essays, diversified by occasional interesting criticism and reminiscence.

THE ARTS OF CHEATING, SWINDLING, AND MURDER. The Arnold Company, New York. $1.50.

This reprints, with an essay by the editor, Jesse Lee Bennett, "Maxims on the Popular Art of Cheating," by Bulwer-Lytton; "The Handbook of Swindling," by Douglas Jerrold; and De Quincey's two essays "On Murder Considered as One of the Fine Arts." But it omits the great postscript by De Quincey, describing the Williams murders. The editor would have done better to include this, and to have omitted his own heavy preface, in which he confuses war with murder and property with theft. Those ancient sophistries have never done a thing to advance the cause of peace or of economic justice. It is curious how many folk think that they can abolish war by gravely telling falsehoods about it.

The book contains essays on Poe and Lord Nelson; book reviews, of which some as the one on Elinor Glyn-are decidedly amusing. There is the author's side of a bitter quarrel with D. H. Lawrence-alas, that the humorist who wrote "South Wind" should so far forget his humor as to think that he could make this quarrel interesting! There are other miscellaneous articles, but no powerful reason for the publication of the book itself, and some one should have advised author and publisher of this fact.

THE WRITING OF FICTION. By Edith Whar

ton. Charles Scribner's Sons, New York. $2. Would that all our budding talewrights and novel-mongers could be required to read this book! It might suggest to them that fine story-telling is not a trick or a trade, but an art, though it be, in Mrs. Wharton's words, "the newest, most fluid, and least formulated of the arts." "One is sometimes tempted to think," she says mildly, "that the generation which has invented the 'fiction course' is getting the fiction it deserves." This little study offers no short cuts or easy roads to high achievement in fiction. It lays down certain principles which govern the modern novel and short story, and then discusses a few matters of workmanship. From first to last it puts stress upon the responsibility of the artist both as craftsman and in his criticism of life or, as she chooses to say, in his judgment on life: "There seems to be no escape from this obligation, except into a pathological world where the action, taking place between people of abnormal psychology, and not keeping time with our normal human rhythms, becomes an idiot's tale, signifying nothing."

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So also, when we come to workm ship, Mrs. Wharton believes the f duty of the artist is to select and to c trol his materials. She therefore fi neither novelty nor merit in the "stre of consciousness" trick of our you novelists, who represent the normal m as a mere mess of haphazard sensati and reactions never by any chance la ing into thought. All the great arti she says, have believed that "in world of normal men life. is conducted least in its decisive moments, on fai coherent and selective lines." Theref they have expressed "the stammeri and murmurings of the half-consci mind whenever-and only when suc state of mental flux fitted into the wh picture of the person portrayed."

Of the novelist's further discourse the sources and beginnings of the m ern novel, on its peculiar qualities, technical aspects, and on the short st as a distinct form this word of comm can give no fair impression. The b offers much valuable information suggestion for all serious students readers of modern fiction.

History and Politics

TOLERANCE.

By Hendrik Willem Van I Boni & Liveright, New York. $3.

This is a disappointing book, and more so because it contains suffic evidence that if Mr. Van Loon had ta more time and pains and had consul the groundlings less and his august the more he could have given us a very piece of work. What an opportu missed! For could anything be more to the need of the age than an adequ discussion of tolerance? But such achievement would require years of tient, delicate labor, and there's a k of contagious madness in the air wh drives your writer to produce at least book a fortnight. As Mr. Van L has been badly "taken," we ought to expect much. It is, then, cause wonder and admiration that this b should be "worth while," and it is t decidedly.

Mr. Van Loon sketches the strug between Tolerance and Intolerance fr the first recorded appearance of To ance in the world until this our bles day when Intolerance, completely rec ered of his hard knocks from a suc sion of paladins of Tolerance, seems way of administering the coup de gr to the insolent intruder. For this is 1 Van Loon's strong point; he is toler toward intolerance, humorously recogn ing that in primitive stages of soci intolerance is necessary to self-preser tion. It is only in highly developed a harmoniously balanced societies t Outlook

rance may thrive. That essential nt of the harmonious balance is very tly developed in the two best chapters the book, entitled "The Greeks" and he Pure of Life." The World War, throwing the world completely out of ance, has produced that terrific redescence of intolerance we are witsing. A consequence of Mr. Van n's humorous tolerance toward inrance is that when he really gives self a loose rein and speaks his mind ut the Innocents and the Calvins he xtremely effective, indeed devastating. Really, it is, after all, a good deal of ook; for Mr. Van Loon is a humanist, humorist, learned without pedantry, 4 master of a lucid style. Why, then, h these gifts and accomplishments, uld he cheapen himself, make himself motley to the view," aping the udo-wit of the columnists, "goring his thoughts," and descending to mere ng and downright silliness? It is a hetic spectacle this, of a genuine hurist posing for a cheap wit. Asuggestion, Mr. Van Loon! Call in issue, and write that book on Tolere of which you are capable.

