W. C.

PIANO TRIUMPHANT

The artistic outgrowth of forty-five years of constant
improvement—a piano conceived to better all that has proven best
in others.

GEO. P. BENT GRAND

Could you but compare it with all others, artistically it must be
your choice. Each day proves this more true.

Geo. P. Bent Grand, Style “A”—a small Grand, built for the
home—your home.

GEO. P. BENT COMPANY

Manufacturers of Artistic Pianos
Retailers of Victrolas
214 South Wabash Avenue, Chicago

Harold Bauer

and the Mason & Hamlin Tension Resonator

Having achieved in the Mason & Hamlin, the most beautiful piano
tone the world has ever known, its makers, many years ago, set
before themselves the problem of maintaining for all time, that
which they had created.

A system of highly tempered steel rods, running from various
points of the grand piano rim to a common center, was evolved and
termed the Mason & Hamlin Tension Resonator.

This construction, which is to be found in no other piano,
because patented, is the only known method of permanently
preventing deterioration of tone quality through the otherwise
inevitable flattening of the sounding-board.

Harold Bauer was the first artist to use a Mason & Hamlin Tension
Resonator Piano in public. In the fifteen years which have
followed that epoch making event there have been but few really
great artists who have not enthusiastically endorsed this great
master’s final choice.

CABLE PIANO COMPANY,
Wabash & Jackson.

A LITTLE EDITORIAL

By Jessie Quitman

Books are not articles of merchandise. They are the projected
materialization of the human spirit.

The hands of congenial souls alone must touch them.

The spirits of books shrivel and droop in department stores and
shops.

Miss Cabaniss of the Venetian Library does not sell or loan
books.

She shares them with you.

In her salon in the Venetian Building she may be found most any
hour of the day.

There also will be found the intellectual artistocracy of
Chicago. After converse, any book may be taken home, in assurance
and without fear, for it has been touched by no unholy hands.

BUY YOUR BOOKS HERE

If you wish to assist The Little Review without cost to yourself
you may order books—any book—from the Gotham Book Society and The
Little Review will be benefitted by the sales. By this method The
Little Review hopes to help solve a sometimes perplexing business
problem—whether the book you want is listed here or not the
Gotham will supply your needs. Price the same, or in many
instances much less, than were you to order direct from the
publisher. All books are exactly as advertised. Send P. O. Money
Order, check, draft or postage stamps. Order direct from the
Gotham Book Society, 142 W. 23rd St., N. Y., Dept. K. Don’t fail
to mention Department K. Here are some suggestions of the books
the Gotham Book Society is selling at publishers’ prices. All
prices cover postage charges.

POETRY AND DRAMA

SEVEN SHORT PLAYS. By Lady Gregory. Contains the following plays
by the woman who holds one of the three places of most importance
in the modern Celtic movement, and is chiefly responsible for the
Irish theatrical development of recent years: “Spreading the
News,” “Hyacinth Halvey,” “The Rising of the Moon,” “The
Jackdaw,” “The Workhouse Ward,” “The Traveling Man,” “The Gaol
Gate,” together with music for songs in the plays and explanatory
notes. Send $1.60.

THE MAN WHO MARRIED A DUMB WIFE. By Anatole France. Translated by
Curtis Hidden Page. Illustrated. Founded on the plot of an old
but lost play mentioned by Rabelais. Send 85c.

THE GARDENER. By Rabindranath Tagore. The famous collection of
lyrics of love and life by the Nobel Prizeman. Send $1.35.

DOME OF MANY-COLORED GLASS. New Ed. of the Poems of Amy Lowell.
Send $1.35.

SPOON RIVER ANTHOLOGY. By Edgar Lee Masters. Send $1.35.

DREAMS AND DUST. A book of lyrics, ballads and other verse forms
in which the major key is that of cheerfulness. Send $1.28.

SOME IMAGIST POETS. An Anthology. The best recent work of Richard
Aldington, “H. D.,” John Gould Fletcher, F. S. Flint, D. H.
Lawrence and Amy Lowell. 83c, postpaid.

