THE. MICHIGAN DAILY SN www Bfooks and Triters www 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 i _ - . 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 Alf * * * III1 II I forest and South U * Luncheon, 11i1to 2 ginner, 5 to8 Agfternoon Tea III11 91 KC DA KS CAME1RA 3 UPPIl.LS T L 1S Ipck out -thileA the pickin s S14