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(Ebook) Current Protocols in Mouse Biology (Volume 1) by Johan Auwerx ISBN
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with frequency pictures of native life that are vivid and finely
written.”
+ N Y Times p10 O 10 ’20 600w
MARTYN, WYNDHAM. Secret of the silver car.
*$1.75 Moffat
20–5579
Another book of the adventures of Anthony Trent, master
criminal. In an indiscreet moment while they were shut in a caved-in
dugout in Flanders, expecting death at any moment, Trent had told
the story of his life to his unknown and unseen companion. Both
escape and with the war over, he sets himself to find this unknown
“William Smith” who knows too much about him for his own safety.
He meets “William Smith’s” sister, falls in love with her and for her
sake resolves to give up his brilliant criminal career. In her service he
goes out to the Balkans, becomes involved in international intrigue,
has many hairbreadth escapes, but secures the papers that mean so
much to Lady Daphne’s father and is rewarded with her hand.
Boston Transcript p6 Jl 3 ’20 300w
“Nor is this book mere swashbuckling. It is written always adroitly,
sometimes humorously, and with the zest of the author’s own
enjoyment.”
+ N Y Evening Post p20 Ap 24 ’20 200w
Reviewed by M. K. Reely
Pub W 97:996 Mr 20 ’20 320w
+ Springf’d Republican p11a My 16 ’20
200w
MARVIN, FRANCIS SYDNEY, ed. Recent
developments in European thought. *$6.25 Oxford
901
20–17403
“This volume, which is a sequel to ‘The unity of western
civilization’ (1915) and ‘Progress’ (1916), is, like them, the fruit of a
course of lectures given at a summer school at Woodbrooke,
Birmingham. The addresses composing it were given in August, 1919,
and it traces the idea of progress in European history since 1870.
Among the contributors, besides the editor, are Mr A. E. Taylor, who
writes on ‘Philosophy,’ Dr F. B. Jevons, who writes on ‘Religion,’ Mr
A. D. Lindsay, of Balliol, whose subject is ‘Political theory,’ and Mr A.
Clutton Brock, who discusses ‘Art.’ Each article is followed by a
bibliographical note as a guide to further reading.”—The Times
[London] Lit Sup N 11 ’20
Ath p509 Ap 16 ’20 1400w
“In spite of the difficulties of handling the vast intricate masses of
still fluid material, the contributors have given readable and yet
valuable summaries of the progress of thought. For the beginner,
there could be no better introduction to the essential contributions of
man’s recent achievement.” M. J.
+ Int J Ethics 31:114 O ’20 460w
“Naturally, the essays by different authors vary in value. The least
satisfactory is the first, on philosophy.... The most brilliant essays are
those dealing with the fields of thought most intensively cultivated by
the last generation.... Compared with the treatment accorded history,
the studies here offered of political theory and of economic progress
are slightly disappointing.... Taken as a whole, the cumulative
impression of these various lectures is greater than that of any one
taken separately.” Preserved Smith
+ − Nation 111:379 O 6 ’20 1000w
“The personality of each of the twelve writers is given full
expression. It makes the diversity more interesting than the unity.”
H. W. C.
+ − Nature 105:607 Jl 15 ’20 500w
“The aim of the writers is to trace the progress and acquisitions of
thought and give a general picture of the results obtained by modern
knowledge; and they have succeeded in producing essays that are of
a high quality and also thoroughly readable.”
+ The Times [London] Lit Sup p247 Ap
22 ’20 2450w
The Times [London] Lit Sup p742 N 11
’20 110w
MARX, MAGDELEINE. Woman; tr. by Adele
Szold Seltzer. *$1.90 (6c) Seltzer
20–11894
A translation of a novel that is said to have created a sensation in
France. It is a record of emotional moments. The characters have no
names, no appearances. They are only personalities. The “woman” of
the story loves and marries and bears a child. While still loving her
husband she takes a lover and then loses both husband and lover in
the war. Out of these experiences she emerges invincible, with an
undimmed capacity for life and an indomitable will to live. Henri
Barbusse says in his introduction, “In no other book perhaps so
markedly as in this has the integrity of an individual been more
respected, and never has an imaginary character so consistently
warded off whatever is not of itself. You don’t even seem to feel that
this ‘woman’ talks or tells a story. You simply know what she knows.”
