THE. MICHIGAN DAILY SN
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Bfooks and Triters
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ONE time
;c
I
gave my
girl
Of Local Interest This and That
2
THlE LEGEND OF THlE BOOK. By HAVING smelled out and1 run dlown
Harry Doane and Eloise White Street. the malodorous influence of Capital-
The Bookfellows. Chiceago. 1924
ti edmta ~ctzno n ism' in the Associated Press and in edu-
Arbor achieves the dignity of bookI cation. Upton Sinclair next arrives on
fcovers for his literary produce; when jhis proscription list to the Arts':
such occurs it is worthy of mention} "Who made the "Classics," and why?
for that reason alone. For toe past thirty years, practical-
The Legend of the B~ook is a brief ly all my reading life, 1. have beenI
history of the rise of the written word accumulating data on the use of lit-
from prehistoric wall-painting to the erature and the arts in the interest
commodity of the modern printing of ruling-class prestige. E verything.
press skimming the salient features in I have read during those years has
less than thirty pages of blank verse, been with the thought that son-:3 day*
The poem was written originally to I would write a criticism of culturej
be read with a series of tableaux from the revolutionary point of view.
which explains its occasionally pedan- The book is now done, and I am call-
tic deferences to obscure names. I ing it " Mannonart," meaning art
The book itself is well printed by !which is subsidized and paid for by
the Torch Press, Cedar Rapids. The; ruling classes. I am making a study
illustrations-small reproductions of of the arts through the whole of his-
the Alexander murals in the Library tory showing how 'they have been
of Congress-are particularly well used to idealize and glorify the rulers,
aidapted to the style and content of and to ridicule and humiliate the
the poem., rebels.
- ".. .It is a history of culture,
that "Mammonart" is the first work
of its kind which has ever been writ-
ten in any language. It completes the
task I began seven years ago with myf
studies of Religion, Journalism and
Tdlilcntinn. This time I have muck-
sraxeu tie ,poets, arainatists, novelists,l
sc2ulptors, painters and composers;4
turning their pockets inside° out, and
asking them where they goit it, and
Swhat they did for their paymasters.
I1 believe this is the most important
'task of all, because cultural ideas lie
at the base of all other activities. I
have set out to topple over the gods
which now reign in our intellectual
world."
EARLY IN the seventeenth century
Thomas Todd, emigrant, patented ex-
'Jtensive lands in Maryland and Vir-
ginia and left to his son, Thomas Jr..i
the vast estate of Toddsbury, on the!
North River, an estuary of MobjackI
Bay. The old house of true Colonial
architecture still stands today and hasE
never been remodeled. At the back
of the house is an old dairy, still in
use and on the east lies one of. the
most ancient family burying grounds
in Virginia, Here rest the ashes or
seven generations of Todds, preserv.
ing the records from. the day of
Thomas, the emigrant. This is the
historic site wh!2,h Joseph' Tlerge-
sheimer has taken for his plantation
of Ilalisand in the novel of the same
name.
fWE QTLOTE the following from The
Publishers Weekly, anent a book re,
cently reviewed on this page:
"It seems to be the very generally
accepted opinion in, New York that
the author of Distressing Dialogues
published by Harper and Brothers and
supposed to have been written by
Nanc-y Boyd, is, in fact the sole work
of JEdn St. Vincent Millay, who wrote
the preface. This opinion comes so
futlly sub)s 'VitiLatC( that it would be
w.ell for those wbo deak in first edi-.
tions to tell their buyers that here is
another hook for collectors' purchase.
The dialogues originally appeared in
!Va nity Fair."
Tihis, if true, gives additional point
to the curt preface to the book. The
fish in the ointment, however,. is thatI
articles of similar nature signed by
Miss M4illay, appeared simultaneously
in Vanity Fair with the above-men-.
tioned dialogs.
a nic-nac
which had been
sent to me by
afriend
who' was traveling
in Europe, and
did it
pct away big?
You'd have that,
Ihad given her
teCrown Jools.
'C.
Sherwood Anderson
From a pbotnrrraph by Alfred Steiglitz to whom a
Story Teller's storyls dedicated.
A Textbook To Sherwood Ander son
OI?.Y TELLER'S STORY. .By son's imagination) count for little with
!rod Anderson. B .'W. Huebseli, him. It is autobiography in the way
the genesis of Many Marriages) but
was plucked as a brand from the
burning and saved for art. He is not
a product of the common education
all children now suffer and yet he is
not in any sense illiterate. His edu-
'cation is the kind suggested by Ber-
nard Shaw-the result of turning a
child loose in a library. The library
Anderson ranged in was the public
library system of these States.
-The present work is interesting not
.only to the admirer of Anderson but to
his adverse critics as well. It goes
a long way toward explaining the man
and his purpose. He is an artist and
as all practitioners of the arts must
be, a craftsman, a worker in fancies
and words. A hint of his esthetic doe-
trine is given in an early chapter:
"A public speaker, in speaking of
tyWnesburg tales, praised me as a
rwriter but spoke slightingly of the
figure that lived in the tales. 'They,
dealing with a hundr ed of the wo
leading creative artists beginning
Homer and the Bible and coming c
to modern times. It attempts toc
throw existing standards of be
and power, and to set up new st
ardls, based on social servico. If
want a general view of' the wo
imagiriative thought, from the poi:
view of your own interest, instee
the interest of predatory cla
here is a text-book at your service
"I believe I am correct in rsa
orlds
s,
READ THE ~dIr~wAN i)AILY
I
SLEE~P ANYWHERE, BUT
EAT AT REXg'S
THE CLUB LUNCH
Nooe !lr .- and P~mclrard If
with .:_iIIZtea! _- I rci ii- s - * *P*
ComEra an
tand- a"-MAn - , ym
rlf ' 1xe to
fyou '; a !
