es of the ordinary citizen,
portraying very graphically the need of his presence in a world that
heeds him but little.

Considered in all its aspects, Ole Miss' is a notable contribution to
amateur literature, and one which we hope to see oft repeated.

THE PASSING SHOW for February is the "second annual production" of an
excellent though informal little paper by Nita Edna Gerner, a new member
of the United, and the daughter of an old-time amateur. Miss Gerner is
an enthusiast on all matters pertaining to the theatre, and has
impressed her hobby very strongly on the pages of her publication.

The dominant theme of the current issue is that of amateur romance,
exhibiting the press associations in the role of matrimonial agencies.
"The Twos-ers", by Edwin Hadley Smith, is a long list of couples who
became wedded through acquaintanceships formed in amateur journalism.
This catalogue, recording 26 marriages and engagements from the
earliest ages to the present, must have cost its author much time and
research. "A Romance of Amateur Journalism", by Edward F. Daas, is a
very brief statement of facts in unornamented style. "An 'Interstate'
Romance", by Leston M. Ayres, is more elaborate in treatment, and
displays an easy, colloquial style.

The editorial column, headed "Through the Opera-Glasses", is bright and
informal. We note with regret that Miss Gerner has seen fit to adopt the
popular mutilated orthography of the day, a fad which we trust she will
discard in time.

PEARSON'S PET for April is a bright and attractive little paper
throughout. "Burnin' Off" is a delightful specimen of dialect verse
which conveys a graphic image. We have never witnessed such an
agricultural function as Mr. Pearson describes, but can gain from his
clever lines a vivid idea of its weird impressiveness. "How I Met Elbert
Hubbard" is narrated in commendably easy prose, which same may be said
of the sketch or editorial entitled "Broke Loose Again". Mr. Pearson is
assuredly a competent exponent of amateur journalism's lighter and less
formal side.

THE PIPER for May is as pleasing and meritorious as the first number,
both in its verse and its prose. "The Modern Muse", exhibiting Mr.
Kleiner in a somewhat humorous mood, is very forceful in its satire on
the altered ideals of the poetical fraternity, but is marred by the
noticeably imperfect rhyming of "garret" and "carrot", it is barely
possible that according to the prevailing New York pronu