Reviewed by Theodore Maynard
− + Bookm 52:75 S ’20 700w
Dial 69:433 O ’20 70w
“To those in search of a well-written book, not to mention a
contribution to real literature, Magdeleine Marx has nothing
whatever to offer. The style is wordy, pretentious and empty, a
disjointed collection of hollow phrases embodying all the platitudes
of the so-called revolt of woman.” E. A. Boyd
− Freeman 2:43 S 22 ’20 960w
Ind 104:64 O 9 ’20 500w
“The story is frank and sincere and full of isolated perceptions that
are both searching and beautiful. But it is also thin and scrappy and
disjointed, and the complete shadowiness of all the characters robs
its theories of the inner energy of a human content. In a word,
Madame Marx has felt very deeply and reflected intensely, and those
who agreed with her passionately have taken it for granted that she
has written a great book. But that is taking for granted far too much.”
Ludwig Lewisohn
− + Nation 111:134 Jl 31 ’20 900w
“A very great deal of it gives the reader the impression of a mind
out-stretching itself, to the point of dislocating all its joints, in order
to perceive and express something that nobody else has ever
perceived or expressed.”
− N Y Times 25:25 Jl 4 ’20 850w
“The book is written in a resignedly magnanimous strain, and
passages occur, which, taken by themselves, might affect us as noble.
Yet as a whole its absence of elevation in the midst of calls to
elevation is confounding.”
− + Review 3:347 O 20 ’20 750w
“‘Woman,’ if nothing else, is an interesting psychological study of
the type of mind that dwells upon sex and psychoanalysis with a
neurasthenic intensity, when the world is full to overflowing with
real woman problems.” M. E. Sangster
+ − Social Hygiene 6:590 O ’20 260w
“It does seem to me that the book might more appropriately have
been called ‘A woman.’ For the rest, the book is perfervid in a way
that we do not quite like in America, perhaps because we are not
wholly acclimated to it. It has pages of unusual beauty, and a high
degree of unity and directness.”
+ − World Tomorrow 3:350 N ’20 350w
MASEFIELD, JOHN. Enslaved. *$2.50
Macmillan 821
20–13322
The long narrative poem of the title depicts courage born of love
and begetting the brotherhood of man even in the untamed. A fair
damsel is carried off by a pirate galley into the captivity of a khalif’s
harem. Her lover follows into slavery to rescue her. He does so with
the aid of a brother slave who must kill a traitor to accomplish their
purpose. Recaptured and brought before the khalif they are set free
because their tale causes human stirrings in the hawk breast of the
latter. The other poems are: The hounds of hell; Cap on head;
Sonnets; The passing strange; Animula; The Lemmings; Forget; On
growing old; Lyric.
+ Ath p718 My 28 ’20 60w
“It seems to us that Mr Masefield’s first business is to regain
control of his words; and that he can only do this by deliberately
attempting a subject that bristles with psychological nuances, and
insisting that his language shall accommodate itself to them.
Otherwise we fear he will never succeed in expressing that elusive
beauty which he sees, but which at present comes to us only in
assertion or in fitful gleams through the interstices of an opaque
style.” J. M. M.
+ − Ath p823 Je 25 ’20 2300w
+ Booklist 17:22 O ’20
“Mr Masefield is the single poet writing in English today who both
in popular esteem and by the most exacting critical estimate
legitimately belongs to the august line of poets who are among the
chief glories of our race: to his greatness no journalistic cavil can add
or take away.” R. M. Weaver
+ Bookm 52:65 S ’20 240w
“In this poem, [On growing old], as in so many aspects of the other
poems in this volume, one feels the shadows of the world, deepened
by the tumult of war, settling upon the radiance of a brave visionary
spirit. The thrill, the excitement, the adventures of living are all now
subdued to this key of sadness, in which the passion and beauty that
was once a flame becomes an effable glow.” W. S. B.
+ − Boston Transcript p6 Ag 18 ’20 2400w
“The whole thing seems bookish, remote, unreal. The characters
do not become sufficiently interesting: seem, in fact, insufficiently
equipped with a back-ground of flesh and blood experience.” J: G.
Fletcher
− + Freeman 2:163 O 27 ’20 1050w
“One of the signs that the times are good in English poetry is the
fact that Mr Masefield keeps on writing poems which tell stories.”
Mark Van Doren
+ − Nation 111:sup670 D 8 ’20 310w
“In his latest volume there are some serious offenses against
rhyming, euphony, and scansion, but in the larger aspects, in the
essential substance and indescribable quality of authentic poesy, he
is more richly endowed than any other living writer.” Lawrence
Mason
+ New Repub 23:340 Ag 18 ’20 1250w
“‘Enslaved,’ his latest book of poems, offers a peculiarly fine view
of Masefield in all his variety. There is no poet in England, unless we
except Hardy, who possesses keener insight into the hearts of men. It
is this attitude toward life, this same fatalism that recognizes the
worst, yet sees the best behind, that makes John Masefield one of the
finest living figures in the whole field of English poetry.”