THE WAGES OF WAR. By J. Wiegand and Wilhelm Scharrelman. A play
in three acts, dedicated to the Friends of Peace. Life in Russia
during Russo-Japanese War. Translated by Amelia Von Ende. Send
95c.

THE DAWN (Les Aubes). A symbolic war play, by Emile Verhaeren,
the poet of the Belgians. The author approaches life through the
feelings and passions. Send $1.10.

CHILD OF THE AMAZONS, and other Poems by Max Eastman. “Mr.
Eastman has the gift of the singing line.”—Vida D. Scudder. “A
poet of beautiful form and feeling.”—Wm. Marion Reedy. Send
$1.10.

THE POET IN THE DESERT. By Charles Erskine Scott Wood. A series
of rebel poems from the Great American Desert, dealing with
Nature, Life and all phases of Revolutionary Thought. Octavo gray
boards. Send $1.10.

CHALLENGE. By Louis Untermeyer. “No other contemporary poet has
more independently and imperiously voiced the dominant thought of
the times.”—Philadelphia North American. Send $1.10.

ARROWS IN THE GALE. By Arturo Giovannitti, introduction by Helen
Keller. This book contains the thrilling poem “The Cage.” Send
$1.10.

SONGS FOR THE NEW AGE. By James Oppenheim. “A rousing volume,
full of vehement protest and splendor.” Beautifully bound. Send
$1.35.

AND PIPPA DANCES. By Gerhart Hauptmann. A mystical tale of the
glassworks, in four acts. Translated by Mary Harned. Send 95c.

AGNES BERNAUER. By Frederick Hebbel. A tragedy in five acts. Life
in Germany in 15th century. Translated by Loueen Pattie. Send
95c.

IN CHAINS (“Les Tenailles”). By Paul Hervieu. In three acts. A
powerful arraignment of “Marriage a La Mode.” Translated by
Ysidor Asckenasy. Send 95c.

SONGS OF LOVE AND REBELLION. Covington Hall’s best and finest
poems on Revolution, Love and Miscellaneous Visions. Send 56c.

RENAISSANCE. By Holger Drachman. A melodrama. Dealing with studio
life in Venice, 16th century. Translated by Lee M. Hollander.
Send 95c.

THE MADMAN DIVINE. By Jose Echegaray. Prose drama in four acts.
Translated by Elizabeth Howard West. Send 95c.

TO THE STARS. By Leonid Andreyieff. Four acts. A glimpse of young
Russia in the throes of the Revolution. Time: The Present.
Translated by Dr. A. Goudiss. Send 95c.

PHANTASMS. By Roberto Bracco. A drama in four acts, translated by
Dirce St. Cyr. Send 95c.

THE HIDDEN SPRING. By Roberto Bracco. A drama in four acts,
translated by Dirce St. Cyr. Send 95c.

THE DRAMA LEAGUE SERIES. A series of modern plays, published for
the Drama League of America. Attractively bound.

THE THIEF. By Henry Bernstein. (Just Out).

A FALSE SAINT. By Francois de Curel.

THE TRAIL OF THE TORCH. By Paul Hervieu.

MY LADY’S DRESS. By Edward Knoblauch.

A WOMAN’S WAY. By Thompson Buchanan.

THE APOSTLE. By Paul Hyacinthe Loyson.

Each of the above books 82c, postpaid.

DRAMATIC WORKS, VOLUME VI. By Gerhart Hauptmann. The sixth
volume, containing three of Hauptmann’s later plays. Send $1.60.

THE DAWN (Les Aubes). A symbolic war play, by Emile Verhaeren,
the poet of the Belgians. “The author approaches life through the
feelings and passions. His dramas express the vitality and
strenuousness of his people.” Send $1.10.

THE GREEK COMMONWEALTH. By Alfred A. Zimmern. Send $3.00.

EURIPIDES: “Hippolytus,” “Bacchae,” Aristophanes’ “Frogs.”
Translated by Gilbert Murray. Send $1.75.

THE TROJAN WOMEN. Translated by Gilbert Murray. Send 85c.