Miscellaneous

L: FACTS AND REMEDIES. By Edward T. Devine. The American Review Service Press, Bloomington, Ill.

Dr. Devine was a member of the ted States Coal Commission of 2-3. He gives us here, not a sumy of the Commission's report, except one chapter, but a readable, fairded, and sympathetic account of the stry from the mine to the house bin-ownership, production, costs, ing and living conditions, accidents, sportation, marketing, and profits. lly he devotes many pages to careful ideration of what can be done in the of remedy by owners, miners, operarailroads, the Inter-State Commerce mission, the President, Congress, "you and I." We wish that every ber of Congress would read this

the Tennessee Anti-Evolution Act, at Dayton, July 10 to 21, 1925, including speeches and arguments of attorneys."

THE LIGHT IN THE VALLEY. By Mabel Wagnalls. The Funk & Wagnalls Company, New York. $1.50.

A biography of Anna Willis Wagnalls. WHAT AND WHY IS MAN? By Richard La Rue Swain. The Macmillan Company, New York. $1.75.

Discussions of God, of creation, of sin, of the fall of man, of Jesus, of prayer, and of human life.

THE HEALING EVANGEL. By A. J. Gayner Banks. The Morehouse Publishing Company, Milwaukee. $2.

A study of Christian healing and the Gospel.

DOCTOR TRANSIT. By I. S. Boni & Liveright, New York. $2.

A novel dealing with the sexual transformation of a young married couple-the man becoming a woman, the woman a man. Pseudo-scientific, and as a story, in spite of its apparently sensational subject, it is rather dull.

HOOKED RUGS AND HOW TO MAKE THEM. By Anna M. Laise Phillips. The Macmillan Company, New York. $2.

We were brought up to believe that it was wrong to hook rugs or any other form of property, but, in view of the number of respectable ladies writing books about hooked rugs, the ban must have been lifted. These moderns!

THINGS SEEN AND HEARD. By Edgar J. Goodspeed. The University of Chicago Press, Chicago. $2.

Essays from the "Atlantic Monthly" and elsewhere.

THE CONQUEST OF DISEASE. By David Masters. Dodd, Mead & Co., New York. $2.50. Modern warfare against disease.

RUDE RURAL RHYMES. By Bob Adams. The $2. Macmillan Company, New York. Poetry of the Walt Mason school. This, however, is printed as verse and not as prose, and it seems to lack Walt Mason's humor.

PRIAPUS AND THE POOL. By Conrad Aiken. Boni & Liveright, New York. $2.

The title poem and some of the others contained herein were first published a number of years ago in a limited edition. The present volume contains twenty-one additional poems.

THE SHOW. By John Galsworthy. Charles Scribner's Sons, New York. $1.

A play in three acts, first produced in London in July, 1925.

THE MARVELS OF MODERN PHYSICS. By Joseph McCabe. G. P. Putnam's Sons, New York. $1.50.

Chapters on matter, on the electron, on wireless, and on other recent discoveries.

THE RATIONAL THEORY OF MUSIC. By Sidney A. Reeve. Published by Sidney A. Reeve, New York.

THE HISTORY OF THE PHARAOHS. By Arthur Weigall. E. P. Dutton & Co., New York. $6. This is the first volume of a work by the late Inspector-General of Antiquities for the Egyptian Government. It covers the historic period before the first dynastythat is, from about 5500 B.C., through the eleventh dynasty, ending about 2112 B.C. CONTEMPORARY POLITICAL THOUGHT IN

ENGLAND. By Lewis Rockow. The Macmillan Company, New York. $5. By a member of the Faculty of Syracuse University. The book is a discussion of modern and sometimes radical political philosophers like Sydney Webb, Ramsay MacDonald, Laski, and Norman Angell. BALCONY STORIES. By Grace King. The Macmillan Company, New York. $2.

A new edition of this collection of stories of New Orleans. Always much enjoyed, this edition contains new stories.

HOW TO PRODUCE AMATEUR PLAYS. By Barrett H. Clark. Little, Brown & Co., Boston. $2.

A new edition, revised and enlarged, of a book first published about eight years ago. PSYCHOLOGY OF LEADERSHIP. By Henry Edward Tralle. The Century Company, New York. $1.75.

How to become a leader.

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As might be expected when a Russian rites something Spanish, the "Caprice" bounds in exciting rhythms. It is a how piece-and is musically interesting s well. Hofmann plays it with fiery echnique. We cannot recall any other Mano roll that shows so clearly the playng of a masterful pianist.

AKUNTALA OVERTURE (Goldmark). Played by Milton Suskind and Julius Buerger, con》ducted by Artur Bodanzky. In two rolls. Ampico.

