a

during its long run appraised it as formance. "The Son-Daughter," such. melodrama by George Scarborough On an ignoble theme, but excep- and David Belasco, Chinese in story tional, nevertheless, for its dramatic and characters but with scenes laid in effectiveness, graphic vigor, stirring New York, revealed the realistic picturesqueness, and exciting, red- method of Mr. Belasco as a producer blooded interest, was "The Jest," re- at its best and afforded an effective arranged by Edward Sheldon from heroine rôle for Lenore Ulric. The the Italian of Sem Benelli and dealing varied moods and slightly eccentric with the period of the Medicis in me- humor of Mrs. Fiske's acting made diæval Florence. Although melo- delightful "Mis' Nelly of N'Orleans," drama of not very exalted imagina- a comedy of whimsical and fantastic tive grasp, it was the means of interest by Laurence Eyre. Two exbringing much histrionic distinction ceedingly clever though fragile comto John and Lionel Barrymore in its edies, both uncommonly well acted, two leading roles. A second notable were "Wedding Bells" by Salisbury contribution by the Irish literary Field and "Adam and Eva," a collabtheater was "The Lost Leader," an oration by Guy Bolton and George austere and well written drama by Middleton, and both were amply supLennox Robinson, dealing with the ported by a public that does not look character of Charles Stewart Parnell for seriousness in the theater. There who was imagined to be still living. was also "Déclassé," an emotional Its purpose was to suggest a way to drama of supposedly English life and the settlement of Ireland's political character, by Zoe Akins, the value problems. Its defect as a play was of which was somewhat exaggerated that its dramatic interest diminished by the really superb acting of Ethel as it proceeded, though it was con- Barrymore in its well conceived and sistent throughout in its studies of minutely analyzed heroine rôle. The Irish character and in the literary single foreign play in this list was texture of its writing. Lord Dunsany's "The Tents of the Arabs," on the theme of the dissatisfaction of all men with their appointed lot. It had imaginative quality and literary distinction, but it was considerably inferior to the Irish dramatist's best one-act plays.

In a contrasting mood of romantic fancy and exotic interest was "The Faithful," a tragedy by the English poet, John Masefield, based on an ancient Japanese legend and presented by the Theater Guild. This play undeniably had a superfine quality, Trailing at a respectful distance bethough a somewhat defective interpre- hind these two groups came the year's tation clouded its real worth. The so-called "popular successes" and single work by an American author other plays which, though less endurthat can properly be included in this ing, gave evidence of ability of cergroup of the year's most notable plays tain kinds. These, generally, are the was Booth Tarkington's "Clarence," type of plays which the commercial which was exceedingly diverting in its theater systematically fosters and original observation and whimsical which our industrious native authors humor, adroit in its technical work- supply in constantly increasing quanmanship, and fluent in its literary tities. Nor are such plays ordinarily style. Its insight into the amusing devoid of considerable merit. Alimpulses and aspirations of adoles- though roughly written, they are cence was almost uncanny, and its often photographically true to the performance came close to perfection. life they represent, amusing, and of Another group of seven plays, all ingenious construction. They are, except one by native writers, followed however, analogous to the "best a short distance behind these out- seller" of printed fiction and seldom standing works. Augustus Thomas merit close critical appraisement. was represented in this list by The group of about 17 contained five "Palmy Days," a sturdy, well written of foreign authorship. A popular and interesting comedy of the "gold example of the native brand days" in California, in which Wilton "East Is West," a Chinese romance by Lackaye gave a distinguished per- John E. Hymer and Samuel Shipman.

was

Two more which gained importance | its title rôle; and two domestic comfrom their expert productions were edies by the prolific English drama"Dark Rosaleen," an Irish comedy tist, W. Somerset Maugham, entitled written on an old model, by W. D. "Too Many Husbands" and Cæsar's Hepenstall and Whitford Kane, and Wife." "The Gold Diggers," a comedy of The conclusion to be drawn from chorus-girl life, by Avery Hopwood; the course of events in the American both these were produced by David theater in 1919 is that the commerBelasco. Two others of photographic cial managers, who now almost absoexactness and well contrived senti- lutely control the native stage, mental interest were the long popular grossly underestimate the intellectual comedies by Rachel Crothers, "A Lit- capacity of the drama's patrons. tle Journey" and "39 East." "Toby's The plays alluded to in this survey Bow," a romance of Virginia, contain- as notable or of relatively high artis ing a beautifully drawn character of tic and literary importance were, an aged darky house-servant, acted by without exception, generously supGeorge Marion, with rare comprehen- ported by the public. Several, insion, was written by John Taintor deed, had been long ignored by the Foote. "His Honor, Abe Potash," a managers with whom under present continuation of Montague Glass and conditions the welfare of the AmeriJules Eckert Goodman's "Potash and can theater rests. These men regard Perlmutter" series, presented another the classic and literary drama lightly. humorous phase of the irascible, Most of them are wholly unfamiliar shrewd, but kindly and benevolent with it. They deny that there is a Jew which has seemingly become sec- definite demand for the great works ond nature to Barney Bernard, its of poetic dramatic literature from creator in the theater. "Moonlight the theater's most dependable patrons. and Honeysuckle" was an interesting Yet it is significant that the trio of sentimental comedy by George Scar- Shakespearean revivals made by Julia borough, in which Ruth Chatterton appeared to advantage in a lovely production by Henry Miller. Mr. Miller himself acted in "Molière," a costume comedy based on the life of the French dramatist and actor, ambitiously written by Philip Moeller. There were also, among the popular melodramas, "The Challenge," dealing with an industrial theme, by Eugene Walter, and "A Voice in the Dark," a cleverly constructed melodrama by Ralph E. Dyar.