MEDEA. Translated by Gilbert Murray. Send 85c.

ELECTRA. Translated by Gilbert Murray. Send 85c.

ANCIENT GREEK LITERATURE. By Gilbert Murray. Send $2.10.

EURIPIDES AND HIS AGE. By Gilbert Murray. Send 75c.

GENERAL

VAGRANT MEMORIES. By William Winter. Illustrated. The famous
dramatic critic tells of his associations with the drama for two
generations. Send $3.25.

THE NEARING CASE. By Lightner Witmer. A complete account of the
dismissal of Professor Nearing from the University of
Pennsylvania, containing the indictment, the evidence, the
arguments, the summing up and all the important papers in the
case, with some indication of its importance to the question of
free speech. 60c postpaid.

THE ART OF THE MOVING PICTURE. By Vachel Lindsay. Send $1.60.

WRITING AND SELLING A PLAY. By Fanny Cannon. A practical book by
a woman who is herself an actress, a playwright, a professional
reader and critic of play manuscripts, and has also staged and
directed plays. Send $1.60.

GLIMPSES OF THE COSMOS. A Mental Autobiography. By Lester F.
Ward. Vol. IV. The fourth in the series of eight volumes which
will contain the collected essays of Dr. Ward. Send $2.65.

EVERYMAN’S ENCYCLOPEDIA is the cure for inefficiency. It is the
handiest and cheapest form of modern collected knowledge, and
should be in every classroom, every office, every home. Twelve
volumes in box. Cloth. Send $6.00. Three Other Styles of Binding.
Mail your order today.

NIETZSCHE. By Dr. Georg Brandes, the discoverer of Nietzsche.
Send $1.25.

WAR AND CULTURE. By John Cowper Powys. Send 70c.

SHATTUCK’S PARLIAMENTARY ANSWERS. By Harriette R. Shattuck.
Alphabetically arranged for all questions likely to arise in
Women’s organizations. 16mo. Cloth. 67c postpaid. Flexible
Leather Edition. Full Gilt Edges. Net $1.10 postpaid.

EAT AND GROW THIN. By Vance Thompson. A collection of the
hitherto unpublished Mahdah menus and recipes for which Americans
have been paying fifty-guinea fees to fashionable physicians in
order to escape the tragedy of growing fat. Cloth. Send $1.10.

FORTY THOUSAND QUOTATIONS. By Charles Noel Douglas. These 40,000
prose and poetical quotations are selected from standard authors
of ancient and modern times, are classified according to subject,
fill 2,000 pages, and are provided with a thumb index. $3.15,
postpaid.

THE CRY FOR JUSTICE. An anthology of the literature of social
protest, edited by Upton Sinclair. Introduction by Jack London.
“The work is world-literature, as well as the Gospel of a
universal humanism.” Contains the writings of philosophers,
poets, novelists, social reformers, selected from twenty-five
languages, covering a period of five thousand years. Inspiring to
every thinking man and woman; a handbook of reference to all
students of social conditions. 955 pages, including 32
illustrations. Cloth Binding, vellum cloth, price very low for so
large a book. Send $2.00. Three-quarter Leather Binding, a
handsome and durable library style, specially suitable for
presentation. Send $3.50.

MY CHILDHOOD. By Maxim Gorky. The autobiography of the famous
Russian novelist up to his seventeenth year. An astounding human
document and an explanation (perhaps unconscious) of the Russian
national character. Frontispiece portrait. 8vo, 308 pages. $2.00
net, postage 10 cents. (Ready Oct. 14).

AFFIRMATIONS. By Havelock Ellis. A discussion of some of the
fundamental questions of life and morality as expressed in, or
suggested by, literature. The subjects of the five studies are
Nietzsche, Zola, Huysmans, Casanova and St. Francis of Assisi.
Send $1.87.

LITERATURE

COMPLETE WORKS. Maurice Maeterlinck. The Essays, 10 vols., per
vol., net $1.75. The Plays, 8 vols., per vol., net $1.50. Poems,
1 vol., net $1.50. Volumes sold separately. In uniform style, 19
volumes. Limp green leather, flexible cover, thin paper, gilt
top, 12mo. Postage added.

