is Gorky at his best and worst. I find in it some of his best tales
abominably written, studded with crass “gems” of philosophy, broken up
with unnecessary moralizings. For instance, his _Twenty-Six of Us and
One Other_. In this Gorky writes of his immortal bakeshop. As a youth
Gorky spent his days in a bakeshop. Time and again he has painted it, in
other stories better than in this one. But in this instance the bakeshop
is only a background; usually it is the main theme. Tanya, a little
girl, stops every morning to say “Hello” to the twenty-six bakers. They
give her little cakes. She is the only “ray of sweetness” in their
lives. They look upon her as a daughter, a shrine. And Tanya it is who
alone awakens in them for a few moments each day something approaching
fineness. Along comes a terrible dandy, a ladies’ man. He seduces every
lady he sets his cap for; it is his boast. The bakers like him: he is a
“gentleman” and very democratic. But one day when he is boasting the
head baker grows excited and mentions “Tanya.” The dandy boasts he will
seduce her. An argument follows. After a month the dandy succeeds. The
bakers witness the girl’s “undoing.” When she comes out of the dandy’s
room, smiling, happy, they gather around her, spit at her, revile and
abuse her. No names they can think of are bad enough. They fall into a
frenzy of vituperation. But they do not strike her. Realizing dully that
a “god” has died, they go back to work.
_Chelkash_, the first tale in the book, is Gorky on his “home
ground”—the vagrom man, the pirate, the road thief. He paints him with a
careful brush and a sureness of his subject. In _The Steppe_ he does the
same. _A Rolling Stone_, and _Chums_, the last the best story in the
volume, are also variations of the vagrom man theme—the underdog. But it
is in stories like _One Autumn Night_, _Comrades_, _The Green Kitten_,
and _Her Lover_ that Gorky reveals his greatest genius and his greatest
weakness. He can feel them, imagine them, see them, but for some reason
he cannot write them. _One Autumn Night_ might have been one of the
world’s strongest classics.
All the tales in the volume are the work of the “first” Gorky—the bitter
one, the melodramatic, outraged Gorky. They are on a whole not as good
as the collection of stories written during that same period and
translated in a volume called _Orloff and His Wife_. Gorky still lives
and he has learned how to write. His later tales, composed in Italy by
the “second” Gorky, the consumptive, contemplative, clear-seeing Gorky,
are mature, almost mellow. But they are no longer distinctive. Anyone
could have written them, anyone with a bit of genius and a great deal of
time on his hands. But the _Chelkash_ tales and the tales in _Orloff and
His Wife_—these no one but Gorky has written, and although they are
inferior in workmanship to the products of Chekhov and Andreyev the
American reader will find them perhaps more interesting.
Two Masters and a Petty Monster
_The Little Angel, by Leonid Andreyev. New York: Alfred A.
Knopf._
_Russian Silhouettes, by Anton Chekhov. New York: Charles
Scribner’s Sons._
_The Breaking Point, by Michael Artzibashef. New York: B. W.
Huebsch._
“Charming fellows, those Russians,” said my friend. “When it comes to
delineating the processes, mental and physical, of rape, suicide,
incest, arson, butchery, and disease, they are without peers....” I
therefore take this occasion to hurl two newly translated Russian books
at my friend, hoping they land on his thick head.
The first book which I hurl at my friend is Andreyev’s _The Little
Angel_. It is a collection of short stories. There are fifteen stories
in the new volume brought out by Mr. Alfred Knopf, and all of them are
little masterpieces. There is one story about a dog, _Snapper_. Only
Anatole France has equaled it. There is another story, _The
Marseillaise_. It is a perfect story. It is Kipling at his very best
plus a flavor, a note, a something serious and deep that the Russians
alone know how to command, that Kipling never reached. There is one
story, _In the Basement_. I hope my friend chokes on this story. It
would serve him right.
But _The Little Angel_ stands out from the fifteen. It is about a little
boy, a bitter, lonely-hearted fellow whose mother drinks and beats him,
whose father is dying of consumption, and who in turn snarls and bullies
his playmates and weeps at night because his heart is so empty and
heavy. In this story Andreyev attains a poignant delicacy of touch and a
grim beauty which even his one-time contemporary Chekhov never
surpassed.
_The Little Angel_ is the most beautiful short story I ever have read.
Chekhov has also been translated again. A collection of fragments,
vibrating episodes, moods, and exquisite children stories called
_Russian Silhouettes_ has been issued by Scribners’.
A better artist than Andreyev, keener, more reserved, more subtle,
Chekhov to my notion nevertheless lacks the vibrancy which the author of
_The Seven Who Were Hanged_ flings into his tales. Andreyev wields the
pen of Dostoevsky with a little thinner ink. Chekhov is Turgenev
fragmentized. He has left behind him a series of little canvases so
finely done, so skilfully passionate ... well, I hurl him at my friend
without further ado....
... It is that consumptive rogue of an Artzibashef who has caused most
of the trouble. The devil take him and his erotic suicides. His latest
translated book brought out by Huebsch is a tasteless joke. It is called
_The Breaking Point_. In it all the characters but one commit suicide,
all the women are “ruined.” Whenever two or more of its genial personae
come together they forthwith fall into an argument concerning the
futility of life, the idiocy of existence and so on and so on. And the
trouble is that Artzibashef can write, beautifully, keenly, and
sometimes gloriously. In _Sanine_, for instance, in _The Millionaire_,
there are passages better than Andreyev, better than Chekhov, better
than any writer has written. But the books are distorted, full of
puerile moralizings, breathing a diseased lust and a sentimentalized
violence—and _The Breaking Point_ is the worst of them to date.