Marlowe and Edward H. Sothern, with simple impressionistic backgrounds of draperies, were more eagerly attended and more enthusiastically applauded than the most popular modern dramas produced during the year.

The exclusion of the standard and classical drama from the native stage is rapidly affecting the quality of acting. Pure elocution is disappearing among the lost arts. Our actors cultivate the trick of presenting The five foreign contributions to character photographically and literthis list of plays that deserve recog- ally, but they constantly bring less nition, though none had the popular imagination and inspiration into attributes of most of the native prod- their work. Although there are alucts, included "The Burgomaster of ways commendable, sometimes genuBelgium," a war drama by Maurice inely distinguished, dramas to be Maeterlinck, and vastly inferior to found in the American theater, the the Belgium mystic's best work; "The plane of its total artistic accomplishBonds of Interest," a fantastic, ro- ment is deplorably low. As a fine mantic comedy translated from the art the stage cannot progress to a Spanish of Jacinto Benavente; "The healthy state until it is directed for Marquis de Priola," an unsavory a higher purpose than to please only early work of the French author, the average taste and, therefore, best Henri Lavedan, adapted into English serve the commercial considerations by Leo Ditrichstein who appeared in of the box office.

Book Production. It is probable | lishers' reports as fiction by Amerithat the production of books in the can authors is as follows: United States would have been larger

in 1919 than ever before had it not 1915
been for labor troubles, particularly 1916
the New York printers' strike, which 1917
began at the end of September and
for seven weeks hindered production
and distribution to a very great de-
gree (see also XV, Labor). The to-
tal number of books (including pam-
phlets) published in the United
States in recent years has been:

For 1919 we estimate the figure at about 600.

Aside from these rather mechanical details, the chief matter of annual interest in American fiction has been for many years the production or recognition of some novel which was 6,932 a thoroughly satisfying expression of .8,430 the real vitality and vigor of Amer.8,820 ica. Unfortunately one of the

ington's Ramsey Milholland (Double- man, The Groper (Boni & Liveright); day, Page) may win the prize for him Josephine D. Bacon, On Our Hill again, for it is a very popular book, (Scribner); Mary H. Bradley, The and we will not suggest anything Wine of Astonishment (Appleton); else. It may be said, however, that Alice Brown, The Black Drop (Macthe year's fiction does not include any millan); Zona Gale, Peace in Friendnovels of American life by those who ship Village (Macmillan); Ellen have been thought heretofore most Glasgow, The Builders (Doubleday, competent to write them. A lot of Page); Daniel C. Goodman, The American novels that has nothing by Taker (Boni & Liveright); Will N. Mrs. Wharton, Miss Canfield (as she Harben, The Cottage of Delight (Haris still called on her title pages), or per); Joseph Hergesheimer, Lindo Miss Cather cannot have the best that Condon (Knopf); Arthur Hodges, we can do, except by the happy chance The Bounder (Houghton, Mifflin); of some one's emerging who would Julie M. Lippman, Flexible Ferdinot previously have been thought of. nand (Doran); George Barr McSherwood Anderson and Theodore Cutcheon, Sherry (Dodd, Mead); Dreiser come to mind in this connec- Grace S. Mason, His Wife's Job (Aption, though neither has published pleton); Christopher Morley, The what could technically be called a Haunted Bookshop (Doubleday, novel. Sherwood Anderson's Winesburg, Ohio (Huebsch) has so much real feeling for American life and character that one wishes it were a real masterpiece. It lacks constructive power, however, being made up of sketches and stories some of which appeared a good while ago in The Seven Arts. It is also too much marred by boyish and sensual fancies to be thought of as a masterpiece. But it does give something which it is better to catch in the tavern than to lose outright even in the temple. It would not be long thought of by one in search of the most wholesome manners and manhood of America, but it does at least suggest that possibly the best pictures of American life and manners can not be entirely sane and wholesome. Mr. Dreiser in the past has not shown much constructive power and he too has suffered from the imputation of sensuality, but his Twelve Men (Boni & Liveright) has neither of these faults. These stories have the characteristics of his best work, being founded on wide knowledge and presented with unfailing realism.

Page); Arnold Mulder, The Outward
Road (Houghton, Mifflin); Kathleen
Norris, Sisters (Doubleday, Page);
William D. Pelley, The Greater Glory
(Little, Brown); Fleta C. Springer,
Gregg (Harper); Julian Street, After
Thirty (Century); Booth Tarking-
ton, Ramsey Milholland (Doubleday,
Page); Mary H. Vorst, I've Come to
Stay (Century); Mary H. Watts,
From Father to Son (Macmillan).