INTERPRETATIONS OF LITERATURE. By Lafcadio Hearn. A remarkable
work. Lafcadio Hearn became as nearly Japanese as an Occidental
can become. English literature is interpreted from a new angle in
this book. Send $6.50.

BERNARD SHAW: A Critical Study. By P. P. Howe. Send $2.15.

MAURICE MAETERLINCK: A Critical Study. By Una Taylor. 8vo. Send
$2.15.

W. B. YEATS: A Critical Study. By Forest Reid. Send $2.15.

DEAD SOULS. Nikolai Gogol’s great humorous classic translated
from the Russian. Send $1.25.

ENJOYMENT OF POETRY. By Max Eastman. “His book is a masterpiece,”
says J. B. Kerfoot in Life. By mail, $1.35.

THE PATH OF GLORY. By Anatole France. Illustrated. 8vo. Cloth. An
English edition of a remarkable book that M. Anatole France has
written to be sold for the benefit of disabled soldiers. The
original French is printed alongside the English translation.
Send $1.35.

THE PILLAR OF FIRE: A Profane Baccalaureate. By Seymour Deming.
Takes up and treats with satire and with logical analysis such
questions as, What is a college education? What is a college man?
What is the aristocracy of intellect?—searching pitilessly into
and through the whole question of collegiate training for life.
Send $1.10.

IVORY APES AND PEACOCKS. By James Huneker. A collection of essays
in Mr. Huneker’s well-known brilliant style, of which some are
critical discussions upon the work and personality of Conrad,
Whitman, Tolstoy, Dostoevsky, and the younger Russians, while
others deal with music, art, and social topics. The title is
borrowed from the manifest of Solomon’s ship trading with
Tarshish. Send $1.60.

INTERPRETATIONS OF ENGLISH LITERATURE. By Lafcadio Hearn. Two
volumes. Mr. Hearn, who was at once a scholar, a genius, and a
master of English style, interprets in this volume the literature
of which he was a student, its masterpieces, and its masters, for
the benefit, originally, of the race of his adoption. $6.50,
postpaid.

IDEALS AND REALITIES IN RUSSIAN LITERATURE. By Prince Kropotkin.
Send $1.60.

VISIONS AND REVISIONS. By John Cowper Powys. A Book of Literary
Devotions. Send $2.10.

SIX FRENCH POETS. By Amy Lowell. First English book to contain a
minute and careful study of Verhaeren, Albert Samain, Remy de
Gourmont, Henri de Régnier, Francis Jammes and Paul Fort. Send
$2.75.

LANDMARKS IN RUSSIAN LITERATURE. By Maurice Baring. Intimate
studies of Tolstoi, Turgenev, Gogol, Chekov, Dostoevsky. Send
$2.00.

FICTION

THE TURMOIL. By Booth Tarkington. A beautiful story of young love
and modern business. Send $1.45.

SET OF SIX. By Joseph Conrad. Short stories. Scribner. Send
$1.50.

AN ANARCHIST WOMAN. By H. Hapgood. This extraordinary novel
points out the nature, the value and also the tragic limitations
of the social rebel. Published at $1.25 net; our price, 60c,
postage paid.

THE HARBOR. By Ernest Poole. A novel of remarkable power and
vision in which are depicted the great changes taking place in
American life, business and ideals. Send $1.60.

MAXIM GORKY. Twenty-six and One and other stories from the
Vagabond Series. Published at $1.25; our price 60c, postage paid.

SANINE. By Artzibashef. The sensational Russian novel now
obtainable in English. Send $1.45.

A FAR COUNTRY. Winston Churchill’s new novel is another realistic
and faithful picture of contemporary American life, and more
daring than “The Inside of the Cup.” Send $1.60.

BOON—THE MIND OF THE RACE. Was it written by H. G. Wells? He now
admits it may have been. It contains an “ambiguous introduction”
by him. Anyhow it’s a rollicking set of stories, written to
delight you. Send $1.45.