+ N Y Times 25:1 Jl 11 ’20 2450w
“A volume which reveals anew the amazing power and versatility
of that English poet.”
+ Outlook 127:68 Ja 12 ’21 450w
“‘Enslaved’ is a dramatic adventure tale. But ‘Enslaved’ is likewise
a dreamy, semi-lyrical, murmurous, and caressing tale. It is
Masefieldian in its power to be both these things at once.” O. W.
Firkins
+ Review 3:317 O 13 ’20 600w
“The book is extraordinarily rich, for it contains beside others,
‘Forget’ and ‘On growing old,’ two of the most beautiful poems that
Mr Masefield ever wrote, and in this age of singers Mr Masefield
remains our poet of greatest achievements.”
+ Spec 124:765 Je 5 ’20 500w
[2]
MASEFIELD, JOHN. Right Royal. *$1.75
Macmillan 821
20–18954
“In ‘Right Royal’ Mr Masefield celebrates in a narrative poem the
story of a horse-race. The story of Mr Masefield’s poem is that of a
horse with great points and virtues, for speed and endurance, but
very undependable, having lost a number of races by going panicky
from fear. He was bought by Charles Cothill, who believed that all his
potential qualities as a winner could be developed. Cothill backed his
own horse to the extent of all his possessions, which created a crisis
in his love for the woman he hoped to marry. If he lost, his love was
lost. In fact, it was win all or lose all.”—Boston Transcript
“It will be acknowledged that the preliminaries of the race, the
discussions in the stables, the professional tips and omens, the
catalogue of the entries, are sandy soil for the growth of poetry. The
best of the poem has no relation to the worst; the worst might have
been sacrificed. Even in the best are imperfections, but we have
learnt to swallow Mr Masefield’s longer poems without straining at
the gnats.” E. B.
+ − Ath p692 N 19 ’20 600w
+ Booklist 17:146 Ja ’21
“It is growing very trite to say that Mr Masefield does this thing or
that thing better than any contemporary poet. He does the things
that nobody else does and is thus in competition with himself. ‘Right
Royal’ may not be as fine a poem as ‘Enslaved,’ but no one can
dispute that it is the best narrative of a horse-race that has been
written by any modern poet.” W: S. Braithwaite
+ Boston Transcript p5 N 20 ’20 1500w
“‘Right Royal’ is a bad poem, both intrinsically and because it fails
to satisfy certain necessary expectations. It promised to be as good as
‘Reynard the fox,’ but it is woefully, incredibly worse.” Mark Van
Doren
− + Nation 111:sup670 D 8 ’20 240w
Reviewed by W. B. D. Henderson
+ N Y Evening Post p2 N 20 ’20 1650w
Reviewed by R: Le Gallienne
+ N Y Times p17 D 26 ’20 1700w
“The feeling that ‘Right Royal’ deserves to be placed below the
earlier volume [‘Reynard the fox’] may be purely a matter of
individual temperament on the part of the reviewer. In any case, it is
a volume which occupies an enviable place in the field of modern
poetry.”
+ Outlook 127:68 Ja 12 ’21 120w
Reviewed by G: D. Procter
+ Pub W 98:1893 D 18 ’20 320w
“The weather—cloud, sun, wind, and shower—is given more
prominence and is better conceived in ‘Right Royal’; but to balance
this, the unsuccessful passages are decidedly worse than those in
‘Reynard the fox.’ Another fault it seems to the present writer to
possess, which the incomparable ‘Reynard the fox’ does not: it is a
little monotonous. As a ‘galloping poem,’ however, it is certainly one
of the best in English.”
+ − Spec 125:675 N 20 ’20 1200w
“He piles simile on simile and each simile is beautiful in itself, each
is a patch of ornament stuck on, not woven into the fabric. Mr
Masefield has told a brave tale bravely. If his courage had been like
Right Royal’s, he would have dared to leave undecorated the beauty
inherent in the tale.”
+ − The Times [London] Lit Sup p734 N 11
’20 1050w
MASON, ALFRED EDWARD WOODLEY.
