An account of what was observed by the members of the Balkan committee
deputation who went out to study the new régime at the invitation of the
Young Turks.
* * * * *
+ =A. L. A. Bkl.= 6: 8. S. ’09.
“It is marked by conspicuous fairness, and is highly interesting.”
+ =Ath.= 1909, 1: 436. Ap. 10. 800w.
+ =Outlook.= 92: 825. Ag. 7, ’09. 350w.
“In so far as his work deals with the establishment of the constitution
by force of arms and the history of the events which led up to the
famous Twenty-fourth of July, it is an interesting record of the
observations of one who, whatever his personal opinions may be, knows
the country well; but much has happened during the last few weeks to
diminish the value of these observations.”
+ − =Sat. R.= 107: 725. Je. 5, ’09. 650w.
“He has made an honestly balanced statement of the difficulties in the
way of the Young Turks, and of the advantages on their side, before
venturing to sum up with optimism.”
+ =Spec.= 102: 500. Mr. 27, ’09. 1750w.
=Byrne, Mary Agnes.=^{[11]} Peggy-Alone. $1.25. Saalfield.
9–15999.
Peggy-Alone is left for one summer in the charge of her uncle, a young
man who does not approve of the exclusive notions of upbringing held by
her parents. He allows her for the first time in her life to make
friends with other girls. She becomes an enthusiastic member of the
“Happy go lucky” club and learns to live and play as other children do.
C
=Cabell, James Branch.=^{[11]} Chivalry. **$2. Harper.
9–27967.
Ten stories in holiday make-up retold from the work of a dependent of
the Duke of Burgundy in 1470. They “treat of divers queens and of their
love-business.” They are the stories of the Sestina, of the Tenson, of
the Rat-Trap, of the Choices, of the Housewife, of the Satraps, of the
Heritage, of the Scabbard, of the Navarrese and of the Fox-Brush.
* * * * *
=Outlook.= 93: 787. D. 4, ’09. 110w.
Cabell, James Branch. Cords of vanity. † $1.50. Doubleday.
9–4297.
Should the young hero of these chapters of wooings and small flirtations
open his palm for a professional reading, doubtless where the line of
constancy ought to appear there would be sundry “fickle” lines in
evidence. For he is the bee that sips the honey from many a flower, and
his flitting process is the book’s only diversion.
* * * * *
“Viewed as a whole, the book is a notable performance.”
+ =Ath.= 1909, 2: 357. S. 25. 160w.
“One is reminded of the time-honored characterization of this class of
fiction as worse than immoral—dull.”
− =Nation.= 88: 582. Je. 10, ’09. 200w.
“When it comes to near half a score love affairs, with only one man for
the entire lot, the atmosphere grows sirupy, and not all Mr. Cabell’s
skill with the English language, which is considerable, is sufficient to
save the reader from a keen longing for fresh air and lemons.”
− =N. Y. Times.= 14: 175. Mr. 27, ’09. 170w.
=Cable, George Washington.= Kincaid’s battery. †$1.50. Scribner.
8–32648.
A story of New Orleans during the first part of the civil war. In the
background is the din of warfare while the center of the stage is held
by two women combatants. One of them, a Creole, loves fiercely and
jealously the young captain whom she tries to separate from the other
woman.
* * * * *
=A. L. A. Bkl.= 5: 24. Ja. ’09. ✠
“We cannot describe it as a successful work of fictive art. A certain
amount of misunderstanding and playing at cross-purposes is quite proper
as a means of holding the reader’s interest in suspense, but the device
is absurdly overworked in the present instance.” W: M. Payne.
− + =Dial.= 46: 87. F. 1, ’09. 260w.
“All told, it is a story where the red fuse of war burns into the
drawing-room of a pretty society. And the author misses neither the
lightness nor the tragedy of such a situation.”
+ =Ind.= 66: 700. Ap. 1, ’09. 320w.
“Perhaps the tale pleases us chiefly because it takes us back to the old
scene and the old figures. The theatrical inventions might be dispensed
with.”
+ − =Nation.= 88: 19. Ja. 7, ’09. 580w.
“He trails every elusive emotion to its last hiding place, and with
exquisitely fine art, even if the reader does find it a bit tedious
sometimes and not quite worth while, makes his chief characters depict
themselves and one another through pages upon pages of conversation and
unimportant action.”
+ − =N. Y. Times.= 13: 740. D. 5, ’08. 500w.