Artzibashef’s work stands in the same relation to the Russian realism
that Paul De Kock’s work stands to the French sensual finesse.
AMERICA’S COMING-OF-AGE
_by_ VAN WYCK BROOKS
A study of American ideals and reality: aspirations and
performance.
What is it that prevents the maturity of our literature and life?
In our art, our politics, our letters, the torturous trails of
the “Highbrow” and of the “Lowbrow” may be traced. They stem from
Jonathan Edwards and Benjamin Franklin respectively.
_At all
bookstores
$1.00 net._
Whither do they lead?
Read the book: it marks a step forward in American criticism.
_Published by_ B. W. HUEBSCH, _225 Fifth avenue, New York
City_.
AMY LOWELL’S NEW BOOK
SIX FRENCH POETS
Studies in Contemporary Literature
_Emile Verhaeren_
_Albert Samain_
_Remy de Gourmont_
_Henri de Régnier_
_Francis Jammes_
_Paul Fort_
_By the author of “Sword Blades and Poppy Seed,” “A Dome of
Many-Coloured Glass,” etc._
Written by one of the foremost living American poets, this is the
first book in English containing a careful and minute study, with
translations, of the famous writers of one of the greatest epochs
in French poetry.
$2.50
THE MACMILLAN COMPANY, Publishers, New York
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NOVEMBER 21ST TO DECEMBER 5TH, 1915
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Saturday, Nov. 27th, _Sex, The Great Element of Creative Art_
Sunday, Nov. 28th, _The Philosophy of Atheism_
Tuesday, Nov. 30th, _Victims of Morality_
Thursday, Dec. 2nd, _Nietzsche and the German Kaiser_
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Sunday, Dec. 5th, _Beyond Good and Evil_
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THE MISCELLANY
THE MISCELLANY combines illustrated articles of interest to
booklovers and lovers of literary essays: _belles-lettres_, art,
and the drama coming within its province as well as occasional
book-reviews.
A partial list of topics appearing during 1915 is as follows:
_The Lost Art of Making Books_
_The Noh Drama of Japan_
_The Fortsas Library_
_The New Loggan Prints, and_
_Ancient Paper-Making_
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THE MISCELLANY
17 Board of Trade, Kansas City, Mo., U. S. A.
“An Authentic Original Voice in Literature”—The Atlantic
Monthly.
ROBERT FROST
THE NEW AMERICAN POET
NORTH OF BOSTON
ALICE BROWN:
“Mr. Frost has done truer work about New England than
anybody—except Miss Wilkins.”
CHARLES HANSON TOWNE:
“Nothing has come out of America since Whitman so splendid, so
real, so overwhelmingly great.”
AMY LOWELL in _The New Republic_:
“A book of unusual power and sincerity. A remarkable
achievement.”
NEW YORK EVENING SUN:
“The poet had the insight to trust the people with a book of the
people and the people replied ‘Man, what is your name?’ ... He
forsakes utterly the claptrap of pastoral song, classical or
modern.... His is soil stuff, not mock bucolics.”
BOSTON TRANSCRIPT:
“The first poet for half a century to express New England life
completely with a fresh, original and appealing way of his own.”
BROOKLYN DAILY EAGLE:
“The more you read the more you are held, and when you return a
few days later to look up some passage that has followed you
about, the better you find the meat under the simple
unpretentious form. _The London Times_ caught that quality when
it said: ‘Poetry burns up out of it, as when a faint wind
breathes upon smouldering embers.’ ... That is precisely the
effect....”
REEDY’S MIRROR:
“Genuine poetry, these ‘North of Boston’ tales, they hold one
with the grip of a vivid novel.... I can only refer my readers to
‘North of Boston’ for acquaintance with what seems to me a fine
achievement; such achievement, indeed, as contributes vitally to
the greatness of a country’s most national and significant
literature.”
A BOY’S WILL Mr. Frost’s First Volume of Poetry
THE ACADEMY (LONDON):
“We have read every line with that amazement and delight which
are too seldom evoked by books of modern verse.”
_NORTH OF BOSTON._ _Cloth. $1.25 net, 4th printing._
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story of the romantic life and death of a young poet, whose
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with Celtic glamor, and the strange, elusive inspiration of the
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THOMAS DAVIS. Selections from his Prose and Poetry. Edited by T.
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WILD SPORTS OF THE WEST. By W. H. MAXWELL. One of the best
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IRISH ORATORS AND ORATORY. Edited by PROFESSOR F. M. KETTLE,
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THE BOOK OF IRISH POETRY. Edited by ALFRED PERCEVAL GRAVES, M.A.
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THE BLACK MONK
THE KISS
THE STEPPE
By Anton Tchekhoff
_Translated from the Russian by R. E. C. Long and Adeline
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Tchekhoff is regarded in his own country as the most talented of
the younger Russian writers. Tolstoy has compared him to De
Maupassant. His writings have gone through numberless editions in
Russia, but two of the above volumes are translated into English
for the first time.
His art is noted for its simplicity, shades of psychological
insight and subtle humor. In his stories is that spirit of
permanence which lives mainly in the Past and the Future, and so
truly represents the spirit of Russia.
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SEVEN SHORT PLAYS. By Lady Gregory. Contains the following plays
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CHALLENGE. By Louis Untermeyer. “No other contemporary poet has
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