actresses. For some years, it is true, actor
and actress have been treated increasingly as human beings, less as
puppets who walk about on the stage. This volume contains two stories
illustrating the statement: "The Urge," by Maryland Allen, which
marshalls the grimly ironic reasons for the success of the heroine who
is the most famous comedienne of her day; "Fifty-Two Weeks for
Florette," which touches with a pathos that gave the story instant
recognition the lives of vaudeville Florette and her son. It is not
without significance that these stories are the first their respective
authors have published.

0.F. Lewis brings the judge to his own bar in "The Day of Judgment,"
but had difficulty in finding a denouement commensurate with his
antecedent material. The Committee Preferred his "The Get-Away" and
its criminals, who are Presented objectively, without prejudice, save
as their own acts invoke it. Viciously criminal is Tedge, of "The Man
Who Cursed the Lilies," by Charles Tenney Jackson. The Committee value
this narrative for the power and intensity of its subject matter, for
its novel theme, for its familiar yet seldom-used setting, for its
poetic justice and for its fulfilment of short story structural laws.

"The Victim of His Vision," by Gerald Chittenden, dramatizes the
missionary's reverse, unusual in fiction, and presents a convincing
demonstration of the powers of voodoo. Readers who care for
manifestations of the superstitious and the magical will appreciate
the reality of this story as they will that of "Rra Boloi," mentioned
above. They may also be interested in comparing these with Joseph
Hergesheimer's "Juju." Mr. Hergesheimer's story, however, fails to
maintain in the outcome the high level of the initial concept and the
execution of the earlier stages.

A number of 1921 stories centre about a historic character. F. Scott
Fitzgerald's "Tarquin of Cheapside" (_Smart Set_, February) offers in
episode form the motivation of Shakespeare's "Rape of Lucrece"; Mary
Raymond Shipman Andrews parallels her "The Perfect Tribute" and eulogy
of Lincoln with "His Soul Goes Marching On" and warm reminiscence of
Roosevelt; Fleta Campbell Springer's "The Role of Madame Ravelles" is
apparently a tapestry in weaving the stately figure of Georgette
LeBlanc. Ranking highest among these personal narratives, however, is
Mildred Cram's "Stranger Things--" Besides calling up, under the name
of Cecil Grimshaw, the irresistible