Summons. *$2 (2c) Doran
20–18656
Harry Luttrell had a strong sense of military honor and of the
necessity for self-discipline. The first drove him to join the army, the
second to tear himself away from the woman he loved and accept a
post in Egypt. His friend and classmate, Martin Hillyard, had had a
chequered career: as a sailor; in a three years’ struggle for existence
in the port-towns of Spain; as an Oxford student and successful
playwright; and during the war his knowledge of Spain serves him in
good stead as a secret service agent. Stella Croyle, Luttrell’s one-time
love, in his absence eats her heart out in neurotic, undisciplined
longing and occasionally has recourse to the comfort of drugs. While
on a leave of absence during the war, Luttrell meets Stella again
without experiencing the old-time thrill and at the same time he
meets and falls in love with Joan Whitworth. Poor Stella commits
suicide under circumstances that throw suspicion on Joan. Through
his experiences in the secret service, Hillyard is enabled to clear Joan
and smooth the way for her and Luttrell.
“An interesting variant of the modern detective story.”
+ Booklist 17:159 Ja ’21
“It is a splendid story which Mr Mason has written, based upon his
experiences in the war, full of dramatic vigor—a real novel in every
sense of the word—and permeated with the atmosphere of England,
Spain, and Egypt.”
+ Bookm 52:368 D ’20 90w
“This novel is an excellent substitute for a modern detective story.
Instead of possessing a single, unified plot it is composed of a rosary
of minor plots which endows it with somewhat of the character of
real life.”
+ N Y Evening Post p21 O 23 ’20 250w
“One cannot help wishing that the important character of Joan
Whitworth were less exaggerated and more likable, for she does
more than a little to harm the book, but it is easy to forgive this
shortcoming when one remembers Martin Hillyard and the
picturesque José Medina, the very amusing Sir Chichester Splay,
Millie, and several others among the varied figures depicted on Mr
Mason’s richly colored canvas.”
+ − N Y Times p24 O 10 ’20 660w
“Mr Mason, here as always, has an exciting and unusual story to
unfold. This novel is hardly the equal of the ‘Four feathers’ or ‘The
broken road,’ for the author attempts to ming a not very successful
humorous vein with his natural plot-and-action type of fiction
writing.”
+ − Outlook 126:470 N 10 ’20 60w
“The touch of melodrama in the last section of the book is well
conceived and exciting. The best piece of writing in the book is the
description of the night passed by Martin Hillyard on the shore of a
river in the Sudan. This vivid picture of the life of the game-hunter in
wild countries affords a striking contrast to the sophisticated
chapters at the beginning of the book.”
+ − Spec 125:539 O 23 ’20 470w
“Mr Mason has shown better form than this.”
− The Times [London] Lit Sup p683 O 21
20 650w
MASON, ARTHUR. Flying bo’sun. *$1.75 (4c)
Holt
20–19236
The narrative, the author claims, is of his own experience. It tells
of the voyage of a sailing schooner from San Francisco to the Fiji
Islands, of the superstitious sailors’ taking alarm at the alighting on
the ship of the “flying bo’sun,” the bird of bad omen, the subsequent
death of the captain, his haunting of the cabin and spiritualistic
rappings. On the return voyage the Hindoo stowaway has a
mysterious illness and is left in a state of coma on the captain’s bed
while a terrific hurricane is raging. During a critical moment, when
all seems lost, the frail little Hindoo is suddenly seen in charge of the
wheel giving commands in the captain’s voice with the captain’s
ghost standing beside him. With the ship safe and calm restored the
Hindoo is found just coming to life on the captain’s bed. He
disclaims all knowledge of commanding a ship but is still shaken by
the memory of the hideous dream he has had.
“The feeling persists that, with the exception of the spiritual
phenomenon, the whole dramatic voyage actually occurred.” S. M. R.
+ Bookm 52:371 D ’20 90w
“As a story of the sea it ranks with the best of Jack London or
Morgan Robertson, and as a story of the uncanny it is comparable
with ‘Dracula’ and ‘The master of Ballantrae.’”
+ N Y Evening Post p22 O 23 ’20 200w
“In spite of the undoubted accuracy of Mr Mason’s idiom,
however, the discriminating layman is likely to find less of the
authentic or communicable essence of the sea in ‘The flying b’sun’
than in the spiritual reaction of Masefield, Conrad, Tomlinson and
McFee.”
+ − N Y Times p25 Ja 16 ’21 340w
MASON, AUGUSTUS LYNCH. Guiding
principles for American voters. *$2 Bobbs 320
20–18679
“Mr Mason aims this ‘handbook of Americanism’ chiefly at the
newly enfranchised women and at the young men about to cast their
first vote. He analyzes the make-up of the government and argues for
what he aptly calls a ‘re-dedication to those principles which have
made America great’—i.e., a conservative application of the
underlying ideas of the Constitution. He objects to radical methods
of taxation, to too much government ownership, governmental price
fixing, etc., and he sees ‘Socialism’ as a menace.”—N Y Evening Post
“His arguments are cogently presented and supported by carefully
examined data: an excellent brief for the preservation of a
conservative republic rather than a radical democracy.”