NEVER TOLD TALES. Presents in the form of fiction, in language
which is simplicity itself, the disastrous results of sexual
ignorance. The book is epoch-making; it has reached the ninth
edition. It should be read by everyone, physician and layman,
especially those contemplating marriage. Cloth. Send $1.10.

PAN’S GARDEN. By Algernon Blackwood. Send $1.60.

THE CROCK OF GOLD. By James Stephens. Send $1.60.

THE INVISIBLE EVENT. By J. D. Beresford. Jacob Stahl, writer and
weakling, splendidly finds himself in the love of a superb woman.
Send $1.45. The Jacob Stahl trilogy: “The Early History of Jacob
Stahl,” “A Candidate for Truth,” “The Invisible Event.” Three
volumes, boxed. Send $2.75.

OSCAR WILDE’S WORKS. Ravenna edition. Red limp leather. Sold
separately. The books are: The Picture of Dorian Gray, Lord
Arthur Saville’s Crime, and the Portrait of Mr. W. H., The
Duchess of Padua, Poems (including “The Sphinx,” “The Ballad of
Reading Gaol,” and Uncollected Pieces), Lady Windermere’s Fan, A
Woman of No Importance, An Ideal Husband, The Importance of Being
Earnest, A House of Pomegranates, Intentions, De Profundis and
Prison Letters, Essays (“Historical Criticism,” “English
Renaissance,” “London Models,” “Poems in Prose”), Salome, La
Sainte Courtisane. Send $1.35 for each book.

THE RAT-PIT. By Patrick MacGill. A novel by the navvy-poet who
sprang suddenly into attention with his “Children of the Dead
End.” This story is mainly about a boarding house in Glasgow
called “The Rat-Pit,” and the very poor who are its frequenters.
Send $1.35.

THE AMETHYST RING. By Anatole France. Translated by B. Drillien.
$1.85 postpaid.

CRAINQUEBILLE. By Anatole France. Translated by Winifred Stevens.
The story of a costermonger who is turned from a dull-witted and
inoffensive creature by the hounding of the police and the too
rigorous measures of the law into a desperado. Send $1.85.

VIOLETTE OF PERE LACHAISE. By Anna Strunsky Walling. Records the
spiritual development of a gifted young woman who becomes an
actress and devotes herself to the social revolution. Send $1.10.

THE “GENIUS.” By Theodore Dreiser. Send $1.60.

JERUSALEM. By Selma Lagerlof. Translated by Velma Swanston. The
scene is a little Swedish village whose inhabitants are bound in
age-old custom and are asleep in their narrow provincial life.
The story tells of their awakening, of the tremendous social and
religious upheaval that takes place among them, and of the
heights of self-sacrifice to which they mount. Send $1.45.

BREAKING-POINT. By Michael Artzibashef. A comprehensive picture
of modern Russian life by the author of “Sanine.” Send $1.35.

RUSSIAN SILHOUETTES. By Anton Tchekoff. Translated by Marian
Fell. Stories which reveal the Russian mind, nature and
civilization. Send $1.47.

THE FREELANDS. By John Galsworthy. Gives a large and vivid
presentation of English life under the stress of modern social
conflict, centering upon a romance of boy-and-girl love—that
theme in which Galsworthy excels all his contemporaries. Send
$1.45.

FIDELITY. Susan Glaspell’s greatest novel. The author calls it
“The story of a woman’s love—of what that love impels her to
do—what it makes of her.” Send $1.45.

WOOD AND STONE. By John Cowper Powys. An Epoch Making Novel. Send
$1.60.

RED FLEECE. By Will Levington Comfort. A story of the Russian
revolutionists and the proletariat in general in the Great War,
and how they risk execution by preaching peace even in the
trenches. Exciting, understanding, and everlastingly true; for
Comfort himself is soldier and revolutionist as well as artist.
He is our American Artsibacheff; one of the very few American
masters of the “new fiction.” Send $1.35.