r i's -- *-*--
int of N
ad of alimt )siness,
aI1Id
191 Scranton .D & 11. and Piltston***
aying 11111aca
If N tAnlacit, per ton .$14.95 * * *m t
1mlN N~. iti~rPatterson-['
111101 WillO~ C*
Burn DOW andI company
nuine IIININo.3Po lin s
at Fgg and Lump, . .925'~ sn amnt
U~lflot ,. *FGI *. *G(
11ffiInEII
West r'ope
6IIIn HIU 111 I iimum e o
Huralnia andnes n '?~!w uC sy{C#.{ * *
}} NIlfll i Hill fefej * *
Ilm N-IIUN
i4nN 1 /. 4ol,1
.4C' Idrop qV YYin at all'
NIfIN l NImin 'I * '*
--=_-__--_ t e-q aint litl
ii ,.
i. . vv . v . U .mI el o r a i u o c ie u o w eren't w orth telling about,' he said:
iterature approaches its lowest= biography: a chronicle of the life of and I remember that I sat at the back
mnon denominator in the works of- the fancy>, of the imagination, and of of the room, filled with people, hearing
-wowodshrl Anderson. A Story Teller's the 'meditative faculty. him speak, and remember shrpy
y is the protoplasm of literature. Ti okocpe rudmd also just the sense of horror that
erson is anything but sophisticat-, crept over me at the moment. 'It is
any literary form he lays handsI way between the objective recollec- a lie. He has missed the point,' II
loses its character as a form.,;toso a s suuli uo cried to myself:. . . They have lived s
ugh. I have ne-ver heafrd that he is biography andl the man's artistic work. i within me and I have given a kind of
'n to writing formal verse, I would It is not quite fiction and certainly life to them.. . Surely I myself mightr
that a sonnet by him would likely not a factual story of a life, well be blamed-condemned-for not,
ess a sonnet than one by anybody You miighlt cal'l Anderson the artistI having, the strength or skill in myself
.of the da-rean3 There developes, to give themU a more vital and a truer
et this not be construed as objec- almzost wN ithout the author's wanting life-but that they should be called
Even if protoplasm be a simple it to, 01an amorphous argument against people not fit to be written about
fundamental 'substance, remaem-, thee of telnsion, speed and gain, filled me with horror."
that the amoebae is as important to Andersi on hqldrout for the life of the -Jno Panurge.
scientist as the complex human f a-'cyt ) A'tio, wichi for him is-______
g' It must be admitted, however, 'lI,',:,cc 02< h 1,i into the lives THE LITTLE FRENCH Girl by
A Piece
of Paler
Tctday--
-ta piece
tomorrow.
of property
''
i
11
thie inter ast that attaches to form!
L must necessarily b)e absent inI
a foirmle ssok The hook is
)rchetectonic: there is, no begin-
and no end other th-an the physi-
imits of the bookbinder's art, Yet
s the manner of the mran, and if
lkes him: the form matters little.
sins against the formal esthetic
he is at least not guilty of
nia. Thie people who have at-
ed him and who hence appear
:s pages are of .blood and flesh .
yet so fi eshy as his enemies
tclaim).
tory Teller's Holiday is an auto-
aphy-but not in the, traditional
of life-and-letters. Its only
to thie classification is because~
son writes about himself ratherl
about his neighbor (whether
door, in the next stable or on a
bench). There is no chrono-
.1 plodding down the years-it is
iat kind of autobiography. Facts
figures (either dlates or people
than as they appeal to Ander-
i
,
vI,:' vt1wat is lie is beautiful,
th:e dead is syvnon ifowis with the ugly.
"In thE w;,rld1 f fancy; you mlust un-
der tand, no maa is ugly. Man is
ugly in fat culy."
i{
I
i
Anne Douglas Sedgwiek, (Houghton!
Mifflin) is now the best selling'book in,
America, according to the November
number of the Retail Bookseller. Al-
though this novel was published Aug-;
ust 29th, the publishers have recently
announced an order for printing which'
brings the total number of copies to!
the 100,000 mark..
Have you paid 'oir Daily Subscrip, i
~:ops see. guide.
* * * O
Lyok o'r
! Escame :no t or early adolescence ate
the , ti 'tIc I'i 1to ates were grow-
'.g u';n1) sinss. Th'le Standard
Oil ceGru:cration ws forming; the
automn'obile boom ga rowin g out of
the insignificari. shutter of tlhe fuse;j
life :was getting more? complicated. It.
is not un, iatu:ral, therefore, that an!I
imaginative bay born of a ne'er-do-
we l father shouxld shun the buzzing
hive of indutr3y. iIe was almost
drawn in it see::s,anil for a time was!
a manutfacturer o sorts (here we see
(-I kRLUA'2- ANI). RrOL:.TF.R D
C iropodistOrthopedist
707 N. Urniv*'r'n'ty#'Ave Phone 2652
,,I
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s +sr wm i. er i ir - isn +wrio. rewcenn new - -
11
cleaners notusn
gasoline in any
form.
:alt the Signz ,j
T'he Golden Oaks .inn
r
r },
A4 Oi
j40
?Iany events
Occur i :i
You are here
At the Univer sity
Which deserve to
.Pe preserved in
Your memory.
Prited record
Of those cvets
Cannot be,
fo rg otte n.
I d uy, things
I e al the other
w/tI boys
,Ilid: girls of
I
!,and I
Wise
'YouI
it th(
ligan's bi
ge.
i're here now,
if you're
* *
.~1
~ .1
III
11
Select a
Kodak from
Our complete line
And make your
Records.
will drop in
.e corner of,
p L r
aS
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ginner, 5 to8
Agfternoon Tea
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