+ N Y Evening Post p11 O 30 ’20 100w
“Its purpose is to popularize an argument, and it has no other
value.”
− Springf’d Republican p8 N 9 ’20 50w
MASON, WILLIAM LESLEY. How to become
an office stenographer. (Just how ser.) il $1.50
Pitman 652
20–26543
“A handy book intended for the untrained shorthand student who
is ambitious to secure a good position without previous experience.”
(Title page) The book is adapted for use as a text in business schools
and in high school commercial departments. There are thirteen
chapters, entitled: Your attention, please! “Safety first”; What
business men expect of a stenographer; Preparedness; Your “busy”
day; Taking the business letter; Transcribing the business letter;
Typing the business letter; Typing business forms; The use and care
of the typewriter; Words: their use and abuse; Filing letters; Time-
saving office appliances. There are two appendixes giving postal
regulations and information regarding the civil service.
Booklist 16:303 Je ’20
MASSENET, JULES ÈMILE FRÉDÉRIC. My
recollections. il *$3 Small
19–15403
“An autobiography telling the story of this modern French musical
leader’s career, and especially of his many works. [It is] translated,
by express desire of the author, by his friend H. Villiers Barnett.
Illustrated.”—Brooklyn
“Will be enjoyed by the average reader as well as the opera-goer
and student of music.”
+ Booklist 16:79 D ’19
Reviewed by H: T. Finck
Bookm 51:171 Ap ’20 180w
“A charming autobiography.”
+ Brooklyn 12:68 Ja ’20 40w
“His narrative, like his music, reveals facility, grace, and charm,
and is alternately gay and sentimental to the point of pathos. One is
not very much wiser after reading the book, but one closes it with a
certain regret at parting from such amiable company.” Henrietta
Straus
+ − Nation 111:76 Jl 17 ’20 190w
Reviewed by Lawrence Gilman
Yale R n s 9:872 Jl ’20 1100w
MASSEY, MRS BEATRICE (LARNED). It
might have been worse. *$1.75 (6½c) Wagner, Harr
917.3
20–4452
An account of a motor trip from coast to coast taken in the
summer of 1919, with notes on roads, hotels, and other matters of
interest to travelers. Contents: The start; New York to Pittsburgh;
Ohio and detours; On to Chicago; Through the dairy country;
Clothes, luggage, and the car; The Twin cities and ten thousand
lakes; Millions of grasshoppers; The Bad lands; The dust of
Montana; A wonderland; Westward ho! Nevada and the desert; The
end of the road.
MASSINGHAM, HAROLD JOHN. Letters to
X. *$2.50 Dutton 824
20–26887
“In ‘Letters to X,’ H. J. Massingham discourses on a great many
phases of modern life and literature. There is hardly a modern
English author of any consequence who does not come under the
appraisement of his pen.”—Springf’d Republican
“The book contains many excellences of detail, and reaches at
times and maintains for a while a level notably above its average.
Perspective is perhaps Mr Massingham’s outstanding quality.” F. W.
S.
+ − Ath p110 Ja 23 ’20 950w
“Familiar, rambling essays of a book lover that will please the
‘gentle reader’ with like leanings, particularly if he be fond of the
Elizabethans and Carolines. Their exclusive bookishness will make
them seem cold and remote to others.”
+ − Booklist 17:62 N ’20
Reviewed by S. P. Sherman
Bookm 52:108 O ’20 1950w
“These are essays of rare quality in which the essayist is writing
continuously of the alliance between literature and life.” E. F. E.
+ Boston Transcript p7 Jl 17 ’20 1100w
“Mr Massingham’s essays are delivered ex-cathedra and in a style
both heavy and dense. He is a lover of dust covered books, but he
seems widely read rather than discriminating, and though he ranges
all the way from Richard de Bury’s ‘Philobiblon’ to John Gould
Fletcher, he hardly does much to illuminate the names which he
mentions. He declares many enthusiasms but lacks the gift of
differentiation.”