Our

Such a list (even by its omissions) shows considerable material to choose from, but there are many more novels of a different character. The sane and healthful picture of American life, however desirable, is not the most popular thing just now among either the writers or the readers. The novel of "mystery, adventure, romance" is much more obvious, as always, and also more numerous. remark last year (A. Y. B., 1918, p. 786) that this passion for excitement was the result of the war was so severely discouraged by an able literary periodical that we will not repeat it but merely wish that we could sug gest something better. The fact seems to be that not only are there more stories of adventure (in all sorts of places from the now commonplace wilds of the Canadian Northwest to the romantic walks of Greenwich Village), but also more detective or mystery stories, more stories of domestic emotion, more excitement, in a word, than for several years past. The critics have noted one or two streaks, as one may say, in the general tend

Besides these books that have something out of the ordinary about them, there are many others that are good in the well known way that most of us like. We offer a list of what may fairly be called "studies of American life," though a number of them are too highly charged with excitement of divers kinds to allow us to rely on the view presented: Henry G. Aik

ency that seem not quite as they | Sinclair, Burned Bridges (Little,

Ranchman (McClurg); Robert Watson The Girl of the O. K. Valley (Doran); Honoré Willsie, The Forbidden Trail (Stokes); George F. Worts, Peter the Brazen (Century).

ture of our literature are: Montague Glass, Potash and Perlmutter Settle Things (Harper); Wallace Irwin, The Blooming Angel (Doran); Peter C. MacFarlane, The Exploits of Bilge and Ma (Doubleday, Page); Alice Duer Miller, The Charm School (Harper); Harry Leon Wilson, Ma Pettingill (Doubleday, Page).

should be. It has been pointed out Brown); Charles Alden Seltzer, The (C. M. Greene, Bookman) that those who have heard so much about the high imaginative and spiritual plane to which the world would be uplifted by the war have been disappointed by the material, even commercial, As always there are a good many tone of the majority of the novels of books which cannot be pigeonholed as the day. Many people beside the realistic or romantic. Nice, more or book reviewers have wondered at sim- less idyllic stories are: C. B. Kelilar results in other expressions of land, The Little Moment of Happiness human interest. This does not prove (Harper); Sidney McCall, Christothat high imagination and true spir- pher Laird (Dodd, Mead); Marie C. ituality were not among the results Oehmler, A Woman Named Smith of the war; it is more likely that (Century); Henry van Dyke, The such results as these have actually Broken Soldier and the Maid of occurred (who can doubt it?), but France (Scribner). Among the best that it will take some time before tales of humor or extravagance so they can really manifest themselves popular and so characteristic a feain works of art, if not elsewhere. We give a list of the more obvious of the romantic novels, noting that there is much more than usual of the "lure of the untamed West," a pretty sure sign of conventionality; every story here might be described (one of them has been) as a "story of gripping intensity and unusual happenings interwoven with a splendid romance, or if not, it comes pretty near it: David Anderson, The Blue Moon (Bobbs, Merrill); Marion Bower and Leon M. Lion, The Chinese Puzzle (Holt); B. M. Bowers, Rim o' the World (Little, Brown); George The obvious interest of the war is A. Chamberlain, Not All the King's still important, though more in the Horses (Bobbs, Merrill); Robert W. periodical press than in books. The Chambers, In Secret (Doran); Dane magazines continue to show great inCoolidge, Silver and Gold (Dutton); terest in war topics. A curious little Ridgewell Cullom, The Law of the controversy arose in the spring on Gun (Jacobs); James Oliver Cur- "the Atlantic in war time.' wood, The River's End (Houghton, viewer of DeWolfe Howe's history of Mifflin); Zane Gray, The Desert of the Atlantic mentioned elsewhere had Wheat (Harper); Emerson Hough, spoken of that magazine's "comparaThe Sagebrusher (Appleton); Eliza- tive indifference to the Civil War." beth Jordan, The Girl in the Mirror The statement was challenged, and the (Century); H. H. Knibbs, The Ridin' reviewer, although conceding verbal Kid from Powder River (Houghton, indiscretion, pointed out that alMifflin) Jeremy Lane, Yellow Men though there were in every number Sleep (Century); Sinclair Lewis, of the Atlantic of the Civil War sevFree Air (Harcourt, Brace & Howe); eral articles on war-topics there were Caroline Lockhart, The Fighting always many more entirely Sheperdess (Scribner); F. C. Mac- touched by it, whereas in the Atdonald, Sorcery (Century); A. Mer- lantic even of the present day there ritt, The Moon Pool (Putnam); Roy are hardly any articles absolutely unNorton, Drowned Gold, (Houghton, connected with the great struggle. Mifflin); A. B. Reeve, The Soul Scar This deep and continued interest, (Harper); Vingie Roe, Tharon of however, does not show itself so much Lost Valley (Dodd, Mead); Bertrand in the more permanent form of books.

Mary Johnston, our chief writer of historical novels, may come at the end of our list with her Michael Forth (Harper), a story of Civil War Reconstruction which recalls some of her best work.

A re

un