Here is a wholly enjoyable transcripjon of orchestral music. Bodanzky rams the interpretation full of orchestral zeling. By skillful technique, the perormers have "depianized" the piano, nd for the moment the listener forgets ae lack of instrumental color and feels imself in the presence of a full orchesta. The music itself is interesting; it as both lyric charm and a dramatic tensity akin to Beethoven.

IGHT VARIATIONS ON THE THEME “TANDELN UND SCHERZEN” (Beethoven). Played by Ethel Leginska. Duo-Art.

Miss Leginska's crisp, sharp playing is pleasure to hear in Beethoven. The mposition is uneven in interest, but at mes is Beethoven as we should like to ave him always.

ALLADE, Op. 52, No. 4 (Chopin). Played by Julius Chaloff. Ampico.

》CTURNE, Op. 37, No. 1 (Chopin). Played by Ignaz Friedman. Duo-Art. Both are orthodox Chopin interpretans. The "Ballade" is diffused with stfulness, and is less banal than most the oft-aped Chopin sounds to our rs to-day. The "Nocturne" is distinished by its chorale-like passage of reious fervor.

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Franz Schubert in giving to the world his symphonies, operas, and songs brought these great creators of melody undying fame but very little money. Although they toiled with the day-andnight persistency of a Burbank or an Edison, their brain work, strictly speaking, did not pay.

Up to the day of his death Richard Wagner was practically supported by his friends. Schubert died in poverty, and Mozart was buried in a pauper's grave. Beethoven, quite true, left a small legacy, but his case was an exception. As a matter of fact, Mendelssohn was the only composer who lived and died untroubled by the wolf at the door, but this was because he was the son of well-to-do parents. Like Washington Irving, he never had to write for his bread.

With these two general exceptions, our great music of the last two centuries was conceived in poverty, reared in struggle and heart-breaking disappointments. Most of its creators died not knowing that their music was going to live. When the opera "Carmen" was first produced, it was a failure, and its composer, Bizet, died a broken-hearted man.

Classical music is sold everywhere, and for fifty years here in America symphonies, grand operas, and concerts have been largely attended; but it has been the publisher, the singer, and the instrumentalist who have taken in the moneyseldom, if ever, the composer.

The reason for this begins to be plain when one realizes that the writer of a great symphony or an opera is a good deal like an inventor. He is a highly specialized man, usually in only one line. His creations, from the point of their conception to the last note on their final pages, have engrossed his entire thought and time. His life-work is to take "the stuff that dreams are made of" and put it down in black and white. He catches his inspiration out of thin air and transcribes it, with his technical knowledge of musical theory, onto paper, that the eyes of others may read and the stranger artist play or sing. But until the composition is finally complete it is not a bankable proposition.

Unlike the novelist, the composer cannot dictate his thought to a trained stenographer or typewriter. Unlike the painter or sculptor, he cannot place his finished product against a wall and say: "There it is. Look at it. How do you like it?" The musical composition must be played-it must be heard. The composer cannot very well carry a symphony orchestra or a grand opera company around with him; consequently his product, for the most part, must be accepted on faith.

There are no general arrangeme this world for paying a composer ary during the time spent on worki his brain creations. Kings and cour used to subsidize composers so tha might compose in peace; occasi rich music patrons have done the thing for young students, but a never for composers.

Without a bank account, therefor man who starts in to spend all his in writing music is a self-confessed rupt, according to all business stan He is bound to be. He has to live presumed; therefore, without o financial assistance, he runs into Your real composer cannot help posing. That's the tragic part of

It is all very well to say: "Wh take a job as a salesman and spen evenings in composition?" Right however, the hitch occurs. The ma can give the world a great opera great symphony can no more mix ness with his creative inspiration th can stir oil into water. There a business offices up in the sky. A may either fly or walk, but it cann both at the same time.

Regarding the purely mechanical required in composition, take the score of "Butterfly," for instance "Tannhäuser." In each of these s there are easily over one million and musical notations. Take a p and start making just dots on a pie paper. Do it as fast as you can. far can you keep up the count?

Roughly speaking, the time nece to complete an opera is from two to years. Debussy spent six years of "Pelleas et Melisande." Now Pu and Wagner and Debussy had p cally to engrave their final full so so that, somewhat like a doubleledger, they were legible, understan to other musicians, and without But, unlike the commercial engr these composers drew no salary doing this. They simply took chand getting some returns on this labor on, after the work was produced.

The most startling thing of all is the inspired modern composer of to is facing the same handicaps that Schubert, Wagner, and Mozart. reasons, Why compose at all? The swer to that is that real composers help composing. If the world calls inspired freaks, that is probably the of the world, not of the man who poses. Grand-opera performances concert halls continue to be crowded it is natural that musical literature be added to as time goes on. Mean the composer is the goat, and very justly so.