− + Nation 111:162 Ag 7 ’20 180w
“It is a pity that Mr Massingham has chosen to hide this wise,
witty, companionably learned and most comforting book under the
bushel of a title which not only gives no hint of its quality, but is
actually dry and forbidding. Of the value of good literature, of the
qualities which constitute it and of the laws of its making, he says
some of the wisest, most pertinent, things written in a long day.” R:
Le Gallienne
+ N Y Times p7 Ag 8 ’20 2650w
“The word which fits his style exactly is one of the best adjectives
in our language which the language is guilty of criminal negligence in
permitting itself gradually to lose—the word ‘lusty.’ If it were dead
instead of merely decaying, it might be recalled to life by the easy,
careless, rushing vigor of Mr Massingham’s undaunted prose.”
+ − Review 3:172 Ag 25 ’20 360w
“Mr Massingham’s attacks on his own age, sharp, dipped in
bitterness, aimed with truth though they are, do not really touch the
monster. Bad though the age may be, he is too impatient and
petulant with it; and he is divided in his desires.”
+ − Sat R 129:232 Mr 6 ’20 1050w
Springf’d Republican p8 Jl 10 ’20 40w
“Treating his work as art, susceptible to form, even in the rather
strained sense of that word which he adopts, we find it deficient in
that very quality, and especially in that element of form, tranquillity,
upon which he so insists.”
+ − The Times [London] Lit Sup p30 Ja 15
’20 1300w
MASSINGHAM, HAROLD JOHN, ed.
Treasury of seventeenth century English verse, from
the death of Shakespeare to the Restoration (1616–
1660). (Golden treasury ser.) il *$1.50 Macmillan
821.08
(Eng ed 20–10754)
“Mr Massingham has marked out as his claim the most
characteristic part of the century in time, and has not excluded any
kind except the dramatic. Most of his selections are naturally lyrical,
but by no means all; and he has thus been able to find room for at
least specimen fruits from the half-wilderness gardens of
‘Pharonnida’ and ‘Cupid and Psyche.’ He has also cast his gathering
net unusually wide, and his readers will make acquaintance with
authors who will pretty certainly be new to them, such as Thomas
Fettiplace and Robert Gomersal. In giving uniform modern spelling
throughout Mr Massingham may invite censure from some purists,
but certainly not in this place. Whatever may be the case earlier, the
printers’ spelling of the mid-seventeenth century is, as he justly says,
‘only externally archaic.’ Half its differences from present use are not
uniform and are evidently haphazard. One may not perhaps approve
quite so heartily his practice of excluding some beautiful things as
‘too well known.’ The authors are alphabetically arranged.”—Ath
Reviewed by G: Saintsbury
+ Ath p40 Ja 9 ’20 1400w
“A fresh, provocative, beautiful little book. Palgrave’s volume was
not a bit better gauged for Palgrave’s time than Mr Massingham’s is
for ours. The purest twentieth-century principles are in operation
here. Mr Massingham’s notes are lively to the end, though often they
are cleverly irrelevant and gloriously slap-dash. It is as if Mr
Saintsbury were twenty again.”
+ Nation 110:151 Ja 31 ’20 370w
“The completeness of the book makes it an excellent compendium
for any one studying that era, although it is to be feared that many a
general reader will be frightfully bored by the stiff artificiality that
marks many of the poems, especially after they get past the
Elizabethan era.” H. S. Gorman
+ − N Y Times 25:21 Jl 25 ’20 170w
“The poems, as a whole, are excellently chosen, and the
enthusiasm of the introduction makes pleasant reading. The notes,
with their short biographical summaries, are especially valuable. But
it needs a certain type of mind to appreciate seventeenth century
literature, and if all readers are not stirred to the same joy in it as Mr
Massingham, it is not his fault, but that of the period.”
+ Sat R 129:39 Ja 10 ’20 480w
“Mr Massingham’s introduction is a delightful essay written in a
style that has caught something of the curious felicity of the poets in
whose work he has steeped himself.”
+ Spec 124:212 F 14 ’20 1000w
“He claims, and with justice, that the ordinary reader will find here
a whole body of poetry with which he has never before had the
chance of making acquaintance. This is a service for which the
student of English poetry will be heartily grateful to Mr Massingham.
But if he be a lover as well as student he will probably find it hard to
keep down some irritation at an anthologist who sets out with the
resolve to give him as few as possible of the poems which he is
known to like.”
+ − The Times [London] Lit Sup p129 F 26
’20 3400w
MASTERS, EDGAR LEE. Domesday book.