“Frankly, we find it rather hard reading. It seems to us that the author
does not tell his story in a simple, direct way, but adopts a style that
is, not exactly enigmatic, but, if we may use the phrase,
‘round-the-cornerish.’ The result is that the interest halts or
retrogrades just when it should move forward with firm, quick step.”
− =Outlook.= 91: 107. Ja. 16, ’09. 240w.
=Cable, George Washington.=^{[12]} “Posson Jone’” and Père Raphaël;
with a new word setting forth how and why the two tales are one.
†$1.50. Scribner.
9–28036.
A reprint, in holiday dress of two favorite Creole stories. For the
second, Mr. Cable kept blowing thru his bubble pipe, refusing a new dip
into the source of his first well rounded sphere of lights and colors,
knowing that there was another bubble up the pipe which he could develop
to the full proportions of the first. And here we have the two which Mr.
Cable’s genius has lent permanency to—the drafts of criticism cannot
blow them out, neither have they the disposition to.
* * * * *
+ =Dial.= 47: 464. D. 1, ’09. 130w.
“‘Père Raphaël’ is more melodramatic, conventional, and even
machine-like in plot and development than this author’s stories are wont
to be.”
+ − =N. Y. Times.= 14: 689. N. 6, ’09. 120w.
=Cabot, Oliver.=^{[6]} Man without a shadow. †$1.50. Appleton.
9–11688.
A young man after a lapse of memory wakens to consciousness one day in a
sanitarium but by some queer freak his memory was left behind. There is
an indefinable fear that compels him to believe that he has been evilly
dealt with. He escapes and the incidents of the story have to do with
his efforts to win back his memory by the aid of instinct and faces seen
in dreams, and they involve the tricking of enemies who had been
responsible for the young man’s condition, the interest of a French
scientist, and the devotion of a young New York girl. The scene shifts
from New Jersey to Paris.
* * * * *
“Ingenious tale.”
+ =A. L. A. Bkl.= 6: 25. S. ’09.
“This story may be regarded as a faint reflection of ‘Somehow good,’
and, although it offers not a tithe of the art or the psychology of Mr.
De Morgan’s novel, may yet be recognized as an entertaining production.”
W: M. Payne.
+ =Dial.= 47: 48. Jl. 16, ’09. 180w.
“Its plot has been well invented and worked out, and the incidents
contrived in a perfectly natural way. The story lays no claim to
literary quality, it makes no literary pretensions, but it holds the
attention easily and agreeably until the end.”
+ − =Ind.= 67: 40. Jl. 1, ’09. 80w.
“Merely as a story of plot and incident ‘The man without a shadow’ is
remarkably clever, skillful and entertaining. Mr. Cabot is to be
congratulated upon the fertility of invention and the mastery of
construction which it shows.”
+ =N. Y. Times.= 14: 270. My. 1, ’09. 530w.
=Caffin, Charles Henry.=^{[12]} Story of Dutch painting. **$1.20.
Century.
The story of Dutch art from the beginning of the seventeenth century
which date marks a new era. It is with the newness of their art that the
author is concerned, but he studies it in “its relation to the material
and mental environment of the nation itself, of whose newness it was so
immediate a product and so manifest an expression.” Mr. Caffin tells how
the artists of the seventeenth century developed a new school of
painting, what they accomplished in portraiture, in landscape, and in
the representation of the indoor and outdoor life of the people; why
they chose these subjects and why they treated them as they did.
* * * * *
“This book will hardly serve the turn of those who love painting as
such. Those, however, who wish merely information about artists and
their times, and discursive meditation about pictures, will find it both
edifying and entertaining.”
+ − =Nation.= 89: 522. N. 25, ’09. 620w.
“A complete handbook of Dutch art.”
+ =N. Y. Times.= 14; 659. O. 23, ’09. 30w.
=Caffin, Charles Henry, and Caffin, Caroline A.= Appreciation of the
drama. **$1.50. Baker.
8–31502.
Descriptive note in December, 1908.
* * * * *
“An interesting contribution to stage literature, but not of first
importance.”
+ =A. L. A. Bkl.= 5: 6. Ja. ’09.
“The salient points in the general history of the drama are lucidly
presented with practical succinctness.”
+ =Dial.= 46: 25. Ja. 1, ’09. 260w.
“He does not in any way show a deep knowledge of the theater or a wide
knowledge of the theatrical situation.”
− =Ind.= 66: 1141. Je. 27, ’09. 180w.
=Cain, Georges.=^{[5]} Walks in Paris; tr. by Alfred Allinson. *$2.
Macmillan.