THE STAR ROVER. By Jack London. Frontispiece in colors by Jay
Hambidge. A man unjustly accused of murder is sentenced to
imprisonment and finally sent to execution, but proves the
supremacy of mind over matter by succeeding, after long practice,
in loosing his spirit from his body and sending it on long quests
through the universe, finally cheating the gallows in this way.
Send $1.60.

THE RESEARCH MAGNIFICENT. By H. G. Wells. Tells the story of the
life of one man, with its many complications with the lives of
others, both men and women of varied station, and his wanderings
over many parts of the globe in his search for the best and
noblest kind of life. $1.60, postpaid.

SEXOLOGY

Here is the great sex book of the day: Forel’s THE SEXUAL
QUESTION. A scientific, psychological, hygienic, legal and
sociological work for the cultured classes. By Europe’s foremost
nerve specialist. Chapter on “love and other irradiations of the
sexual appetite” a profound revelation of human emotions.
Degeneracy exposed. Birth control discussed. Should be in the
hands of all dealing with domestic relations. Medical edition
$5.50. Same book, cheaper binding, now $1.60.

Painful childbirth in this age of scientific progress is
unnecessary. THE TRUTH ABOUT TWILIGHT SLEEP, by Hanna Rion (Mrs.
Ver Beck), is a message to mothers by an American mother,
presenting with authority and deep human interest the impartial
and conclusive evidence of a personal investigation of the
Freiburg method of painless childbirth. Send $1.62.

FREUD’S THEORIES OF THE NEUROSES. By Dr. E. Hitschmann. A brief
and clear summary of Freud’s theories. Price, $2.

PLAIN FACTS ABOUT A GREAT EVIL. By Christobel Pankhurst. One of
the strongest and frankest books ever written, depicting the
dangers of promiscuity in men. This book was once suppressed by
Anthony Comstock. Send (paper) 60c, (cloth) $1.10.

SEXUAL LIFE OF WOMAN. By Dr. E. Heinrich Kisch (Prague). An
epitome of the subject. Sold only to physicians, jurists,
clergymen and educators. Send $5.50.

KRAFFT-EBING’S PSYCHOPATHIA SEXUALIS. Only authorized English
translation of 12th German Edition. By F. J. Rebman. Sold only to
physicians, jurists, clergymen and educators. Price, $4.35.
Special thin paper edition, $1.60.

THE SMALL FAMILY SYSTEM: IS IT IMMORAL OR INJURIOUS? By Dr. C. V.
Drysdale. The question of birth control cannot be intelligently
discussed without knowledge of the facts and figures herein
contained. $1.10, postpaid.

MAN AND WOMAN. By Dr. Havelock Ellis, the foremost authority on
sexual characteristics. A new (5th) edition. Send $1.60.

A new book by Dr. Robinson: THE LIMITATION OF OFFSPRING BY THE
PREVENTION OF PREGNANCY. The enormous benefits of the practice to
individuals, society and the race pointed out and all objections
answered. Send $1.05.

WHAT EVERY GIRL SHOULD KNOW. By Margaret Sanger. Send 55 cents.

WHAT EVERY MOTHER SHOULD KNOW. By Margaret Sanger. Send 30 cents.

THE THEORY OF PSYCHOANALYSIS. By Dr. C. Jung. A concise statement
of the present aspects of the psychoanalytic hypotheses. Price,
$1.50.

SELECTED PAPERS ON HYSTERIA AND OTHER PSYCHONEUROSES. By Prof. S.
Freud, M.D. A selection of some of the more important of Freud’s
writings. Send $2.50.

THREE CONTRIBUTIONS TO SEXUAL THEORY. By John C. Van Dyke. Fully
illustrated. New edition revised and rewritten. Send $1.60.

THREE CONTRIBUTIONS TO SEXUAL THEORY. By Prof. Sigmund Freud. The
psychology of psycho-sexual development. Price, $2.

FUNCTIONAL PERIODICITY. An experimental study of the mental and
motor abilities of women during menstruation by Leta Stetter
Hollingworth. Cloth, $1.15. Paper, 85c.