*$4.50 Macmillan 811
20–19678
In this volume Mr Masters has told a long story in verse. The body
of Elenor Murray is found by the river near Starved Rock in Illinois
and the coroner, William Merival, sets out to assemble the evidence,
the material evidence from the man who finds the body, the doctor
who performs the autopsy and the spiritual evidence from those who
had known the girl from her birth or her parents before her. The
effect of these testimonies brought together is to throw light on the
many-sided character of one human being when all secrets are laid
bare and to show how one life, however humble or pitiful, affects
countless other lives, its influence radiating like ripples in a pool
when a stone is dropped.
“If Masters can rid himself of his oracular airs and the bad
Browning-Shakespeare patois with which he wearies his staunchest
admirers, there are few limits to his possible achievements.
‘Domesday book’ is too diffuse and prosy to be a masterpiece of
poetic fiction, but it contains the seeds and strength—and the hope—
of one.” L: Untermeyer
+ − Bookm 52:363 Ja ’21 550w
“The great American poem of the war has come in the ‘Domesday
book’ and come from the hand of the poet who laid the foundation in
the synoptic Americanism of the ‘Spoon river anthology.’ The latter
was a great work; ‘Domesday book’ is greater.... ‘Domesday book’ is a
great national topic of America’s soul symbolized in the character of
Elenor Murray.” W: S. Braithwaite
+ Boston Transcript p7 D 4 ’20 1900w
“The trouble with ‘Domesday book’ is chiefly that it thins this raw
material out until it becomes hopelessly prosaic. The realism of
‘Spoon river’ had the virtue of selection and of epigram. In his latest
work, Mr Masters has become extensive without any corresponding
enlargement of the imagination and the power behind his broader
canvas.” O. M. Sayler
− + Freeman 2:357 D 22 ’20 600w
“The total effect is often crude and heavy, now pretentious, now
hopelessly flat; and yet beneath these uncompleted surfaces are the
sinews of enormous power, a greedy gusto for life, a wide imaginative
experience, an abundance of the veritable stuff of existence—all this,
and yet not an authentic masterpiece. ‘Spoon river anthology’ still
has no rival from the hand of its creator.” C. V. D.
+ − Nation 111:566 N 17 ’20 470w
“For all its largeness of intention, all its vitality and forcefulness,
‘Domesday book’ is not, to my mind, finally articulated. It seems to
me unfinished. I do not mean that the poem is not brought to a
conclusion. It is concluded, and, I believe, appropriately concluded.
But it has parts that should have been cut away or have been more
wrought over.” Padraic Colum
+ − New Repub 25:148 D 29 ’20 1700w
“It could have been produced nowhere but in America and
nowhere so justly as in the Middle West. The epigrammatic
compactness of ‘Spoon river anthology’ is lacking in it, but it takes on
a huge strength that the former book lacked.” H. S. Gorman
+ N Y Times p18 Ja 16 ’21 840w
“If there be any one who does not clearly realize that life is
infinitely complex, that it is in the last analysis practically impossible
to assign responsibility for evil, that much good may be where
convention sees only evil ... if there be any one who is not convinced
of these things already or cannot learn them from his own
observations and the daily papers, he may derive great benefit from
reading Mr Masters’ book. But those to whom these things are
commonplaces will perhaps not care to wade through the poem.”
− + No Am 213:286 F ’21 900w
“The Edgar Lee Masters, whose ‘Spoon river anthology’ blazed a
new trail thru American literature, returns with ‘Domesday book.’
Perhaps he is less sardonic now, but the vision of ‘Domesday book’ is
broader and it is, happily, gently suffused with a very human
tolerance and forgiveness.” G: D. Proctor
+ Pub W 98:1894 D 18 ’20 430w
“The first part is very interesting, and the whole book is readable.
Its essence is prosaic, though a back door is left open through which
poetry can let herself in in a neighborly fashion, if she chooses. Her
visits are infrequent.” O. W. Firkins
+ − Review 4:15 Ja 5 ’21 1350w
MASTERS, EDGAR LEE. Mitch Miller. il *$3.50
Macmillan
20–17009
Mitch Miller’s story is told by his friend Skeeters Kirby. It is a story
of boys and a boy’s town written for adults. Mitch has read “Tom
Sawyer” and Tom is to him a living personality. The two boys hunt
for buried treasure and try to repeat all of Tom’s exploits. They dig
for treasure in Old Salem where Lincoln lived, and an old man who
knew Lincoln talks to them of a different kind of treasure. They run
away intending to visit Tom Sawyer but are brought back home.
Later their fathers take them on a journey to Hannibal, Missouri,
where they meet life’s first disillusionment. Mitch is something of a
dreamer and a poet. He is killed stealing rides on the cars, and in the
epilogue, written thirty years after, the author can say that he is now
glad that his chum did not live to face the shattered idealism of the
present day.
+ Booklist 17:72 N ’20
“The best boy’s story in our generation of American authors has
been written by Mr Masters in ‘Mitch Miller.’” W: S. Braithwaite
+ Boston Transcript p5 O 9 ’20 1500w
“Those who have neatly ticketed Mr Edgar Lee Masters as a cynic
will be obliged after reading ‘Mitch Miller,’ to change their label—if
they must have labels. There is, to be sure, a sub-acid quality in the
epilogue. But the mood of the book is one of dedication rather than
of challenge. Its tone is sunny and fresh and sweet; its beauty quiet
and unobtrusive. ‘Mitch Miller’ comes close to being a masterpiece
with its breadth of interpretation, and the fineness and singleness of
its mood. It is complete, even to the tragedy at the end.” C. M. R.
+ Freeman 2:214 N 10 ’20 250w
“The narrative is tangled in a snarl of moods. Its movement is
often thick, its wings gummed and heavy. Only in flashes does the
powerful imagination of Mr Masters shake itself free and burn with
the high, hot light which so often glows in the ‘Anthology.’ There are
touches of admirable comedy and strong strokes of character and
some racy prose; but as a whole ‘Mitch Miller’ falls regrettably
between the clear energy which might have made it popular and the
profound significance which might have made it great.” C. V. D.
+ − Nation 111:566 N 17 ’20 480w
“If fidelity to nature were the whole of art, Mitch Miller would be a
perfect book, or almost perfect.... The defect in the author’s method
comes out in the end of the book.... Is there nothing in American life
significant and interesting enough to make it worth while for a boy
like Mitch to grow up? Perhaps there is not; but if that is true, it is an
artistic problem to be faced, not evaded through a petulant
dismantling of a stage well set.” Alvin Johnson
+ − New Repub 24:276 N 10 ’20 1250w
“Mr Masters’s novel is put down with mingled feelings. It has
many faults, but it has quite as many virtues. There is so much to the
book that it leaps into the mind to advise the author to write novels
henceforth and forevermore and let poetry rest.”
+ − N Y Times p20 N 7 ’20 980w
“The book is unusual and captivating.”
+ Outlook 126:600 D 1 ’20 80w
“We are in the habit of looking to Mr Masters for clear-cut
character drawing and for sympathetic, if sometimes ironic,
understanding of the motives of men but we have often felt
regretfully, that he seemed to be too much interested in the morbid
side of human nature. ‘Mitch Miller’ comes as a grateful answer to
that doubt.” Marguerite Fellows
+ Pub W 98:1192 O 16 ’20 300w
Reviewed by E. L. Pearson
Review 3:447 N 10 ’20 630w
+ Wis Lib Bul 16:238 D ’20 70w
MASTERS, EDGAR LEE. Starved Rock. *$1.75
Macmillan 811
19–17050
For descriptive note see Annual for 1919.
“Perhaps the poet’s first worthy successor of ‘Spoon River’; but
while displaying something of its sardonic spirit the present
collection is of far wider range.”
+ Booklist 16:162 F ’20
“He is at his ripest and surest in such mordant and merciless
analyses as Lord Byron to Doctor Polidori, The barber of Sepo.
They’d never know me now, Oh you Sabbatarians! and that profound
disquisition on Poe, Washington hospital. And the man who wrote
Sagamore Hill, that incomparable portrait of Theodore Roosevelt;
who wrote Chicago and I shall go down into this land, manifests an
intimate understanding of the American heart at its noblest.” H: A.
Lappin
+ Bookm 51:216 Ap ’20 250w
+ Cleveland p86 O ’20 20w
“In ‘Starved Rock’ there is little music but much food for thought.”
+ Ind 104:165 O 9 ’20 40w
“It is beginning to be apparent that Mr Masters neither can nor
needs to depart from his original tone and method. He cannot do so
profitably and there is no need, since the vein which served them
seems inexhaustible. There are not lacking here the old familiar
notes of sour, practical tragedy, of hoarse, heroic scepticism, of good,
round, pagan, Chicago fleshliness. But [the reader] is sorry for a
certain strenuous complacency which has been growing in Mr
Masters over a considerable period and which is particularly
objectionable in the present volume.”
+ − Nation 110:557 Ap 24 ’20 550w
“Unfortunately, Mr Masters frequently fails to sing because he fails
to simplify. He is a thinker, first of all, and the thinker is naturally
more discursive than the singer. And now a word for the best of the
book. It is a poem about Roosevelt, called At Sagamore Hill. Here is a
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