ART

MICHAEL ANGELO. By Romain Rolland. Twenty-two full-page
illustrations. A critical and illuminating exposition of the
genius of Michael Angelo. $2.65, postpaid.

INTERIOR DECORATION: ITS PRINCIPLES AND PRACTICE. By Frank Alvah
Parsons. Illustrated. $3.25, postpaid.

THE BARBIZON PAINTERS. By Arthur Hoeber. One hundred
illustrations in sepia, reproducing characteristic work of the
school. $1.90, postpaid.

THE BOOK OF MUSICAL KNOWLEDGE. By Arthur Elson. Illustrated.
Gives in outline a general musical education, the evolution and
history of music, the lives and works of the great composers, the
various musical forms and their analysis, the instruments and
their use, and several special topics. $3.75, postpaid.

MODERN PAINTING: ITS TENDENCY AND MEANING. By Willard Huntington
Wright, author of “What Nietzsche Taught,” etc. Four color plates
and 24 illustrations. “Modern Painting” gives—for the first time
in any language—a clear, compact review of all the important
activities of modern art which began with Delacroix and ended
only with the war. Send $2.75.

THE ROMANCE OF LEONARDO DA VINCI. By A. J. Anderson. Photogravure
frontispiece and 16 illustrations in half-tone. Sets forth the
great artist as a man so profoundly interested in and closely
allied with every movement of his age that he might be called an
incarnation of the Renaissance. $3.95, postpaid.

THE COLOUR OF PARIS. By Lucien Descaves. Large 8vo. New edition,
with 60 illustrations printed in four colors from paintings by
the Japanese artist, Yoshio Markino. By the members of the
Academy Goncourt under the general editorship of M. Lucien
Descaves. Send $3.30.

SCIENCE AND SOCIOLOGY

CAUSES AND CURES OF CRIME. A popular study of criminology from
the bio-social viewpoint. By Thomas Speed Mosby, former Pardon
Attorney, State of Missouri, member American Institute of
Criminal Law and Criminology, etc. 356 pages, with 100 original
illustrations. Price, $2.15, postpaid.

THE PSYCHOLOGY OF RELAXATION. By G. T. W. Patrick. A notable and
unusually interesting volume explaining the importance of sports,
laughter, profanity, the use of alcohol and even war as
furnishing needed relaxation to the higher nerve centres. Send
88c.

PSYCHOLOGY OF THE UNCONSCIOUS. By Dr. C. G. Jung, of the
University of Zurich. Translated by Beatrice M. Hinkle, M.D., of
the Neurological Department of Cornell University and the New
York Post-Graduate Medical School. This remarkable work does for
psychology what the theory of evolution did for biology; and
promises an equally profound change in the thought of mankind. A
very important book. Large 8vo. Send $4.40.

SOCIALIZED GERMANY. By Frederic C. Howe, author of “The Modern
City and Its Problems,” etc., etc.; Commissioner of Immigration
at the Port of New York. “The real peril to the other powers of
western civilization lies in the fact that Germany is more
intelligently organized than the rest of the world.” This book is
a frank attempt to explain this efficiency. $1.00, postpaid.

SCIENTIFIC INVENTIONS OF TODAY. Illustrated. By T. W. Corbin. The
modern uses of explosives, electricity, and the most interesting
kinds of chemicals are revealed to young and old. Send $1.60.

THE HUNTING WASPS. By J. Henri Fabre. 12mo. Bound in uniform
style with the other books by the same author. In the same
exquisite vein as “The Life of the Spider,” “The Life of the
Fly,” etc. Send $1.60.

SCHOOLS OF TOMORROW. By John Dewey and Evelyn Dewey. Illustrated.
A study of a number of the schools of this country which are
using advanced methods of experimenting with new ideas in the
teaching and management of children. The practical methods are
described and the spirit which informs them is analyzed and
discussed. Send $1.60.

THE RHYTHM OF LIFE. By Charles Brodie Patterson. A discussion of
harmony in music and color, and its influence on thought and
character. $1.60, postpaid.